Owlgreen

I have to admit I don't know much about timecode. I read somewhere the A7sIII can connect to a mobile app to get an accurate time-of-day from GPS, so that it can then run relatively accurate time-of-day Timecode. Maybe this isn't good enough for multi-camera shoots. What is the typical protocol on multi-camera shoots these days? Everybody jam syncs to a high quality TC generator several times a day? Or does every camera on a multicam shoot have a receiver that's constantly connected to the main TC generator, either wired or wirelessly?

I prefer not having to rig something out I don't have to. What is it about the FX30 that impresses you? Does it do anything as well or better than the FX3? Also, am I missing something about the difference between the A7sIII and FX3? To me, the former has a high-res EVF, and the latter has more exposure tools and some more robust timecode options. In that trade-off I would take the EVF. What am I missing out on by not going with the "Cinema Line"? I agree the FX6 would be almost ideal for me if it had an EVF an was a bit cheaper.

I downloaded 20gb or so of original R5 files to run through Resolve. My 3900x/6900xt couldn't handle them. I'm not eager to go back to transcoding, so I guess the A7sIII is better suited to me right now. If I had Apple silicon I would be leaning the other way. They both appear to be amazing cameras to me. Hopefully at some point I can have both.

Thanks, everyone, for the great replies. I'm leaning towards the A7sIII, mainly because, as Fairkid said, the 4K 120p IQ is consistent with the other framerates. If the R5 didn't line-skip in 4k 120p it would likely be the most compelling camera to me. The gyro data recording on the Sony is a big plus in my mind, as I've used the SteadXP to very good effect, but it is a little clunky as an external system. The FX30 is not on my radar as I feel a good, built-in EVF is worth its weight in gold. My only misgiving about the A7sIII, and most Sonys generally, is "unflattering" greenish skintones. I mostly only perceive them this way when doing A/B comparisons with other brands. Nonetheless, I guess I need to go into a shop, shoot a few skin tests and try grading them before I buy a Sony. Has anyone here found a way to make the A7sIII look as good as or better than the R5 in the skintone department? Obviously my criticisms are completely subjective and I'm curious what other opinions are out there.

I'm looking for a camera which produces a good, wide-DR image at moderate file sizes, is hand holdable with effective built-in stabilization, has decent battery life, has an EVF, and has reliable video autofocus. The A7sIII and R5 seem to fit the bill. Of these two, do you prefer one over the other for video? I like the option to gyro-data stabilize footage in the Sony, but I definitely prefer Canon color. Are there advantages of one mount over the other? I mostly own EF glass. Has anyone directly compared the 4k 120p modes on these two? Are there other bodies I should consider? Is the Xh2s' autofocus reliable? How is the S1H/S1/S5 autofocus after recent firmware updates? Thanks for taking the time.

This makes sense. The GN3 uses a 50mp quad-Bayer pattern color filter. Often 50mp QB will look just like a reduced noise 12.5mp Bayer sensor. This one is looking more like a 50mp sensor than a 12.5mp sensor, to me.

I'm genuinely bowled over by the stabilization performance. The level of detail is also pretty astounding. Is it known what are the specs of the sensor capturing this? Is it the 50mp GN5 which is said to bin to 12mp by default? The GN5 uses a "Dual Tetrapixel RGB Bayer Pattern" which I have no idea really what that means. Is it a dual-pixel version of quad-bayer? Whatever it is, it seems to work. Assuming that this is the GN5, did you shoot any 4k 120p?

With the S1 and S1H you could shoot vertical 2:3 with a 2x anamorphic and desqueeze to 4:3. In a sense it'd be like using a virtual 48mm x 36mm sensor. I like the look.

How does the S1r 4:3 5k compare directly to the S1 3:2 6k? I like that both offer something other than 16:9, but I really like that the S1 can use the full sensor with no crop. Interesting that the AF performs differently on the S1 and S1r as they are both said to use the same 225-point DFD system. I think the S1 has an ace up its sleeve in its ability to shoot raw to an external recorder, as clunky as that can be.

I find the 4:3 5k mode of the S1r very attractive. It seems that is uses a 21.5mm x 16mm crop of the sensor. The few clips I've seen on YouTube look good. Am I correct that the S1r doesn't have V-log? Does this mean the dynamic range in video mode is limited relative to the S1 and S5? I wonder if there's any benefit to using an external recorder with the S1r. Do you use the HLG gamma with the S1r? I think I'll try to go into a used camera shop and shoot a couple of tests comparing the S1 and S1r.

