TomTheDP

I had one shortly but I fried it using a bad dummy battery to D-tap cable. I wasn't going to buy one again but I recently had the need for a small gimbal camera so once again I purchased the FP. This one has the tilt screen mode as well as a custom made SSD module, which makes it a super compact setup. Using the FP one of my big complaints was the lack of a tilt screen, so this new setup will address that as well as managing the somewhat awkward T5 ssd setup I had before. Dual ISO is very helpful, the color from the FP looks really nice after running it through resolve. It would definitely be nice if there was a way to color manage the dng footage in premiere. But hey it's a really inexpensive camera so I can't complain too much.

Yeah but the BGH1 was so bare bones compared the FX6 imho. I am just speculating here based on my own thoughts though. I never use auto focus so it doesn't at all matter to me. If the S1 had raw internal like the FP I would have held onto it.

I feel like their cameras are close to Cinema level but far enough away that they mostly attractive the low level + consumer crowd. Which is why auto focus is probably holding them back. I'd love to see them put out something like the FX6. There 6k 3:2 option has made me consider buying an S1 again with all the cheaper anamorphic lenses coming out.

interesting, who was the promo for? I have been tempted several times to the 5D MK3, just got a sigma FP tho. I feel like they are similar cameras.

I don't have enough experience with mini to really say for sure as most cameras either go micro or full. Honestly micro should just be banned 😅

Mini is probably way more reliable than micro. On my FP the plan was to never remove the port or put any stress on it. I used a micro to full hdmi. The micro is secured into the camera cage and the full hdmi is also bolted to the cage. That allows for the least amount of stress being put onto the port.

He said he doesn't think the current version is polished enough and that he's working on a V2 which he'll release the plans for when done.

pixel binned on the Sigma FP for RAW

I guess it depends how run and gun the job is. I always manual focus but I am probably behind the times.

Fuji is really punching above its weight I feel.

Didn't see a lot of these replies on this thread until now. There is definitely something special about RED and ARRI. After having used the Komodo more it actually makes me love more what the Alexa does. The simplicity of Prores and their 709 lut is unmatched. Most people can't or won't want to handle the onset workflow that an Alexa Classic requires. That being said ARRI simply isn't an option for most. I personally think the Komodo can work for just about anything. It is small enough and power efficient enough to be run and gun friendly. I suppose for event type work the FX6 would still crush it though.

Bigger battery means bigger camera tho

so no converting?

Magic Lantern isn't undependable. 1080p 14 bit RAW is a staple. It's just an annoying workflow.

You don't need tripods unless shooting on long lenses. Most wedding photographers are still using DSLR's with no IBIS and no tripods. OP didn't say he was shooting birds on 300mm lenses. I don't think he is gonna be shooting his child 3 blocks down the street. Fuji is my go to choice for family stuff. Small and nice looking images/video. Not great for narrative as there is no 12 bit option but for family stuff it's great.

for you

The FUJI is great for photos. Would definitely take it over a Sony. You can get a lens turbo focal reducer which I have found to be very nice for like $100. Only way I'd go Sony is for auto focus if you want that.

Get a used XT-3. A 5D MK3 with magic lantern is great. It is 14 bit RAW. You won't get that kind of image out of anything but an Alexa or RED camera. The dynamic range isn't as good but it has a certain thickness and depth that you won't find in cheaper cameras. That said you'll enjoy the clean look out of the XT3 as well as the 4K recording up to 60p and very nice HD 120fps.

@PPNS Making a film is really difficult and your frames are looking great. I am sure you didn't have a big crew possibly none at all and you probably weren't being paid much if anything. Don't be hard on yourself. Skill isn't the only factor in a film looking good trust me on that one.

CLOG 3 has more contrast. There is also a cutoff in the shadows making it appear cleaner but also giving you less information in the shadows. There is also probably a bit less highlight retention. It's good if you want to just add a bit of contrast and saturation and call it a day. CLOG2 is a more conventional log where the full dynamic range of the sensor is maintained.

The nice thing about RED is that tint and WB can be adjusted in post if you shoot RAW. I feel the Komodo is really close but I guess not quite the same. I'd be down to share some of the files if you are interested. Surprisingly it's not that uncommon to find an Alexa with a Pocket camera as the B cam. Not on super high end productions but on mid tier stuff. I am trying to see what matches best as a "cheaper" B cam. I was pretty happy with the Sigma FP but I need to post a comparison to see what others think as my eye isn't the best for color subtlety.

True but what about the more cool bokeh and unique perspective. Everything is overkill these days though. My friend AC'ed a 10 second social media ad with the fx9 and after seeing it on instagram I concluded it could have been shot on a phone.

A lot of times the Vari ND gets you the shot that a fixed wouldn't. The other option is to use a fixed ND that will give about the exposure you'll usually need outdoors and rely on the cameras latitude to fix the rest in post.

The affordable RF, L and E mount anamorphics coming out are really making mirrorless cameras a great option. Although it really makes little sense to shoot anamorphic for content that will end up online. It is an artistic choice at that point.

Bizarre world we live in. I imagine a near future where half of the content is just AI generated completely.