Thread: NO Sony Fs7!!

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    #11
    Senior Member Grug's Avatar
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    It's sadly the way of things. If the viewfinder is the only thing pushing you towards the FX9 over the FX6 though. I'd get the smaller camera, and spend the (not inconsiderable) savings on the Zacuto loupe (or better yet, a proper EVF).


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    #12
    Senior Member scorsesefan's Avatar
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    Quote Originally Posted by alaskacameradude View Post
    ABC/GMA/Disney was requesting 720 the last few times I shot for them.
    Yeah same here. Last time I worked for ABC they wanted 720...TBH Netflix should worry more about their content (or lack thereof) than gear fetishism (not referring to your work JPNola which I've seen and is very good)...


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    #13
    Senior Member Run&Gun's Avatar
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    I’m not “that guy”, but resolution isn’t everything. There is so much more that goes into making a camera/image look good than just raw resolution/number of pixels. Especially once we moved past SD. I still love the look of my VariCam that is “only” 720P. Even though the bulk of what I do is probably on my F55 and at least 1080P(some 4K, but HD still vastly outweighs UHD/4K).


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    #14
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    honestly, it sounds like a good place to be. 1 job that will cover the payment of your camera? Where do I sign up for that?


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    #15
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by david dominguez View Post
    honestly, it sounds like a good place to be. 1 job that will cover the payment of your camera? Where do I sign up for that?
    What was great, was when you had gigs that paid for $40K-$50K cameras.


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    #16
    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Run&Gun View Post
    What was great, was when you had gigs that paid for $40K-$50K cameras.
    and it's probably just going to get worse


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    #17
    Senior Member JPNola's Avatar
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    Quote Originally Posted by junct View Post
    I'm curious what kind of content you're shooting for a client that wants nothing over 720p?
    ESPN News

    I don’t know that it is the reason for wanting the lower resolution, but everything goes out over a TVU. There is no copying of files to give to the field producer or ship back to the mothership. Some content is live via the TVU, some is “live to tape” sent through the TVU, some is b-roll sent by TVU. They rent the TVU’s and ship one to shooters in advance of the shoot-day. After the shoot they either instruct me where to ship it next or tell me to just hold onto it.
    Big sources matter.


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    #18
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    Quote Originally Posted by Grug View Post
    It's sadly the way of things. If the viewfinder is the only thing pushing you towards the FX9 over the FX6 though. I'd get the smaller camera, and spend the (not inconsiderable) savings on the Zacuto loupe (or better yet, a proper EVF).
    For broadcast gigs, an Fx9 will eventually win out.


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    #19
    Senior Member JPNola's Avatar
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    Quote Originally Posted by James0b57 View Post
    For broadcast gigs, an Fx9 will eventually win out.
    Yes, agree. I just learned that the FX6 does not do the tv specs.

    But even when I get the FX9 I will still use my 2/3” camera for much of the “broadcast” or news work. They don’t care about depth of field /shallow focus for standups or b-roll. HD is fine with them, and a one-piece “news” camera with the Fujinon superwide is such a dream to operate. You’ll never be a better shooter than with that combo. I’m sad to know its days are numbered, its such a delight as an Op.

    [ I edited a typo. I always want to do “its” as “it’s” when writing “its days” or “its purpose”. As you would with a possessive pronoun. ]
    Last edited by JPNola; 04-11-2021 at 09:37 PM.
    Big sources matter.


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    #20
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    Quote Originally Posted by JPNola View Post
    HD is fine with them, and a one-piece “news” camera with the Fujinon superwide is such a dream to operate. You’ll never be a better shooter than with that combo. I’m sad to know its days are numbered, its such a delight as an Op.
    Oh, I wouldn't say totally numbered just yet! Still the same down here. HD with TV specs and B4 lenses. Yesterday two FS7s with 22 x lenses and MTF B4 to S16 adapters hooked up to 2 LiveU 300s streamed back into the cloud. Lower-grades Rugby codes uplinked live and commentated live back in the studio and then streamed out live to the public watching "Stan Sport - The Home of Rugby". All directed live from the studio via our smartphones running "Unity" the intercom app for iPhone and Android. The production requires 50p hence the FS7s rather than workhorse PDW-800s. Keep forgetting just how nice it is to use a super slick infinitely controllable B4 servo parfocal 22 x F/1.8 lens (F/2.3 with the adapters.) And yes IMHO a nice 4.3 or 4.5 WA lens for PTCs and sideline makes your work so much easier and delivers a very watchable image. Good 2/3" glass pushing out 50p does look very good for sport and dance productions.

    Chris Young


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