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    #31
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    Quote Originally Posted by ahalpert View Post
    So, do I buy more sony with an eye on possibly selling and switching later on? How much money would i lose? Do i buy more canon now to invest in that direction? Or am I overthinking the whole thing.
    dvxuser is going to be a quiet place once abe buys his next camera(s)! I don't think selling and switching matters that much as there's an implication that you're switching because you have enough work lined up (vs. the tired YT "I'm switching" videos).

    Living in NYC why not rent when the brand you didn't buy is requested?

    I've gone completely off the r5 and am thinking c300 iii when it makes sense in combination with the c200.


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    #32
    Senior Member ahalpert's Avatar
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    Quote Originally Posted by rob norton View Post
    dvxuser is going to be a quiet place once abe buys his next camera(s)!
    Lol I wouldn't count on it. Though it might be a quieter place if/when I start shooting more regularly. Or if/when we start getting more sleep with this infant.
    Living in NYC why not rent when the brand you didn't buy is requested?
    Yes, this is what I have done/am doing/will do. But I like to avoid it because of the extra effort and logistics, plus less money going to me. So, the goal is to figure out which camera I would be renting the most. But also which camera/system I would prefer to shoot with when the client doesn't make a specific request.

    For the moment, Sony is easily the winner. I have a number of clients who like the FS7 or own one in-house and like to hire another one to shoot alongside or matching footage. The A7SII is still respected, so the A7SIII certainly will be. I don't want to go too deep into lenses and accessories, though, if I change course in the near future.

    I've gone completely off the r5 and am thinking c300 iii when it makes sense in combination with the c200.
    The thing is - a mirrorless camera like the R5 beautifully fills a niche. It can happily ride on my Ronin-S all day without any other support. (Not a big deal if you use a larger gimbal.) But also - the autofocus is even better than the C500mk2/C300mk3. So, it really nails a specific use case, except for the whole not working thing.

    The A7SIII does pretty much the same thing but basically works.

    Have you heard of the R300? Rumored to launch in September for $6300. C300mk3 sensor and DGO with 10-bit 4:2:2 internal and RF mount. Pretty compelling at that price. If the R6 worked without overheating that would be a killer value combo with the R300 and they should match more easily than any 2 Sony cameras


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    #33
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    Quote Originally Posted by ahalpert View Post
    Yes, this is what I have done/am doing/will do. But I like to avoid it because of the extra effort and logistics, plus less money going to me. So, the goal is to figure out which camera I would be renting the most. But also which camera/system I would prefer to shoot with when the client doesn't make a specific request.

    For the moment, Sony is easily the winner. I have a number of clients who like the FS7 or own one in-house and like to hire another one to shoot alongside or matching footage. The A7SII is still respected, so the A7SIII certainly will be. I don't want to go too deep into lenses and accessories, though, if I change course in the near future.

    The thing is - a mirrorless camera like the R5 beautifully fills a niche. It can happily ride on my Ronin-S all day without any other support. (Not a big deal if you use a larger gimbal.) But also - the autofocus is even better than the C500mk2/C300mk3. So, it really nails a specific use case, except for the whole not working thing.

    Have you heard of the R300? Rumored to launch in September for $6300. C300mk3 sensor and DGO with 10-bit 4:2:2 internal and RF mount. Pretty compelling at that price. If the R6 worked without overheating that would be a killer value combo with the R300 and they should match more easily than any 2 Sony cameras
    You need a reciprocal equipment borrowing deal with a bizarro abe who goes down the inverse path you choose.

    Re r300, I haven't heard much, there are too many cameras coming out!


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    #34
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    Quote Originally Posted by digitalinnovations View Post
    Can someone explain what the situation is with False Color on the C500 MkII? Itís mentioned in passing on a couple of videos Iíve watched but no one has really dove into it...that I can find.

    It sounds like itís designed to measure LOG and not a 709 preview LUT...is this correct? So itís the opposite of how ARRIís false color works where you must have a preview LUT on for correct measurements? I just wasnít for sure if the C500 just didnít work on custom / imported LUTs or any LUT.

    So what gives?
    Just tested it, C500's False Color ignores your monitoring LUT.
    KENNY McMILLAN
    www.owlbot.co
    @_owlbot


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    #35
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    Quote Originally Posted by owlbot View Post
    Just tested it, C500's False Color ignores your monitoring LUT.
    So regardless of what LUT you use it is still reading the underlying LOG signal? And you don’t have to toggle off the LUT in order for it to work properly?

    I don’t think I hate that methodology...as long as I know that is the case and learn to adjust my way of thinking. It just seems like it would be less nuanced / detailed due to the LOG compression but again...I’m no engineer. Maybe once I can side-by-side the in-camera FC and externally running FC on my SmallHD I can see better how they differ. I just really don’t want to always have an external monitor; obviously, it’s great to have as much as possible but sometimes you just need/want to have the rig as light as possible.

    It’s so weird but I never used False Color until the ARRI cams and due to my ENG background relied mostly on Waveforms (and Zebras to a lesser extent)but now I’ve grown so accustom to flicking on FC for quick checks...but I can always go back to just using Waveforms.
    Jeremey
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    "That's just my opinion...I could be wrong"


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    #36
    Senior Member DIRECTORDEVIN's Avatar
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    I feel like fase color is really something special. The fact it shows every single
    Value without you having to go to school to learn where things are on the waveform lol is a blessing.

    “Ahhh I think that’s her face”

    Goodbye waveform lol
    Favorite Cameras I own
    Sony F35 & Sony F3

    Decent Cameras I own
    Arri Alexa Classic, Canon XH-A1 Dvx100b

    These Cameras I own that almost did it for me BUT NOPE
    BMCC.2.5K AND FUJI XH1

    These I own as a mad scientist and fanboy but will never shoot with again
    Red one MX, Red Epic, Ursa mini pro G2

    My ultimate advice " Find a camera you love that way your signature won't be like mine"


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    #37
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    Quote Originally Posted by DIRECTORDEVIN View Post
    I feel like fase color is really something special. The fact it shows every single
    Value without you having to go to school to learn where things are on the waveform lol is a blessing.

    “Ahhh I think that’s her face”

    Goodbye waveform lol
    I never really used or had a grasp on Histograms so I know what you’re saying...BUT...I guess I’m from the “old school” and I still prefer Waveform to be certain I’m not clipping top or bottom. Where I love False Color is for those “in between” areas - especially exposing faces.

    There are a lot of great exposure tools available and everybody has there own “recipe”.
    Jeremey
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    "That's just my opinion...I could be wrong"


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