PPNS

i’m gonna be honest, i’m not going to read most of the replies here, sorry. just based on the kind of things you shoot, which seem like corporate video/testimonial kind of stuff, get a camera that makes your life easier. For you this will probably be a sony fs7. I dont know what the market is like there in the us, but they’re getting ridiculously cheap here. You’re going to be so happy to have built in NDs, full size xlrs for your microphones and decent audio menus. Keep your nikon for a while, and keep shooting tests with both, so you can practice matching the two cameras in resolve. That way you can save yourself some money by not buying a matching B cam or whatever.

Well because a fs7 + the f4 18-105 is still closer in weight to regular camcorders and mirrorless cameras than the alexa 35 with an angenieux 🙂

Whatever is available at the rental house that has: - a decent zoom range - iris ring - can be easily operated in manual mode - records in a 10 bit 422 codec Something like an fs7 with a good zoom, which isnt quite a camcorder, is something i would like as well for that context.

if i were to do documentary type work, i would rather use a camcorder than any mirrorless thing.

hey hey i love my 24 fps just fine and i have one of the smoothest brains in the business!

i've done it a bunch. not going to pretend these are amazing or anything, but it's absolutely justifiable to light boring shit this way

I think these are really good too, but i think they would look even better if you had the darker side of the face towards the camera. You’re looking for natural contrast in light which is what it’s all about, but if you put the person from still 1 in the same position as the lady from still 2 with the same background and lighting condition as you had before, that would be something i would prefer myself. The same with still 2, if you just put her in the right side of the frame, and rotate her 180 degrees.

you guys are getting a monitor pic from me since i’m not grading the last project i dp’d. i think lighting wise this looks nice, but framing wise i would set up the camera a bit higher, and then angle it down slightly to make this man look a bit better. I personally wouldnt center frame interviews, but i don’t necessarily mind it either. Ideally i also wouldn’t show anything beneath the logo of the football team to get a proper medium close up. I think most of your work looks good, and this is personal preference, i think you should consider stopping down more. I think you would benefit from having to shoot at f/5.6 on that big of a sensor and getting to see your background a bit more.

shouldn’t 50i with the right shutter speed just convert to a perfect 25p?

I’ve actually used both cameras, and how would you exactly define the fx3 to be a better video tool? I think both are completely miserable to use for video, especially compared to the fx6, which i do really like. I guess the fx3 has a slightly less dogshit menu system, but you cant really handhold it like an a7s (and you could use the evf as a third point of contact there). The screens are more or less pointless to judge anything on there, so you need an external monitor (sadly also the case for the fx6, but it’s more bearable). Since they’re both FF they both need big ass lenses which makes the ergonomics extra awkward. You could rig both of them up, but that often makes them worse or more annoying to use, but I guess this will always be a problem with smaller cameras. They are fine on a tripod, and have to potential to get really good results, if there’s somebody next to you who knows the menu system through and through.

This is also the case with the fx6 fyi. It gives you a 1:1 sensor mode so it crops more than just the top and bottom.

pocket 4k

Thank you! You can go ahead and assume that there was neg on everything except the super wide shots. I’m a bit lazy when it comes to scrimming, so no. The scene in the park was actually shot before golden hour, which is why the light on them is so hard in the wider shots, but i like the edges that you get from that. For the closeups, the sun was already behind the trees, which is why it looks so soft in comparison. We had a tube light which was intended to emulate the hard edge, but obv it wasnt powerful enough at all, but i still liked the slight extra level it gave on that side of her face.

some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.

im unemployed, check out my reel! https://vimeo.com/797642822

From what ive read is that the difference between 12 and 14 bit readout on that specific sensor in that specific camera is less than half a stop of dynamic range. my sentiment on this issue can be boiled down by this little thought experiment: imagine youre DPing something and you have to budget for only 1 of these choices: - a theoretical camera with a 14 bit readout that lets you record in 12 bit log raw or 444 or - an aputure 1200d, a little set of grip gear and a camera with a 12 bit readout that lets you record in 12 bit log raw or 444 which one would you pick?

Mercer, if your sensor resolution is 5.7k and you're mushing 3 or 4 pixels together to create an 1.9k image, isn't that literally more extreme processing than any compressed 'raw' codec? you are losing more info, and relying more on guesswork by a machine that isn't very smart. i can kinda see the lack of detail in the images and increased moire? i think ML was a cool concept 10 years ago, but we don't need it anymore. the reason why we dont have 14 bit readout is fairly simple, its much more unstable and processor intensive, as well as some sensors not even having the option, while not adding much benefit in the first place, as you can see with that new fuji camera. i think most of you are way too busy discussing things that dont matter much in the first place. what even is mojo?

Is it raw if youre binning?

so for the ml to be useful in any capacity you have to pixel bin anyway lol?

Mr Stevie Ray Vaughn, please just post a video you have made at some point in your life. Discussing minute technical details about different cameras gets very boring quickly. It would just be easier to recommend something if we knew what you would like to achieve yourself.

Fairly simple, if you dont like going through menu systems and having annoying settings in the way of your work, you can only choose BM cameras.

Aka the most noise reduction we’ll use in a camera that you can’t turn off

They just call that s cinetone

- i think its hard for me to believe that the software hack gives you superior image quality to anything now - its hard for me to believe that the 14 bit readout would give you any discernible difference compared to the 12 bit readout

its pixel binned since that sensor isnt natively 3.5k, so you should actually be missing quite a lot of info right?