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    Senior Member puredrifting's Avatar
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    Or you might be like me and not give a toss if my mirrorless and A camera match. I know its important for certain situations for the cameras to match but it is more fun to try a mixed media approach sometimes too.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    Senior Member Bern Caughey's Avatar
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    Quote Originally Posted by NorBro View Post
    You dislike Canon, lol.

    Just to be crystal clear...Canon dominates any and all professional photography in the world. There's no comparison.

    But for video, I would agree more people are using Sony mirrorless cameras.
    For one of our largest clients we shoot their commercials, & stills campaigns, at the same time. First we’ll film part of the commercial, & then the corresponding stills, then back to the commercial, & again with the stills. Rinse & repeat. This is dictated by the ‘talent’ scheduling.

    What kills me is the Alexas we use for the commercials have so much more dynamic range then the Canons we use for the stills, so I’m keeping an eye out for whatever Sony releases to replace the A9.
    Last edited by Bern Caughey; 09-17-2019 at 09:04 PM.


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    I think the Sonys have been more than ready for a few years now, but you just can't move mountains...it's a standard and/or stigma that will not change until an entire generation or two expires.

    Same with motion pictures and ARRI vs. everything else.

    As life moves on maybe there will be changes.


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    Quote Originally Posted by puredrifting View Post
    As far as conversion buyers from the C300 MKII, EVA 1, UMP G2 and C200, I guess it will just depend on what those users market is.
    Those cameras totally have their markets and some unique features. If you need tiny form factor, or you need Raw in a run-n-gun package, those cameras are designed to meet certain needs. Whereas the FS7/FX9 are the cameras to buy if you don't know what to buy; they are a pretty safe bet.

    In real world production, in most markets, almost nobody is going to not hire you because you have a FX9 (even if they want Red/Arri they're probably renting one anyway), but the same cannot be said of those other cameras above.
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
    Sony FS700 || Shogun Inferno
    Adobe CC 2018


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    Senior Member JPNola's Avatar
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    We still don't know the most important thing about the Fx9:

    Does the darn tally-light remain on screen when you turn off the rest of the display?
    Big sources matter.


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    Quote Originally Posted by Run&Gun View Post
    Getting off-topic(shocker here, right?), but Betacam SX was not what Id call short lived or missing the mark, at least not in the US. It was a pretty good hit with news stations and even some networks(I know CBS used it). Image was good and you could use either SX tapes of Beta SP(and get double the record time).
    Yes when I say short lived I guess I mean relative to analogue Beta. One of our networks in Australia, Network TEN went 100% with it for the ENG work. Five years later nobody really wanted it. For news because of the low data load it was great for live links. Any heavy serious post work with it though and you were struggling. Sony loaned my business two VTRs and a camera for 90 days to see if it would suit our production requirements but it couldn't compete with Digi Beta or DVC Pro 50. The cameras were great as the front ends were the same as the Digi Beta cams so visually the quality was great. Just didn't like them in post.

    Chris Young


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    "the FS7/FX9 are the cameras to buy if you don't know what to buy; they are a pretty safe bet. "
    Perhaps because the hiring appendages don't know either.


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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by cyvideo View Post
    Yes when I say short lived I guess I mean relative to analogue Beta. One of our networks in Australia, Network TEN went 100% with it for the ENG work. Five years later nobody really wanted it. For news because of the low data load it was great for live links. Any heavy serious post work with it though and you were struggling. Sony loaned my business two VTRs and a camera for 90 days to see if it would suit our production requirements but it couldn't compete with Digi Beta or DVC Pro 50. The cameras were great as the front ends were the same as the Digi Beta cams so visually the quality was great. Just didn't like them in post.

    Chris Young
    Yeah, in quick-turn news, post wasnt much of an issue. It was generally either being cut straight tape-to-tape in the field or ingested into an NLE and cut and spit right back out in the studio. And back then, most of the photogs still knew how to WB and expose, too. A much simpler time...

    I will say though, that trying to cue up a tape from a full shuttle was damn near impossible.


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    Quote Originally Posted by Run&Gun View Post
    I will say though, that trying to cue up a tape from a full shuttle was damn near impossible.
    Know where you are coming from. Talking about cueing up I fought for weeks trying to get Panasonic DVCPro VTRs to cue up frame accurately with Sony BVE-910 and 2000 Edit controllers. They refused to be frame accurate. I spent many dog hours adjusting the HEX codes in the BVE setup software, something like 16 pairs of HEX ballistic codes. Finally I got it right and had 100% frame accurate insert editing. Panasonic Australia told me other post hoses were having the same issues and could I supply them the new HEX stings for DVC Pro decks to work with Sony edit controllers, "Yes"I said. About two weeks later a Panasonic factory bulletin out of Japan was issued outlining the HEX strings to be used when using DVC Pro decks with Sony controllers. "Hmm!" I thought "I've seen these somewhere else before." Exactly the same HEX strings I gave Panasonic Australia

    Chris Young


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    Senior Member indiawilds's Avatar
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    Quote Originally Posted by davedv View Post
    The Arri Alexa uses SxS cards and they don't seem to officially support the SxS adapter for XQD cards:
    https://forum.arri.com/viewtopic.php?f=46&t=147

    The Alexa Mini and Amira use CFast 2.0 cards.

    In addition to Sony which used XQD cards in the FS7, FS7 mkII, and a couple of their early 4K camcorders, the PXW-Z100 and FDR-AX1, Nikon bet pretty big on XQD. The Nikon D5, D500, D850, Z6, and Z7 all have XQD card slots. Panasonic also included an XQD card slot in the S1 and S1R, although they kind of split the difference with one SD card slot and one XQD and then went with dual SD slots in the S1H.

    I'm not sure why they didn't include CFexpress support in the FX9 though. CFexpress type B cards are the same connector type and dimensions as XQD, so it is possible for a camera to accept both types of cards for compatibility. And CFexpress definitely seems to be the future as it allows for significantly faster cards. The recently announced SanDisk CFexpress cards are faster without being any more expensive than existing XQD cards. Plus, they have a 512GB card which is a larger capacity than the biggest XQD card (256 GB) currently available and is actually less expensive per GB than the smaller cards:
    https://www.cinema5d.com/sandisk-cfe...-for-pre-order

    I suppose it's possible that the FX9 eventually gets a firmware update that enables CFexpress support, as in some cases this is doable through a firmware change. It's also possible that Sony wants to sell their own XQD media, since they are one of the few manufacturers of XQD cards, and Sony doesn't have any CFexpress cards on the market yet. Sony did announce the development of a CFexpress card earlier this year, but it doesn't actually seem to be available yet despite the claim that it would be ready by summer 2019: https://pro.sony/ue_US/press/cfexpress
    Surprising to hear that XQD cards are limited to 256GB currently. Tough to shoot long interviews and docs without constantly worrying about card getting over at the most inappropriate time. What is the booting time of FX9? Or you just change cards without switching off?

    Good thing about CFExpress is that higher capacities will soon come. Already Canon is giving a 512GB free with C500II. I am sure 1 TB and more when it comes will be very helpful.


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