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    Quote Originally Posted by James0b57 View Post
    Well, I sure hope you pay the main sound person more than the 2nd cam op!!!! They are half the production!
    Yes, absolutely. However, the point is that the 2nd cam op who wasn't paid as well will go on to be the main guy on a project and will still get paid the same that I paid him to be the 2nd cam because he/she is willing to do it and because there is no one telling him/her not to do it. The audio guy doesn't need to do that because of all of those reasons that I mentioned. Not just because he's half of the production. Those other factors are a big part of it. It's not just a question of how important the role is. Composers are an incredibly important role in film/TV, but they too are a field with no protection, no union, no banding together to keep rates where they should be, and thus a race to the bottom. And in that case as well, the cost of entry (equipment) is easy and the interest (lots of kids want to be the next Hans Zimmer) is widespread, so everyone in a producer role gets used to the idea that the labor can come cheap. You don't see that with a boom op.


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    does the FX6 have a PsF monitor signal like the FS7 or is it finally progressive? I couldn't find any hints.
    --
    I'm just a hobbyist with a business tax number and a specialist for everything.


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    Pretty soon one will be able to dump cameras, lights with wheels and have a virtual assistant far away making 2$ an hour do all the technical stuff. Won’t that be the cat’s meow. Yikes.


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    Anyone aware yet of any tests using the Clear Image Zoom function of the FX6? One thing I'm curious about (and I know a few others are too) is the possibility to narrow the image circle and so, potentially (if you have no other alternative!) allow the use of S35 lenses. It's more out of curiosity as to if it's usable - not something I would plan on using routinely. I have mostly full frame Canon EF glass but a couple of EF-S lenses (Tokina 14-20mm F2 and Canon 17-55mm IS F2.8).

    I know Alister Chapman has mentioned this in his blog but I've not seen any actual examples yet. I'm certainly not expecting any miracles! But on my FS5, Clear Image Zoom works better than you might expect. On that camera, in UHD you can zoom in 1.5x (and 2x in HD) using the grip handle's zoom rocker (or top handle rocker). I have used it very occasionally when doing run & gun and definitely did n't have time to change lenses/just had to get the shot - Corporate stuff is what I do. Of course, on the FX6 you're also going to get considerably less than 4K/UHD "real" resolution, which is definitely going to hit image quality, but since I (still) mostly deliver in HD it might be usable.
    Last edited by andykwilkinson; 11-29-2020 at 04:13 AM. Reason: Typo!


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    Quote Originally Posted by andykwilkinson View Post
    Anyone aware yet of any tests using the Clear Image Zoom function of the FX6? One thing I'm curious about (and I know a few others are too) is the possibility to narrow the image circle and so, potentially (if you have no other alternative!) allow the use of S35 lenses. It's more out of curiosity as to if it's usable - not something I would plan on using routinely. I have mostly full frame Canon EF glass but a couple of EF-S lenses (Tokina 14-20mm F2 and Canon 17-55mm IS F2.8).

    I know Alister Chapman has mentioned this in his blog but I've not seen any actual examples yet. I'm certainly not expecting any miracles! But on my FS5, Clear Image Zoom works better than you might expect. On that camera, in UHD you can zoom in 1.5x (and 2x in HD) using the grip handle's zoom rocker (or top handle rocker). I have used it very occasionally when doing run & gun and definitely did n't have time to change lenses/just had to get the shot - Corporate stuff is what I do. Of course, on the FX6 you're also going to get considerably less than 4K/UHD "real" resolution, which is definitely going to hit image quality, but since I (still) mostly deliver in HD it might be usable.
    One reviewer showed exactly this. He put on a
    super 35 lens and used clear image zoom to lose
    the vignetting. But if you are just shooting in HD,
    you can just switch the FX6 to super 35 mode.
    It will do HD in Super 35 it’s only 4K where you
    must use the ‘clear image zoom’ hack.


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    Quote Originally Posted by andykwilkinson View Post
    Anyone aware yet of any tests using the Clear Image Zoom function of the FX6? One thing I'm curious about (and I know a few others are too) is the possibility to narrow the image circle and so, potentially (if you have no other alternative!) allow the use of S35 lenses. It's more out of curiosity as to if it's usable - not something I would plan on using routinely. I have mostly full frame Canon EF glass but a couple of EF-S lenses (Tokina 14-20mm F2 and Canon 17-55mm IS F2.8).

