Jump to content

barefoot_dp

Members
  • Content Count

    142
  • Joined

  • Last visited

About barefoot_dp

  • Rank
    Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Granted the Mac Pro might not be for mass consumers, but there's a much wider market than just filmmakers. And It's not actually a niche product; it's just a high-end version of a product nearly every home and office uses. Any professional who needs a powerful desktop for any reason might consider it. And many more people with more money than sense will go out and buy it simply because they think "it's what professionals use and I want the best". The real genius of Apple products is in the styling and marketing, not in the design or features. It's worth noting that if Apple put out a cine
  2. You're far less cynical about Apple than I am. They won't make/sell anything unless (a) there is mass consumer appeal, and (b) everything about it requires compulsory proprietary integration for both hardware and software. Both of these things are inherently at odds with the professional photo/video production industry. I know plenty of stills photographers who would be devastated if Nikon went under, but not a single videographer.
  3. The HDMI output is by far my biggest gripe with this camera. It seems to change from mode to mode, but when shooting HFR Prores it is limited to 720p and is so soft that the peaking on my monitor won't even engage. AF is not something I even considered when I bought this cam and it was only after 6 months that I even realised it was there last week. I did a full music video shoot on a gimbal (Zhiyun Crane 3s) two weeks ago and it might have been nice to use then. I just tried to work with deeper focus instead but I'll have to do some tests to see if the AF can actually be used in that sit
  4. Well, that's a matter of opinion, as you say. I think it makes sense and anyone who's worked in broadcast can instantly pick up one of these (or an FX9 or FS7), start shooting, and find most of the controls they're used to. Apart from setting the right res/codec for the project or formatting cards, you can often get through an entire days shooting without ever needing to enter the menu's with these cameras. And usually you can find the button you need without even looking. You literally push one button. The video you linked shows you how to change your S&Q settings, but on
  5. There's a few big differences between then and now though. Back then the cameras had tiny 1/3" or even 1/5" sensors, and were mostly shooting for SD delivery (yes, they could shoot HD but the delivery pipeline was still mostly SD through the 00's). The lenses needed for those cameras were tiny compared to what we need today for S35 sized sensors. So there was less weight up the front of the camera, and they could easily be balanced in the palm of your hand. The fact they were shooting on tiny sensors, in a lower resolution, also made it much easier to nail focus, so you didn't n
  6. Everyone: Please Sony, give us an A7sIII with professional video features! If you do I will buy at least seven of them. Sony: Ok, here it is! Everyone: Meh it's just a rehashed A7sIII. This is lame and I'm not buying it.
  7. I think a lot of people are going to buy the Komodo, and a lot of people are going to regret it. I'm sure the picture is fantastic, but - even compared to the very similar Z-Cams - it just doesn't seem to tick the boxes people actually want or need. It was designed as a B-Cam and all those people thinking they can use it as an A-Cam and that it offers a small convenient package similar to a mirrorless will quickly (within about 23 seconds ) find out they are mistaken. I think people are going to scramble for it just because of the Red name, without actually thinking it through or co
  8. Yeah it's definitely got a "start up" feel to the company. However the good side of that is that they are constantly improving the camera through firmware updates. It's actually a better tool now than when I bought it.
  9. I went Z-Cam earlier this year. I was planning to go with the UMP G2 but then Covid happened and all my work dried up so that went on hold. When it started up again, I decided to grab the Z-Cam E2-S6 instead as it covered a lot of the same bases (my prerequisites were Prores, 4K100p, Internal ND & v-mount power option) for a lot less money. It was also a small, lightweight package that I didn't have to spend half a day prepping/packing/charging/rigging before a shoot. This was important for me as when bookings started to come back, they were a lot different and instead of being multip
  10. It's certainly not necessary - but given the lenses available to us at reasonable price points, it is certainly more convenient. There is simply no lens available for aps-c or m4/3rds that can offer the convenience and range of something like a 24-70 f/2.8 in a single package. Even the amazing Sigma 18-35 only becomes something like a 27-52mm f/2.5 when you're talking about FF equivalency. Not as wide, nor as much reach when compared to a 24-70. Aperture that is just barely faster (but not enough to even be noticeable), and no IS versions. And it doesn't help that the manufactu
  11. I've spent a lot of time as an AC rigging up Red's and I have to say they are truly a pain. The problem is the body is too tall, with the lens mount (ie all the weight) up quite high. It makes most shoulder-mounts impractical, as the center of gravity is too high and harder to balance. It also means you need a heavier duty tripod and very specific base plates to get the correct vertical spacing of rails so that all your lens motors will fit. The URSA cameras are ugly as hell, but they are very fast and flexible when switching between handheld, shoulder-mount, easy-rig, and tripod.
  12. Yeah I've already got the right cable I think, as it's the same as the one for the Shogun Inferno. But I have been keeping tabs on the FB page and have seen a few posts that there are bugs with the audio. Hopefully it's sorted out soon.
  13. Did the camera you tested have a rig and handles, or was it just the camera body? It seems like the Z Cams design makes it a lot easier to build a functional rig than a DSLR or BMPCC 4K/6K, and there's a good number of cage options available. Obviously the flip side of that is that the body is not really usable straight out of the box like other options in the same price range.
  14. I'm actually starting to get interested in the Z-Cams. Since covid-19 smashed my dreams of buying an URSA Mini Pro G2 this year I've been thinking about other options and the Z-Cam is the only other camera that ticks most of the boxes I want for my next camera. Here's the checklist of things I want: - 4K @ 100fps - Internal ProRes (or similar edit-friendly 10-bit codec) - V-Mount batteries (or easily adapted without making a horrible rig) to power monitor, FF, etc. - Better Image quality / colour than the FS700 4K - Dual XLR - Native EF mount so I can do away with Metabones adap
  15. They knew it existed... but they also knew that their crazed fan base would buy whatever they release. Red are kind of like Jeep. They beat everyone else with their original products - one of the first of it's kind - then cashed in on their reputation and started selling overpriced, unreliable products, but with very focused marketing.
×
×
  • Create New...