A_Urquhart
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Posts posted by A_Urquhart
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I don’t understand why anyone has any issues with the lens mounts.
L mount is the ecosystem BMD has entered which is hardly surprising as it’s a more open system. Then you have EF and PL mounts. What’s not to like? You didn’t expect E or RF in all seriousness did you?
The side screen is great. It’s only for navigating menus as everyone wants to use their own monitor. Not paying for a larger or articulating screen is a good thing .
Audio wise, bummer that it only has a single XLR. Can live with it and I’d plug my dual channel Theo’s system into the mini jack but would be great if BMD has a small Mi shoe type connecter on the top and they could offer a different handle with XLR inputs and audio duals like FX3 does.
I personally wouldn’t want to pay for features such as internal wireless audio which I would never use and would limit what TX units you could use. It’s a plain silly idea IMO.
Still no 10Bit codec. This makes it a non starter for me. BMD did a great job in appealing to the more Pro/ Semi Pro sector with the new rigged alloy body, SDI, TC etc etc and it now appeals to Sony FX6 users but lack of 10Bit means it’s a no no. Give us DNx at least…….!
so so close BMD.
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I use Swit NP-F batteries and they are fantastic. They also have an extra output so you can power another accessory if needed. Mine have lasted years of heavy use. Have also heard good things of IDX NP-F with their Xtap output.
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I’ve been extremely happy with the Godox m600Bi and M200Bi.
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To the OP, I’d seriously consider the FX6. Having used both the FX6 and FX9 i find the FX6 slightly more versatile.
The FX6 is a great camera that will handle any level of work you need it to. You will not get any complaints from professionals in regards to the footage it produces despite what you may read here. -
20 hours ago, IronFilm said:
The URSA Mini Pro G2 is a good choice.
Yeah…..but I really don’t like the form factor and ‘only’ having two channels of audio is soooooo last decade.
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On 11/16/2023 at 6:52 PM, JulioD said:
And I think they’re fine with that because they seem to be selling tens of thousands of cameras so they don’t really need to care about wider adoption.
Why wouldn’t they want more of the Pro market?
Why wouldn’t they want people who bought a pocket camera to be able to stay with BMD when they move up the ranks? Currently, between the Pocket cameras and Ursa12K (end i even wouldn’t consider that as a main camera) there is nothing to cater to experienced shooters working professionally unless they are shooter/editor that edits their own footage.
as great as BRAW might be, no one wants it.
After owning a few BMD cameras, as soon as I started shooting professionally for others, it was clear I needed to ditch BMD for Sony.
Productions want what they know fits their workflow rather than a camera that has slightly better colours or highlight rolloff.
Lack of a 10bit codec is a huge miss for BMD! -
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Apparently the new camera isn’t called ‘pocket’ anymore. Lots of people complained that it didn’t fit in their pockets I guess. Pretty silly really.
I had a Kessler Pocket dolly many years ago…..it didn’t fit in my pocket either but I never complained about it but then I try not to take things too literally 😜 -
Hang on!!
just noticed that the new P6KFF only shoots BRAW and low res H264 proxies???? no ProRes at all or anything even remotely comparable.
massive fail!!
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New Full Frame 6K camera looks great (internally). Love the sensor, OLPF, BRAW, open gate, DR looks impressive despite BMD still claiming 13 stops, internal proxies and a far better mirrorless mount (than EF) means adapting lenses is much easier. If using EF lenses, these is an adaptor that has a built in VariND ( I think Meike make it) so I’m not even too fussed about the lack of ND filters. Biggest issue for me still is the form factor. I’ve had a few BMD Pocket cameras from the P4K to th 6KPro and I hate the form factor. With this new full frame sensor, Black Magic have kinda made a budget Alexa Mini LF (BUDGET!) but I can’t see many film makers wanting this body style anymore.
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On 9/12/2023 at 6:00 PM, kye said:
I just saw that in my feed and was wondering what it might be.
Fun stuff!
In another forum when people were speculating that it would probably just be ‘broadcast stuff’ John Brawley said “it will be worth watching” . As we know he’s pretty heavily involved in Blackmagic Cinema line cameras so 🤞
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5 hours ago, kye said:
The last one recorded Prores but it looked like crap.
I thought if they were going to implement a professional codec they'd provide a professional image, but it was atrocious... turns out the best thing about Prores on other cameras was that it guided the manufacturer to be tasteful and professional when processing the image, it wasn't the codec itself.
Oh that’s a shame. Hope it’s better on the 15. I’m still on an 11!
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It looks like it only has two audio inputs. As a solo operator, I'm using 3 or 4 channels of audio more and more.
Apart from that, looks great although I'm not a fan of the EVF. Sony NEED to develop an EVF similar to the one on the Alexa Mini. It's the best of both worlds with an EVF and flip out screen in one.
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29 minutes ago, Django said:
Those P+S Technik lenses are $25K a pop and I see some crane shots using GFM gear (also $25K a pop):
https://www.pstechnik.de/lenses/technovision-lenses
https://www.gripfactory.com/gf-mod-jib
Not exactly minimal or budget equipment. The handheld shots may be but that's not exceptional aside from Tilta which is obviously low-end lol.
I also imagine everything was shot using 4.2K RAW external recording. And there is clearly tons of VFX going on.
