martinmcgreal

Cheers! Another question - I'm hooking it up to SmallHD 501, however once I do, the A7S screen turns off, and on the 501 I get a squeezed/smaller viewing screen, as apposed to the image filling the full 1920x1080p .. How do I firstly, have both screens visible, and secondly, have the viewing signal fill the fill 1920x1080p on the 501?

Hi guys, I’ll keep this short and sweet. Shooting a run and gun type piece on a A7Sii tomorrow - far from familiar with the camera, so I have a few quick fire questions .. What’s the native ISO, or recommended ISO for this given shoot; I’ll be inside a school, moving through the corridors from room to room, as such, experiencing different lighting scenarios - though nothing blown out, as the majority of the rooms will be either dimly lit, or the blinds will be closed. What’s recommended, SLog2, or SLog3? Any recommended SLog to Rec709 LUT’s I can feed into my SmallHD501? Can I hook up my Anker Pro 2nd Gen external battery to the A7Sii via the same cables I use for my pocket cam, or is a special adaptor required? (I assume the latter) Cheers, M

I did say subconsciously .. It's not something they'd distinguish consciously until it was suddenly changed - i.e The Hobbit, which even laymen flagged up immediately. Yes, this was more down to the drastic shift in frame rate, but it stills ties into the whole concept of motion, and viewers noticing the motion feeling different to what their subconsciously accustomed too within cinema. I feel the importance of motion candence only ever comes to the forefront once you shoot with a system that delivers it cinematically. If you never shoot with such systems, you'll likely never miss it, as it can be subtle to the everyday eye, but once you do, and you jump back to a system that delivers more 'video-like' motion, you then realise the importance of it, in delivering images that feel truly cinematic. It can become a petty debate though, so I'll leave it there.

It's a valid point, but as I've re-iterated throughout the thread, I'm looking for a cinema camera, and more on the high-end, which rules out both the GH4/GH5, given neither system is built specifically for cinema. If I wasn't so picky about motion candence, such systems would come under consideration, but the fact I am so picky about it, limits me to a handful of cameras in this price-range, if that. It's frustrating - I wish I could look past it, but I've shot with so many CMOS cameras down the years that it's just become too big of a spec to continually skip on. I really would argue it's the key characteristic that defines the 'cinematic' universe viewers are so accustomed too, all be it a subconscious characteristic to everyone but filmmakers of course. Lighting, locations, production design, actors, writing etc. all vary from film to film, to different degrees of quality, but rarely ever does motion vary - it's the most common characteristic that remains the same in cinema, and as such, is the one we associate most within the cinematic universe/images - just most don't realise so.

Hate to bump this thread this again, but - couple of questions .. Is there any free resources online where I can download uncompressed footage from both RED systems (ideally the One/Scarlet MX), and also the D16? Besides shooting with the systems, this is probably the second best route for conclusive judgement. I've tried the Bolex website but the download links keep re-directing me to an ad page .. As for RED, I assume there's a ton on reduser, but I've yet to search that deeply - will do in the coming weeks .. Just asking here in the meantime .. Second question - does the D16 shoot 4:3? I can't see it anywhere on the spec sheets, but a quick google search directs me to a thread on this forum discussing 4:3 on the D16, so I'm curious? I assume it doesn't .. It's so difficult finding any anamorphic footage with the D16 too .. There's bits and pieces on Youtube/Vimeo but nothing more serious than quick unconsidered tests that look relatively poor due to user error.

Following another viewing session of footage from both the D16 and Scarlet X this past week or so, I'm now definitely leaning more towards the latter. I've actually not been overly impressed with what I've seen from the Scarlet X, or more so for a system in such a price-range, though this probably hasn't been helped by mistaking it for Scarlet W footage at first, which is in another league entirely. It's difficult not to fall in love with the D16 image, the more footage you view, and the longer you ponder on it. That CCD sensor .. Yes, it's not 4K, and yes, it's not a low-light camera either, but a fair argument can be made with the latter that such an inconvenience forces you into more considerate lighting, which can only benefit you down the road. It's also worth noting how easy the transition from the pocket camera to a D16 MTF will be, kit wise. Can you record ProRes externally via an Atomos Ninja with the D16? I'm by no means set on a decision, and won't be until purchase time, which is a fair few months away yet, but it's interesting just how far I've swayed from my original image appetite, which I guess speaks volumes for the D16.