I'm seriously impressed.

Does the S5 also benefit from the paid DMW-SFU2 update? Seems to me it already ships with V-log, but perhaps other things like 422 color sampling become available.

Can someone help me understand the differences between "6K Photo Mode" on the S1 and the 6K 3:2 10-bit internally recorded video which the camera is capable of recording, possibly only after having the paid V-log update? Is there a crop factor difference? Is 6K Photo Mode limited to 30p? Is it necessary to pay for the V-log update in order to maximize the camera's video dynamic range? Thanks.

Thanks for the information. Braw would be much easy for me to deal with. Shame the VA12Gs never seem to be heavily discounted, unlike the Ninja V. Ninja V also seems to support raw recording on a far wider array of cameras.

I'm in need of an external monitor for my fp, so I'm considering to pay a bit more and get a Ninja V or Video Assist 12G. I use Davinci Resolve exclusively now, so should this alone rule out the Ninja V for me? Is there any practical workflow to convert ProRes Raw to some other form to use in Resolve? What about the non-raw codecs in these recorders? Is it possible to record from the fp in ProRes 422 HQ and still maintain roughly the same headroom and legroom of the cDNG files? Thanks for your help.

Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is. Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after. Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.

Thanks for the tests. This is one of the best pictures I've seen from a "camcorder". I like camcorders. How is the EVF?

Wow, this news about gyro stabilization is fantastic. I use a SteadXP+ with my 6k, and it is kind of a huge pain. Sometimes it just fails to work. It also requires me to either shoot ProRes, or to transcode my BRaw files to a non-raw format before I stabilize. But the result is absolutely worth the trouble. To do this all natively is fantastic. And to not have to buy a new camera to access the feature is pretty great as well.

Aside from cropping in the sides of the sensor to output a 4:3 4992x3774 pixel image from the 3:2 sensor, does the 5K mode also crop vertically, the way it does in the 4K modes? Also, what is the bitrate and how do you find the compression? It'd be interesting to know whether the camera is line-skipping or binning to arrive at the 5K image. Based on the poorly compressed YouTube clips I have seen of the mode, I would guess, and hope, it's via binning. It would be very enlightening if you could upload or link a full-res clip or single frame from the 5K mode, showing a scene with a lot of fine detail, for us to gauge the image quality. Cheers.

The footage looks damned good to me. Stacked sensor seems like the move. A GFX with a stacked sensor will be great. For filmmaking the XH2s looks like it will be a little monster.

I am most impressed. Can you tell us a bit about your process? Thanks.

Nice video. What's the maximum clip length at 1000fps on these cameras? What are some affordable interchageable-lens cameras out there which shoot ~1000fps? There's the Nikon 1 series, but the resolution is quite low.

I would love to see some fpL 1.3x crop tests. Joe Rubinstein posted some fp vs fpL tests on facebook. There's a downloadable prores version here: https://www.dropbox.com/s/ewaswge2a03mgmg/Sigma fp vs fpL Sharpest Crop ProRes.mov?dl=0 Here's the vimeo version: It compares a 2.5x (maybe 2.53x) crop on the fpL to a 1.5x crop on the fp. The fpL image has quite a bit of aliasing. At a 2.5x crop the 61mp fpL sensor should still be using slightly fewer than 10mp. The aliasing I see in the test suggests to me that binning is happening. At 100% the image looks pretty good, nonetheless. I've yet to see any real world tests or footage of the fpL at 1.3x crop, but I suspect it'll look pretty good, aside from the rolling shutter. I'd love to see some FHD 100/120fps 5x crop tests as well. In the fp, the FHD modes are pretty horrible due to either line-skipping or binning.

I got the FP working with the Ursa viewfinder. I used a BMD microconverter and a 4-pin XLR to barrel cable, and then a barrel to usb-c 12V Power Delivery cable, connected to a powerbank with a 12V PD output. The microconverter can't be connected to the same powerbank, I don't know why. Some loop I guess. So it needs it's own powerbank. I'm still waiting on an FP cage, but testbench-style it all works. It won't be light, but the picture in the EVF is stunning. I swear the lag is better than I remember it to be on the UMP4.6K Gen 1. As in, basically no lag. That bit surprised me.

It really wasn't. I've seen the words "ruin the color" multiple times on multiple forums in reference to using anything other than P3 D60 and a CST. If you didn't say those words then my comment didn't have anything to do with you.