At that point there is little to no doubt you can shoot a feature on a mirrorless. Still impressive it was actually done.
Mirrorless has certainly gone a long ways!
The FX30 is definitely almost a bargain at its price point. Other advantages over the FX3 is it uses an oversampled from 6K image and S35 means you can speedboost FF lenses. FX3 can't do S35 unless you use clear image zoom hack but you're then getting sub 4K image. The FX3 still wins in low-light which is probably why it was mainly chosen for The Creator which has a lot of night scenes it seems.
Yeah, if the FX3 had a good crop mode Id probably chose it as a second camera as I do sometimes need a B/C Cam when working with the FX6 and FX9 so having a FF sensor makes sense but while I can’t shoot S35 on FX3 I CAN shoot full frame on FX30 with the Metabones speed booster so to me, the FX30 is the more versatile choice.
Also, when I’m B or C cam-ing to the FX6 or 9 it’s almost always with cine lenses so the lack of AF with the speed booster is a non issue.
I’m also a big fan of the over sample the Fx30 sensor does. Looks great and makes the clear image zoom super usable. As an example, I used it today on a small shoot with my Sigma 18-35.
Clear image zoom gives me an 18-52mm 1.8 internal zoom lens with amazing AF if I need it and an image that rivals many primes. So versatile! -
1 hour ago, MrSMW said:
It was, but also I imagine a super high end set of cine lenses, big crew, decent budget and at least one pro colourist.
Still good bragging rights for any FX3 owners for sure!
Of you watch the behind the scenes video I linked to above, you can see that most of the shots are actually done with a fairly minimal rig. P&S technik lenses and most surprisingly for me, a Tilta Nucleus M follow focus system! I have that system as a backup to my Teradek RT kit and really don’t know why anyone would choose it unless there were very strict budget constraints which this film wouldn’t have had.
Interesting either way and with Cooke announcing native E Mount lenses l, it’s interesting to see where things are heading.
as Iron Film said, I think the FX30 is a better buy. I’m a big fan of fast APSC lenses and pretty impressed how good the Sigma 18-35 1.8 performs on my FX30 with the MC11 adaptor. The AF when on a gimbal is extremely useful, fast and reliable.
I’m now looking at replacing my Pocket 6K Pro with another Sony camera and while I initially thought about going FX3, I’m leaning more toward the Fx30.
I like the native ISOs of the fX30 better and the price difference will be better spent on lenses I think
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On 8/25/2023 at 10:00 PM, insch said:
I was planning to get an A7S MKIII until I was made aware of the FX3. I will primarily use this camera for 4K filming and have been advised that it's a better camera than the A7S for that task. From what I can see, the main differences for the FX3 are no electronic viewfinder but several mounting points, hence no essentail need for a cage. And a handle with XLR points. I have an Atomos Ninja V monitor/recorder that I could use with the FX3 to maximise its potential.
Is this the best camera for 4K in this price bracket?
Thank you.
One thing to keep in mind is that the FX3 (and FX30) are getting more video centric features via updates in firmware that the A7 series are not getting. It seems that for video creators, Sony is steering people to the FX series. I'd go for the FX3 unless you NEED an EVF
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Greg Fraser's latest film 'The Creator' is ENTIRELY shot on the FX3 and apparently getting an IMAX release......
Pretty impressive!
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Interesting but just because Samyang say they are 'Cine' lenses, doesn't mean they are.
They are AF stills lenses that you can put an adaptor on to get a manual focus ring with hard stops. This will make lens changes all the more complicated as you have to remove the adaptor off the front, change the lens and then re attach the adaptor. A few extra steps.
That's not to say they won't be a good option for many here.
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15 hours ago, SRV1981 said:
Ha I get it! But I’d be shooting fast moving athletes indoors - never had luck with APSC. Was hoping the fx30 would be good for me but video after video notes that you must properly light your scene as you’ve said here. I’ve realized for my needs I won’t be lighting so an a7iv is a better value it seems.
If there is enough light indoor to play sport, there is more than enough light for an FX30 to get decent images.
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8 hours ago, Django said:
Its really going to depend on your lens choice and at what frame rate you're capturing. 4K60/4K120 is going to be a challenge in lowlight, especially with slower glass. Fast glass and/or a speed booster can help mitigate lowlight performance. I've noticed quite a couple FX30 users have been pairing it with 7Artisans new affordable APS-C T/1.05 cine prime lenses for such purposes:
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I was just about to pull the trigger on the Sony UWP-D27's when I noticed this!
https://deitymic.com/products/theos-digital-wireless/
Wideband UHF which isn't limited to any frequency range, it can be changed for the region you are in via your phones gps coordinates and a firmware update! Transmitter can sync to TC-1 wirelessly so your internal 32bit files are TC synced.
Most importantly, UHF AND 32bit internal float recording AND not Zaxcom.
I hate being an early adopter but if Deity deliver on reliability of signal, this could be killer.
Blackmagic New Products Update - 13th April 2024 17:00 BST
In: Cameras
Posted
BMD’s menu system and OS is already designed around a 4-5” screen. It’s a great OS and menu too!
To make one for a two inch screen would require a complete redesign. Im not sure they would save much money by doing this TBH. I think the side screen works. Means you can change settings and get a visual, useful if rigging the camera on a gimble, car etc just for lining up.