In my part of the world, the Mini 4.6K isn't available at any rental houses (as far as I can see), which I find interesting, considering how big the media industry is in the North of England now. I can only speak for commercials, since that's the area I work in, but it's as if it's not even made any sort of noise amongst professional's this side of town. Of course, Arri/RED systems will always be favoured for the bigger budget stuff, but even the more smaller stuff we (the production company I work for) shoot, FS7's w/ A7Sii as C cam's is usually the port of call, with Blackmagic's higher end systems never really entering the equation for consideration. Of course, every job demands different systems, and it's never always a case of 'well x camera is better than y camera, so let's use that', but it's interesting that for a camera (the 4.6K) which can produce such stunning results, it's yet to come under serious consideration by the rental houses this side of the country. Not suggesting anything with regards to the quality of the Mini 4.6K btw, with this statement, just merely stating an interesting fact, that if anything, frustrates me. I'm assuming the rental houses reasons aren't related to the quality of the camera, and instead, something else, perhaps logistically/financial, or just the fact the system is still relatively new, and their waiting for it's reputation to build?

and, if I haven't said it enough already - motion candence, motion candence, motion candence .. Just because systems appear superior on paper to say the F35 in usability, size, resolution, codecs, dynamic range etc., it doesn't mean for one second it's a superior system. Ultimate judgement should always rest with the image, in which case the F35 wins hands down. This isn't to say I'll be purchasing the F35 however; simply too pricey, and too large.

Does the Bolex come with either PL/MTF mounts, or? Would be ideal if I could continue using my pocket's speedbooster and sigma glass ..

If the F35 was doing the rounds in this price-range, this thread wouldn't exist.

I actually haven't, come to think of it. I can't say I've ever heard nor seen evidence to suggest RAW influences motion candence, as such, I've never drawn comparisons myself. The D16 is definitely creeping into my final considerations, alongside the MX and Scarlet. Of course, the RED's are far more versatile systems, which should be my main consideration when spending such money, but it's hard to ignore the image the D16 delivers; it has that magical filmic feel to it that nothing else in this price-range can quite deliver so organically. I still prefer the clean, smooth, digital look, but the D16 is making me fall for the 'film' look again.

Thanks for the kind words! LUT's are great, if you treat them as just a small part of the grading process, and not expect drag and drop results, which most do. Of course, it helps massively if you're shooting with an external monitor that can import 3D LUT's, so you can then finesse your look all the way from principal photography to post - a process I myself followed for the stills on the previous page. I appreciate such monitors are viewed as both a luxury, and incredibly expensive, but I can't emphasise enough just how useful they become, even more so on cameras like the pocket which don't shoot Rec709, since the 'video' mode is still relatively dull/flat. You're always fighting a limited battle on set lighting/exposing/white-balancing to a LOG image, hence why I'd always encourage people - especially for narrative work - to purchase an external monitor with importable LUT's.

I did both roles for that particular piece, but I'm a dp mainly. It was all shot in ProResHQ. It's daylight robbery how cheap the camera retails for, given it's superior to systems five or six times the price. I'd always encourage even amateur shooters to make the pocket camera their first ever camera purchase. Yes, shooting/grading LOG images can be tricky/daunting at first, but you'd rather learn the hard way early on, than later. The menu system is perhaps the easiest/cleanest interface I've ever seen too, compared to say an A7S. I agree, and this exactly why it's perhaps worth me waiting even longer, to pull together the funds for say a Scarlet. I could make a purchase as early as next month, for a system that may last me a year or two, but for the sake of waiting an extra few months, I could purchase a system that would last me the best part of five years. It's a no brainer, when written like that.

The pocket's candence, and blackmagic cameras in general, is far better than other systems within their price-range, but still not to the degree in which it feels truly cinematic, to my eye at least - though for the price, you can't really expect this either. I was on a shoot the other week in which shot w/ 2 x Amira's and a pocket as a C cam. I actually pulled the footage into post to compare candence between the two, amongst other characteristics. The pocket holds up really, really well to the Amira, as we've come to expect, but the difference in motion was there, and noticeable. 8-bit C-log is indeed nice, but as you point out yourself, best to have 10-bit plus and be covered, for either a more intense look, or encase anything goes wrong in-camera. Your last paragraph sums up my current thoughts nicely. The plan is to spend the next few months mulling over a decision, especially with all this feedback now behind me. Sure - here's a selection of stills from the last narrative piece I shot w/ the pocket back in March, and here's my Instagram for further examples (though I don't update this as regularly as I perhaps should) https://www.instagram.com/martinmcgreal/ I could never debate that camera is more important than story, but if it wasn't important, we'd be out the job. Anyway, a debate for another day this, shall we say ..

Whilst the 35mm look isn't really my taste anymore, it's hard not to fall in love with the D16's image. It's the type of camera that your more than happy to make comprises for, in terms of say low-light and resolution, for that colour and motion. It's definitely under my consideration, that's for sure. Just a shame it's so difficult to come across in the current market (?) What's the issue with these things crashing etc. too? I've never looked deeply into the D16's flaws, but you see people flag it up every-time these are topics of discussion. Cheers. I can't access the link however until my request to join the group is accepted, and worth noting too, I don't actually have the funds to make a purchase as of now. More March/February. This is one of my options too - as in, waiting even longer to make a purchase, say until the summer, for a much pricier yet superior system. As ever though, once you've fell out of love with a camera, and have your eyes peeled on an upgrade, it's hard to wait much longer.