F55: About to order F55 and FS-100 EK cameras , help needed in configuration kits

Q

quattro

New member
Please advise what to add or substract, what is realy important for a real versatile system,
Budget is 45k for f 55 and 20k for FS100 (or other at your sugestion)
Sony PMW-F55 kit
2.1 1 Sony PMW-F55 CineAlta 4k Digital Camera 27.804,00
2.2 1 Sony DVF-EL100 Viewfinder 4.113,00
2.3 1 Sony AXS-R5 RAW Recorder 5.206,00
2.4 1 Sony AXS-512S24 1.535,00
2.5 1 Sony AXS-CR1 Card Reader 549,00
2.6 1 Sony BC-L90 Battery Charging Station 766,00
2.7 2 Sony BP-FL75 Olivine V-Mount Battery 470,00
2.8 1 Small HD AC7 OLED SDI 1.595,00
2.9 1 Small HD D-Tap Cable Long (97cm)
Chrosziel 456-20F5 KIT 1.597
Manfrotto KIT 509HD, 545BK Tripod Kit 1.189,00



Sony NEX-FS100EK
- SEL18200 Lens
- AC-VL1 AC Adapter/Charger
- ECM-XM1 Microphone
- DK-415 Connecting Cord
- Component Video Cable
- A/V Connecting Cable
- USB Connecting Cable
- USB Adapter Cable (VMC-UAM1)
- RMT-845 Remote Commander
- NP-F770 Rechargeable Battery Pack
- Large eyecup
- Application Software (CD-ROM)
SanDisk SD Extreme Pro 32GB 95MB/s
#SDSDXPA-032G-X46
TVLogic Alphatron EVF-035W-3G
- 3.54" LED Backlit LCD
- 24-Bit RGB 960 x 640 Resolution
- 500 nit Brightness
- 1000:1 Contrast
- 16:9 Aspect Ratio
[Û9LHZLQJ$QJOH
- SDI and Mini-HDMI Inputs and Outputs
- Loop Out / Conversion Out
- Adjustable Diopter / Manual Lens Shutter
- Advanced Features Including 3G Level A/B
Chrosziel 550MA2 Articulating arm
Articulating arm with central clamp und two 1/4" threads.
Bebob COCO-15V2
V-Mount Battery Adapter
- Twist-D-TAP 12V output
- 4 Hirose 4p 12V / 7,2V outputs
- 5 years warranty
Bebob COCO-AK-FS100
Adapter Cable for Sony NEX-FS100
Bebob V140
- Lithium-ion V-mount Battery
- Twist D-TAP Output - 14.8V / 140W
- Strong Unbreakable Housing
- Capacity - 9.2Ah / Maximum Load - 7A
- 5 LED Voltage Display
- Charging Time - 4hrs
Chrosziel 450-R21
MatteBox 450R2, with Double-Rotating-Filter Stage, incl. mask 16:9, french
flag (450-11), pivot mechanism for optional side wings, rotatable
filterholders 4x4 (402-12) and multiformat4x4/4x5.650 (410-04), rod
clamping Ø15mm rods, cover end plate Ø114/110mm
Chrosziel Leichtstütze 401-429HD
LWS 429HD, reinforced LightWeightSupport for Sony NEX-FS100 with
second rod support, 15 mm rods with 500 mm overal length. (Rods are
each split in 2 parts basic rod in length 31 cm and extension rod 19 cm)
Chrosziel Flexi-Insertring 450-22
Flexi-Insert-Ring, for 110mm screw-in, e.g. MB450. Light protection for lens
diameters between 50 mm and 85 mm.sser



Thank you,
 
Switch out the FS100 for the FS700 maybe? What benefit does the 100 have over the 700 other than slower framerates, no internal ND, no raw output, etc?
 
Only you know what YOU need in a camera's configuration, but I will say, dump that Manfrotto tripod kit for something better. Sachtler, Miller, O'Conner etc. If your ready to spend 65k on cameras and access., at least 3K should be for a good fluid head and CF sticks.
 
Welcome to the boards.

Agree with Richard. There is no reason to buy the FS100 at this point. Dead end camera. FS700 has larger sensor, 4K capabilities with the addition of the HXR interface so you can then use your AXS-R5 with it. And of course the frame rates.