    I know Alister Chapman has mentioned this in his blog but I've not seen any actual examples yet. I'm certainly not expecting any miracles! But on my FS5, Clear Image Zoom works better than you might expect. On that camera, in UHD you can zoom in 1.5x (and 2x in HD) using the grip handle's zoom rocker (or top handle rocker). I have used it very occasionally when doing run & gun and definitely did n't have time to change lenses/just had to get the shot - Corporate stuff is what I do. Of course, on the FX6 you're also going to get considerably less than 4K/UHD "real" resolution, which is definitely going to hit image quality, but since I (still) mostly deliver in HD it might be usable.
    One reviewer showed exactly this. He put on a
    super 35 lens and used clear image zoom to lose
    the vignetting in 4K. But if you are just shooting in HD,
    you can just switch the FX6 to super 35 mode.
    It will do HD in Super 35 it’s only 4K where you
    must use the ‘clear image zoom’ hack.


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    Quote Originally Posted by andykwilkinson View Post
    I use my FS5 frequently on a gymbal (Letus Helix Junior), often with a Sennheiser G3 receiver plugged into the FS5's one XLR) as you'd expect getting audio from a lav on the talent. Whilst it's easily doable, it would be a bit of a pain to match up audio recorded elsewhere to camera narrative - and sure, the onboard scratch mic will help a bit. But really Sony, who did you ask when designing your cameras and this one in particular? Please don't ask the people who said this would be a good idea ever again!!!
    Just use a timecode box, as you should be.

    Quote Originally Posted by andykwilkinson View Post
    I too would be interested in some kind of small, reasonably light 3rd party plug in box that sits on the top of the FX6 (or has a short cable and a mounting point that allows you to position it where you want). The way out of this has got to be an add-on that uses that (proprietary) top connection socket for the handle (I assume its similar to the one on my FS5 - looks it from the videos I've seen). I wonder if Sony would release the connection pin data?
    A timecode box is more common place, already exists, is cheaper, and is smaller & lighter.

    Quote Originally Posted by James0b57 View Post
    ^^^^That's the pro move right there!
    The "pro move" is using timecode.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    Thanks IronFilm, will look into that.


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    Quote Originally Posted by James0b57 View Post
    That is cool. The Mixpre3ii is amazing. Tiny and easy enough to use for a novice on small gigs and fun projects. The Zoom recorders had the hit record a second time to actually record, and red and red blinking meaning different things, and then other recorders of theirs just being one tap of record.... made me so unconfident renting a zoom or handing it off to anyone. But the Mixpre’s just hit the big ole REC button and it goes red and time code a running.... easy peasey lemon squeezy!
    You should use Zoom F Series recorders as well (totally different class to the H Series, radically different class of field recorders), they're also "easy peasey lemon squeezy" while also being packed with powerful features.

    Quote Originally Posted by James0b57 View Post
    It seems like the more stable career, as a good sound recordist is still coveted. I've been on more than one shoot where the sound people/person was making more than the DP.
    Am not surprised, because aspiring DoPs are too willing to let themselves go out dirt cheap! (or even free) And throwing in the house for free as well, just to get content "for the reel".

    Of course Sound Mixers (or Gaffers, or Grips, etc) don't care about "their reel"!! Such a thing doesn't exist at all.
    Am a Sound Recordist in New Zealand: http://ironfilm.co.nz/sound/
    Follow my vlog and adventures in sound: https://www.youtube.com/c/SoundSpeeding


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    Quote Originally Posted by IronFilm View Post
    You should use Zoom F Series recorders as well (totally different class to the H Series, radically different class of field recorders), they're also "easy peasey lemon squeezy" while also being packed with powerful features.
    I felt the Zoom F series was better for a working audio person, but for a simple recorder, the mixpre3 makes a better camera person's companion. The Mixepre 3 is even lightweight enough to mount to the camera, but featured enough to get through essential tasks.


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