F55: Daily Build

klk

Well-known member
Working on a show (as camera op) and this is the typical build. Instead of an Epic or Alexa, now it's the F55. Three cameras play daily. This was the first time I've used the Canon 30-300 and I must say I do like the lens. It would be interesting to do a side by side comparison on set with an Optimo, as that's usually my preferred zoom. We also use a pair of Cabrio 19-90 and an Alura 15.5-45. Very functional focal length, though not my favorite glass. Of the three I prefer the feel (look) of the Canon- but that's without looking at the footage in post. As you see we're not shooting raw, just 2K, 4K XAVC. I'm impressed by the DR shooting XAVC, much better than I expected. Also battery life. The camera could use more power outlets and a solid AB Gold mount solution instead of adapter plates. Don't know if AB has one, never looked it up- these bodies are setup with adapter plates. A Switronix Jetpack with camera V-mount and AB battery mount may be what's missing here. The OLED EVF is somewhat dark- is everyone else's EVF like that?F55-canon.jpg
 
The black one...
but seriously, this is what we almost always end up with. One advantage of owning a rig is to do a well thought out build. (you know, make it my way ;-) ) What I don't like about owner/rigs are the accessories owner/ops often go with. I've had to use the worst monitor mount setups on Epics imaginable. At least what I could imagine. You know, their way \-( .
What's missing in the Arri setup is a versatile EVF mount. I'd like a mount with a lot of fore/aft adjustment, like a true extended viewfinder.

Why is the EVF so dark, and are EVF brightness adjustments coming in the future???
 
Slog2. This is my first F55 shoot and I'm impressed with the DR and battery life. Had to say that again.
 
Yes with slog2, when it is exposed correctly it will appear dark or underexposed in the VF. I found the same thing with my OLED and unless you're outside shooting in the sun all the time it can be difficult to work with the VF under different lighting conditions. I've had to buy an external SDI monitor after spending $5000 on the OLED VF. I'm not too happy about that.

What Sony needs to do is implement in-camera LUT capability so the DP or operator can crank up the image from SLOG for the purposes of seeing the image and getting a sense of what it looks like. Sony says its coming, but I say not soon enough.
 
Awesome EVF Support exists ;-)

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I am looking for people/shows for demos. We worked really hard to get a very flexible system designed with as few parts as possible, but it is different enough that it's hard to appreciate until you have used it. The goal is that each individual operator has enough flexibility to get the configuration they like without the camera becoming a "rig", but more like a system.
 
The camera could use more power outlets and a solid AB Gold mount solution instead of adapter plates. Don't know if AB has one, never looked it up- these bodies are setup with adapter plates.


How about this? 12v and 24v with camera start/stop triggering on the 24v connector. Active circuit protection (no fuses, thermal or otherwise), and remote on/off of accessories by using the camera power switch. Photo from The Camera House in North Hollywood. V-mount or AB. But the best part is that it has an 4pin XLR input that is actively switched as a UPS, so that you can swap block batts or AC power without disrupting the camera. It keeps the on-board battery totally isolated until the 4pin input is unusable - then switches. It's nice to be able to do a battery change while blocking or rehearsing, etc.

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That looks great Carlos. Your gear is top notch- speaking from personal experience- I have Solid Camera gear. I'll forward your site info to the camera owners. i believe Sim Dig is supplying a couple of bodies to the show. The production co. also owns a body or two.

The production has had a couple of bodies go down and back to the owners/Sony BTW.
 
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