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Everything posted by thebrothersthre3

  1. When will the XT3 get that 240fps tho..
  2. The URSA really tops out at 800 as you get weird fixed noise pattern at 1600 iso. That said the URSA still wins out in dynamic range especially when shooting RAW and I think the color science is quite nice as well. I do plan on purchasing an S1 at some point. I think they'll drop even lower in price in a few months. Its kind of a no brainer camera. People like to see "real cinema cameras" though. Panasonic should have put the S1H in a EVA1 body with Electronic ND's imho. But you are right I will be getting one soonish probably. I am too much of a camera addict not to at
  3. Generally Sony is known for not having the best skintones as well as not doing well in mixed lighting. That certainly can be got around by someone who knows how to grade and of course nailing white balance and shooting in good lighting with good exposure helps a lot.
  4. Yeah they are pretty dumb. This is coming with an SXS to SD adapter though which is going to be legit. I also have my Ninja 2 recorder so I can just record straight to an SSD if I want prores 422
  5. @IronFilm So more 2020 camera plans coming to reality. I just got a good deal on a Sony F3 ($500), it also came with the 444 upgrade Question for you though as I know you work with these cameras on a regular basis, can the Atomos Ninja 2 be used with it? Would need somekind of HDMI to SDI adapter I imagine?
  6. yeah hopefully this thing from China works lol. I had considered just using screw on filter adapters but its kind of a pain
  7. They don't come up used that often but can definitely be had for around $1000 without Davinci. XT3's come up a lot at 1k or even a bit less. Check DVXuser and ebay a lot.
  8. I usually like the cine cam bodies better but if they could really pull off a smaller camera that had everything you'd need for example a bright 1000nit screen 5", good IBIS, good battery life, internal ND's(electronic?), with XT3 specs you'd have a winner. The issue with DSLR type bodies is they usually need to be kitted out making them awkward. If they can actually do all that I listed though you wouldn't need to kit it out. Ultimate run and gun rig.
  9. I found an IR cut filter from a Chinese company that I think I'll purchase. Hard to go wrong at $35 bucks. Its listed as for the Ursa Mini 4.6k specifically.
  10. I've heard prores is quite a bit better at handling moire on the Ursa Mini 4.6k. That is something I am fine with if its tolerable in prores. I am looking at these OLPF filters from china off ebay. I wonder if one of those can be installed. Are OLPF's very camera specific, anyone know? There are also cheap OLPF filters taken from canon cameras that I could try out. I know there are options actually designed for the Ursa Mini but I am putting together a cheap ass rig so I don't want to spend $400 on one, which is like a 4th of what the camera cost me lol
  11. It looks funky at base ISO, its not a color fidelity issue. it also holds on underexposed too
  12. I kind of agree, or at least they need to differentiate their cameras better. To me the XT line is out of place. Fuji already has smaller cameras for those who like that. The XH line should be for video people and people who like bulky cameras.
  13. Sony's other cameras have the same kind of color issues, I don't think it has to do with the camera being good in lowlight.
  14. My concern is it being jumpy.
  15. The XH2 will still come. In reality the XH1 should have been the XT3 with IBIS and the XT3 should have been what the XT4 is. That said its ok, Fuji is still doing more than most companies. TBH The XT4 will be an ideal camera. Nice bright screen, IBIS, great image as per Fuji, and great battery life(especially with a grip). It needs to get rid of the record limits tho.
  16. Really damn, I am actually going to get one ASAP Thats a game changer tbh
  17. I am assuming it'll have a battery grip option. The grip on the XT3 sucks though, it shuts off when switching to the next battery. The GH5 grip will just automatically switch even if you are recording. I'd love the XT3 much more if the battery grip wouldn't do that. I still love it though
  18. I've done it a couple times lol. Not for an entire shoot though, just like a clip. Force yourself to make a habit of looking down at the seconds rolling everytime and you'll never make the mistake again
  19. btw Super 8, these are just my candid thoughts/feelings, not trying to make nail in the coffin statements, so no hard feelings
  20. Yeah, I don't really do much Doc work but I do weddings which can be similar(probably worse lol). I have used the URSA on doc work, depends on the subject matter. Used the S1H for some doc stuff and it was really nice honestly. The IBIS plus a Canon 24-70 just worked for everything, used the S35 mode which was easy to switch to, getting that extra range.
  21. Yeah the S1 is going for stupid cheap used. I'll get one later this year almost 100%
  22. Obviously it depends on the budgets.... The image from an Ursa Mini is not far off from an Arri, depending on which you are talking about. Dynamic range is quite a bit better on any given Arri camera. But you usually aren't pushing dynamic range that far especially on high end stuff where they actually light things. Anyways my point is Arri is the cream of the crop next to film. Arri doesn't have an 8K camera, not even a 6k camera. No auto focus or talk of it, way behind the times. But high end productions don't need any other that. RED is putting out the Komodo which is not an appe
  23. Arri basically dominates the field completely whether it be motion picture or commercial. RED is still looked at as a compromise by most people. I wouldn't say RED is very innovative at this point anyways. At least in the narrative creative field, sports and stuff like that is different of course. DOC work is a bit different as it is often one man band or close to it in comparison with hollywood sets. You see more Canon being shot with Doc work. Hollywood is pretty slow to change as you really don't need much more than what an Arri offers when you have access to a crew to operate a camera.
  24. You could buy a grip for it...
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