Not that it makes a lot of difference in price, but you don't need 95Mb/s SD cards for the FS700 (or 100). It is only AVCHD.

Some people have reported skewing with the SmallHD OLED but from my cursory look at it during NAB, it looked good.

I would strongly strongly disagree with the choice of the tripod for the F55. Tripod is one of the most important parts of the kit. For the F55 kitted with viewfinder, monitor, recorder and no doubt some PL glass, you need something that can handle the weight, balance, tilt and pan smoothly. That is not a Manfrotto 509. You need to think something on the order of Sachtler 18, Sachtler 20, Sachtler 7+7, OConnor 1030D. Just do a simple pan comparing a Manfrotto 509 and any of the aforementioned heads. You will see a difference. I run my F3 with Pix recorder on an older Sachtler 15. It handles the weight nicely and has great motion. And I can send it back to Sachtler for rebuilding if needed. A good tripod will last through many cameras.

Don't forget SxS cards for the F55.

Nothing wrong with Chrosziel matte box. There are lots of other options so you might want to look carefully at all of them.

Ned Soltz
 
Welcome to DVX.

For your F55, there is no d-tap available from the Olivine battery or the Sony F55 body so I suggest a Hirose cable (two power ports on the side of the F55) to DC plug so you can power your ext. 3rd party monitor. (ie. http://www.bhphotovideo.com/c/produ...G_24_1_BB_BAG_24_1_Hirose_to_Right_Angle.html)

In your current configuration you have the Sony OLED VF and Small HD AC7 monitor - none of which will give you any professional expsure tools. The F55 right now only has zebra stripes built in, and the AC7 only has something called "Exposure Assist tool" which kind of works like false color but not really. If you are picky about setting exposure you might want to consider a different monitor that gives you some exposure tools. If you are shooting RAW on the F55 then really you can just use a light meter and the lattitude in post will give you lots of room all around. However if you plan to shoot to the other codecs and especially using the slog2 gamma then you might want more accurate exposure tools so you can place your middle grey down near 32% IRE.

You also might want to add at least one SXS card for shooting internally to the camera using other codecs. Plus with the F55 you can also use it to record HD simultaneous as your RAW which can be used as proxy/dailes, etc.. later on.

I can't give you any advise about the FS100. Sorry. (other than what Richard suggsted, perhaps reconsider the FS700 since it can also work with the AXS R5 recorder with a firmware update and then also record 4k RAW)
 
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Accessories have a much longer useful lifespan than the camera bodies. Different shoots specify different cameras, but the accessories remain the same- for the most part.

Absolutely do not get the Manfrotto fluid head. For the F55 O'Connor 1030 or 2065 head on Ronford 2 stage sticks would be recommended if you have the budget. I think Miller makes very good fluid heads for the money, and I'd buy Miller over Sachtler- because of value. The Miller Solo CF sticks are also surprisingly handy and compact, great for travel work. The Miller 55/ Solo combo covers a lot of bases. Don't be fooled by manufacturers rated capacity- for operating I've always preferred heavier heads. One client of mine has C300s and Manfrotto heads- I once made the mistake of not bringing my O'Connor/Ronford- they didn't want to pay the kit fee. What a mistake.

I believe SmallHD is now releasing their DP7 Pro OLED SX monitor??? I have the AC7- no issues. The TV Logic 5.6 is a standard with the crews I work with.

I own an Arri MB28, but I've had good luck with a Movcam 4x5.65 MB- again value. I've also owned Chrosziel S16 4x5.6 MB and it was fine. I'd avoid the O'Connor O'box and RedRock MB.

For onboard monitor arms, cannot beat the Ultralight CS system http://www.ulcs.com/ Over the years I've owned many arms including the Noga and hydro Manfrotto arms- these hold the best from my experience.

What's the reason to go FS100 at this time?

What are you doing for follow focus? Lenses? I own the Arri FF4 because it is reliable and works. Soooo overpriced. I have not owned another ff unit that simply works, every day, year after year, without issue.
 
+1

I have the OConnor O Box and it is a bit disappointing. Not very solid. Likewise, the 4 or 5 Noga arms I've accumulated over the years are pretty worthless.

I hope that you have heard the tripod message loud and clear. I am honestly surprised that a dealer would have speced that tripod to the level of system you are purchasing.

