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My cameras and kit

Found 7 results

  1. Right now on BH the fs100 with a free metabones EF adapter (after rebate) is only 2500. I've been using a 5d mark ii for the past 4 years as my main camera and although I still love it, it is a pain to use sometimes in a corporate video/documentary environment. I figure the fs100 at this price with an adapter that will work with all my current glass seems like a great deal for the type of work I've been doing lately. anyone own one and have some thoughts?
  2. I have not seen this comparison yet so I decided to test it out.   I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate:   5D Mark III (Raw DNG)     FS100 (w/ Frank Glencairn's G-Log Ultimate)     And here is where the codecs really show their differences:   5D Mark III     Sony FS100    
  3. I've had the Black Magic Cinema Camera (EF version) since April, coming from a hacked GH2. I kind of jumped on the BMCC fanboy bandwagon and jumped into the camera without really studying other options at the time. It's capable of some pretty great images, but overall, I just don't like the camera. It stinks for any type of handheld shooting, the crop factor is a pain to deal with, pretty much every hard drive I own is full of RAW footage even though I try to delete what I'm not using, and it takes a ton of time just to grade a shot to get it to look "normal" and sync audio from my external re
  4. Hey all,   We recently finished this music video and wanted to share with you.  Shot mostly on the FS100 with a few pickup shots on the NEX-5n.  One of the biggest challenges and disappointments was how the camera performed in the club scene.  The internal codec falls apart whenever there is a flash of bright color (or rapidly changing color) as there is likely not enough bandwidth to represent the varying information using the inter-frame compression.  Surprisingly, there is very little info on this (we've researched before shooting).  An outboard recorder woul
  5. I finally found the short film that I worked on all semester in LA a year ago, albeit sans color correction. We shot a special flat profile on the FS-100 with Zeiss Super Speeds (per my suggestion). My friend and I were co-soundmen, all the way through from pre-post production.    They've disabled embedding. It is on this page, and is called "The Star". http://www.bestsemester.com/lafsc/
  6. Hi, I have to decide which camera is better for an indie feature.
 I need mainly two things: "cinematographic look" (and narrow DOF) and low-light ability. Filming will be make of long still "pictorial" takes based on indoor natural low-light only (even in evening). My first choice was 5D3 for it's low-light performance, but many guys say that it isn't a good choice for video, and that GH2 is a better choice because it's more detailed and without moire. I like the detailed GH2, but it's a bit noisy in low-light, and mainly I'm asking if GH2 detailed i
  7. My question is about mixing footage specifically from Sony to Panasonic (or secondly Canon) cameras. In my experience each company has a color profile, and within a brand cameras tend to match decently out of the box.   I am a Sony owner of an NX5U video camera and have had experience mixing footage with Canon videocameras and DSLRs.  The colors do not match perfectly,  but for my wedding clients it is passable.    Does anyone have knowledge of how well pana + sony might mix? I'm wondering specifically how well the Sony NX5U might match with a panasoinc GH2/3 (us
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