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About seanzzxx

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  1. If this is true that’s a RED competitor, I wonder if this will ever see the light of day.
  2. Maybe the global shutter Ursa/Production Camera 4k cameras. Relatively limited dynamic range but I always thought the color and look and feel of that camera was exceptional.
  3. You should not need it. If you’re getting an error it’s likely your adapter: https://www.dpreview.com/forums/thread/4542718
  4. Hey Folks! I am currently saving up for a 12K. I got offered a really good deal on a secondhand 4.6k G2 with viewfinder, cards, etc. I would get the camera for roughly the price of a 6k pro and pay the rest in on set labor. I am however doubting with the 4.6k G2 no longer being supported through firmware etc... What do you guys think, am I a fool to turn this down or am I a moron for buying an older (2019 year) unsupported camera while there might be new stuff on the horizon?
  5. seanzzxx

    The Aesthetic

    Kye just one question and please don’t take this personal. How much have you 1. Tried to actually create a specific ‘aesthetic’ (let’s focus on that for a second and ignore all other considerations to a production, some of which might be more important than that aesthetic) in a real world scenario by: - Conceiving a type of look you want up front, often in coordination with clients and collaborators that may have wishes or needs that differ slightly or massively from your own taste or initial instinct, - going about selecting the tools that you need for achieving this. Keep in mind that you will need to test this equipment because some ideas that you had up front that seemed great or that you’ve heard about as performing X might not actually create the effect that you thought they would in practice. Sometimes locations or the camera/lenses that you preferred will not be available due to whatever reason. You will still be expected to achieve the previously agreed upon look. Quitting because you couldn’t get an Alexa will never get you another job again. - actually creating the look on set and MAINTAINING it across different shots that may be shot days apart. Remember that you might have less time in the schedule than you thought or that conditions changed beyond your control, you will still be expected to come close to your initial idea otherwise your look won’t match. - gone into a grading suite with a colorist and perhaps even a client and graded a large project in a very limited amount of time. Keep in mind that you will not be able to try fifty different experiments just for giggles because you will get fired. vs. 2. Downloaded some clips off the internet and played around -however skillfully or elaborately- with the footage on your pc. Because everything I’ve seen from you around here -and I might be wrong- indicates to me that you fall squarely into the second category. There’s nothing wrong with that and I do not mean to gatekeep or to shit on the enthusiasm for the craft that you regularly display on here (which is AWESOME!), but I am a little astounded by the confidence and boldness at which you make some claims. Please reflect upon your skill and experience and consider displaying some humility (know what you DON’T know), especially when looking at your experience (enthusiastic amateur filming their family on vacation) versus that of Django (working professional that has actually used some of the equipment that you make such confident assertions about).
  6. We use the r6 and r5 as b cams for video at work. If you’d shot with them for any amount of time you know the ibis is not up to the task for professional work. The amount of times we got back to see weird warps on our footage is simply too high to trust it.
  7. The yield of full frame sensors is lower. With the 12k already coming in at 10k initially (which a lot of people thought was way too expensive for a Blackmagic camera and which Blackmagic blamed on the sensor being designed in-house) I’m pretty sure the sensor would simply get too expensive for Blackmagic’s market range.
  8. seanzzxx

    Sony A7 IV

    I switched from Sony back to Canon due to owning a lot of EF glass, but there's NO WAY they're releasing a 30p only 4k camera in 2021, right?
  9. Those mics are omnidirectional so what are you on about. Pointing the mic down is a common technique to avoid popping sounds from the person speaking, as pointed out by OP.
  10. It’s a shame because if I read CineD’s test correctly the G2 is still the leader of the pack in dynamic range. In this tense the 12K has felt like a step back from the beginning.
  11. Works flawlessly on adapted lenses. Focus pulls are a bit more aggressively and in some cases are a bit more jittery and less reliable on lenses with motors that weren’t really designed for video autofocus (I’m thinking of the Sigma Art 85 specifically) but it’s still totally acceptable and usable in my experience.
  12. Every camera needs proper lighting. If you’re only lighting stuff to get your exposure then maybe the 12k is in fact not the camera for you. I’m excited about the Ursa because the company I’m working at is currently moving to get a step above one man band types of shoots (which hey, if that’s your thing more power to you) to always control lighting, have a more narrative focussed approach, and to not show up handholding a S1h because the image is ‘basically good enough’.
  13. How is it more expensive than on the 1295 Pocket 4K? Please explain.
  14. That’s the naming convention for virtually all camera’s they have. And it’s a 12k sensor. But Blackmagic themselves stated upon release that they’re not expecting everyone to jump to a 12k workflow but that going with a 12k sensor allows for oversampled 8k in camera.
  15. Guys this camera is not meant to primarily shoot 12K. It downsamples BRAW in camera, so the RGBW sensor enables full sensor full rgb over sampled 8k and 4k. THAT’S the selling point, not the 12k.
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