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Anyone still using an EX1 or EX3? I was pleasantly surprised using mine recently

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  • bigmitch
    replied
    Yes! Still use my EX1R all the time. Handy to have a zoom on the fingers in event situations 🙂

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  • epicdream
    replied
    I still use my EX1 for corporate presentations and such like. Ive also bolted a Terradek on the back and used it as a voxpop camera at some motor racing stuff I done back in 2019. I wont get rid of it as its so handy to have around.

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  • drboffa
    replied
    Thank you, cyvideo! This is super interesting stuff, and I really appreciate your taking the time to share your settings and these resources.

    The BBC document is a really cool piece of history around these cameras. There was some really rigorous and detailed testing of them going on! Again, thank you for sharing.

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  • cyvideo
    replied
    Originally posted by drboffa View Post
    Nice! If you don't mind my asking, what are your knee/slope settings?

    I didn't realize the EX-series was outputting 10-bit over SDI. I've played with the EX1 hooked up to my Shogun a bit, but never pushed the footage around to really see how it compared to the internal recording. Good to know!

    Also very cool to see a number of these cameras are still out doing workI appreciate all the responses so far (and hope to see more).
    Yes the 10-bit SDI was very popular and a lot of shooters with EX1/3s used to use the Convergent Design Nanoflash with them as the Nanoflash could record the XDCam 422 50-Mbps codec. 50Mbps was the minimum bit rate for a load of broadcasters. In fact, with the last firmware on the Nano you could record anywhere between 17 and 280mbps, and also in I-Frame. That was one hell of a MPEG-2 codec. Chewed up a lot of space though.

    Excuse the sad-looking VF shots I just grabbed them with an old phone. Below you will see a number of shots which are all pretty self-explanatory if you are used to the EX menus. Also included are the Matrix settings that were the results of a day or so years back setting up an EX3/2 on the DSC Chroma du Monde charts and chip charts along with a fair bit of tweaking. To get the EX's broadcast street legal and looking decent on the WFM and Vectorscope. These were dialed up on an EX3/2 which was the last of them. The EX3/2 and the EX1R were slightly different from the original EX3 and EX1 as Sony had improved on the IR issues that the original EX1 and EX3 models exhibited under certain conditions on certain black materials. Tiffen actually brought out a 77mm IR cut filter called a T1 which proved popular amongst EX1/3users. I've found these settings below work as well on EX1/3 cams as they do on EX1R/EX3/2 cams. Overall these EX cameras were ahead of their time and the price was pretty right and they filled a developing need in the marketplace. No wonder they sold thousands of them. Also if you are interested Alan Roberts from the Beeb did a rundown on the EXs back in their day as the BBC used a fair number of them on regional news.

    EDIT: Set the camera to STD GAMMA 3 for these settings. Not saying these are the ants pants settings but they will give you a good highly useable image and is good for around 10.5 stops.

    Chris Young

    http://downloads.bbc.co.uk/rd/pubs/w...X1_and_EX3.pdf

    Knee.jpgGamma.jpg
    Matrix 01.jpgMatrix 02.jpg

    Last edited by cyvideo; 12-15-2020, 06:32 AM.

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  • Tim Sewell
    replied
    Off topic, but that's a great little film. Genuinely funny (especially if one lives in another South Coast English town beginning with 'Br' - familiar characters!).

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  • drboffa
    replied
    Originally posted by Doug Jensen View Post
    Just for future reference, SDI from any Sony camera is always at least 10-bit.
    That's very good to know. Thank you!

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  • Doug Jensen
    replied
    Originally posted by drboffa View Post
    I didn't realize the EX-series was outputting 10-bit over SDI.
    Just for future reference, SDI from any Sony camera is always at least 10-bit.

    Leave a comment:


  • drboffa
    replied
    Originally posted by cyvideo View Post
    Used three of them last night with ACM21's and 18 x B4 2/3" lenses on a Christmas concert. With a finely tuned Chroma du Monde 709 preset and most importantly, very importantly decent knee / slope settings the results out of the old EX3 can continue to surprise... considering these cameras came out in, what 2008? Using three of them again next week for another Chrissy job. Used with Atomos recorders you get very nice 10-bit 422 Prores out of these cameras as they have true 10-bit SDI output.
    Nice! If you don't mind my asking, what are your knee/slope settings?

    I didn't realize the EX-series was outputting 10-bit over SDI. I've played with the EX1 hooked up to my Shogun a bit, but never pushed the footage around to really see how it compared to the internal recording. Good to know!

    Also very cool to see a number of these cameras are still out doing work—I appreciate all the responses so far (and hope to see more).

    Leave a comment:


  • mcbob
    replied
    was on a CNN live shoot last year and they were still rocking EX3's

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  • cyvideo
    replied
    Used three of them last night with ACM21's and 18 x B4 2/3" lenses on a Christmas concert. With a finely tuned Chroma du Monde 709 preset and most importantly, very importantly decent knee / slope settings the results out of the old EX3 can continue to surprise... considering these cameras came out in, what 2008? Using three of them again next week for another Chrissy job. Used with Atomos recorders you get very nice 10-bit 422 Prores out of these cameras as they have true 10-bit SDI output.

    Chris Young

    Edit: There you go! I was just packing away all last night's junk and they were close to hand. Shown with the ACM-21, 18 x 2/3" and DM reinforced base plate and a Genustech VCT-14 Tripod Plate (GAP). Also adapted for 'V' Loc power.

    IMG_20201213_153656.jpg
    Last edited by cyvideo; 12-12-2020, 09:49 PM.

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  • captslomo
    replied
    Just pulled out the EX-3 for a balcony camera hard XLR-wired to the audio board for a Christmas service. Set it up on a master wide shot, worked quite nicely with an F55, F3, A7S3 and two gopros in the mix. (poor colorist)

    Still use it now and for ABC news Sat truck shots, since they only want 720 anyway.

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  • Doug Jensen
    replied
    A Z280 and a FX6 would make a nice combo. Like owning a pickup truck and sports car. Both good, but for different stuff.

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  • drboffa
    replied
    The Z280 looks really tempting, Doug, based on your videos in particular. For my work the FX6 makes more sense at the moment, but at some point I'd love to add a used Z280 to my setup.

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  • Doug Jensen
    replied
    I'm not a big fan of the Z190 because if it's poor performance in low light, but the Z280 a killer camera. It blows the EX1 out of water in every way you want to compare them. If you like the EX1 you would live the Z280. In fact, I'll choose my Z280 over my FS7 almost every time when DoF isn't going to be a factor. The Z90 is a great little camera too but I just sold mine to my brother in Madrid. It was painful to pack it up and say goodbye, but i wasn't using it enough any more to justify keeping it.

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  • drboffa
    replied
    Yep, the above points you both mentioned made the EX1 perfect (aside from its age): no messing with lenses, no worries about tiny batteries, and I got sound (and pretty good sound) via XLR from the studio.

    I had a Z90 for a little while but the lack of fully manual controls (i.e., separate iris/zoom/focus rings) bothered me. But it was a great "set it and forget it" camera paired with my Fs5. From what I've seen from people like Doug Jensen and others the Z190 and Z280 are nice successors to the EX line, although I can't justify that expense for a B cam for my work.

    Leave a comment:

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