But when you post on this board, you will get some strong opinions ;)

Good luck with your purchase and shoot some great images!
 
I just bought an O'Connor 50D with Peter Lisand legs on ebay for $499. They're nothing short of fabulous. Even if you need to have the head rebuilt, it's better than anything you'll get new for less than $10k.

Cheers.
 
+1, +1

Never cheap out on your support. An inexpensive head and sticks will not only put your expensive camera/glass in danger but it will really limit the quality of the work you can accomplish- no exaggeration. A good tripod will last a lifetime- it truly is the foundation of your camera package.

I came up using Sachtler but like the O'conner and Miller offerings. Had an O'conner 100 years ago for my 35 Kinor package- built like a tank but honestly not up to todays standards in terms of pan and tilt fluidity. Think I paid 500 for it including wooden sticks.

I currently use a Sachtler Video 20 for my F5 package but it has supported cameras as heavy as an Arri Bl IV with 25-250 Cooke with no problems. I recommend.

cheers

Ian
 
nsoltz said:
+1

I have the OConnor O Box and it is a bit disappointing. Not very solid.
Click to expand...

OConnor is doing something kinda confusing and making big running changes of their products to reduce costs. I have a OBox from the first production run, and it is astoundingly solid. This from somebody who sold their Arri MB-20 at $5K to downsize to the OConnor. I can literally swing my built 55 around by grabbing the top of the mattebox, it's more rigid and weight bearing than any mattebox I've ever had or rented (arri, etc). But I believe you if you say yours is not solid.

I noticed not too long ago current OBoxes has plastic trays, whereas mine are CNC'd aluminum. Huge difference. I have also heard stories of CFF1s not being what they used to be, and OGrips having major things changed on them to reduce costs. I think it's unfortunate.
 
While I agree the Manfroto isn't up to the job, and the tripods you've suggested are all great some are $7k, the budget he gave isn't up to affording them along with everything else.
 
There is always the used market for a good head and sticks. I know it is beyond the OP's stated budget and stretches the limits of affordability. But, with that level of equipment and the expectations that accompany it, can anyone afford to show a client a Manfrotto 509 pan? Believe me, I sympathize and deeply empathize with affordability limitations. But I think we owe it to the OP to share collective experience even when the message is hard to swallow. And when we are all (hopefully) wanting him to succeed.

Ned
 
Im confused here. Actually colour me very confused.

You're about to spend $65K on camera gear and youre spending a measley sub $1200 on a tripod. I strongly suggest the purchasing priorities are re visited.
 
Well, I think the 509 is all that bad. I got stuck once using one with my F3. If you merely want to lock off a shot, it's fine. Just try a pan and you will see that it is that bad. Far better to find a higher end piece used.

Ned
 
I never seen a 509 in person but I own the 510. It's an older model no longer sold, but heavy duty, very smooth, very wide plate, safety plate and tilt locks, and no complaints from my end. I think I paid $999 for it well over 6 years ago. Too bad they don't still sell it.
 
starcentral said:
Can the 509 really be that bad if 1.) that's all that can be afforded, 2.) if it's good enough for some RED folks: http://www.reduser.net/forum/showthread.php?71432-Manfrotto-509
Click to expand...

A lot of those Red folks are just starting out. I don't go for the bandwagon argument. Sorry, also, your #1 argument is lacking logic :-)

There are two possibilities about the OP's clients:

1-They are just as new to this as he is, therefore a choice like Manfrotto and the results it gives might go unnoticed. If so, bully for the OP for scoring a nice cam and I hope he eventually works to the point where he understands that standards for camera movement can be pretty high if you show up with a first-rate camera.

2-The clients are savvy, they will not get moves at the level they are used to, and will say something like "do you think it's possible to get that pan any smoother? It wasn't perfect".

It's not about names and showing off on set, I have some clients that have been around the block and are very smart people. They'd speak up if they saw a hitch in a pan on the monitor while shooting, and wonder why one aspect was not up to the level of other aspects.
 
I firmly believe the 509 is not up to the task or level of production the F55 is targeted toward.

Im using an old Vinten Vision 10LF Ive had for years and love fwiw and these can be picked up used for a similar price as a 509 kit, though the difference in use is night and day.
 
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