F55: Sony F55 vs Canon C700 impressions
- Thread starter starcentral
- Start date
Yes agreed.. they will buy the cheapest available to do the job.. and the cheapest most over worked crew too.. to the point that they can keep focus most of the time.. expose.. and run around without food.. the look is not something they are concerned about.. hello iPhone 7 toting interns..
Ben Scott
Veteran
My experience of that sort of shoot in the U.K. Is that the APs and researchers have often been given a camera and told to shoot half the time.
It's not the environment for new nice gear and proper shooters.
That said they are still renting most of their gear except for a few house cameras.
It's not the environment for new nice gear and proper shooters.
That said they are still renting most of their gear except for a few house cameras.
I have heard from UK camera op,s i know that more and more production co,s are buying or more likely leasing their own camera,s.. can see this would make sense for them.. if they have a fair amount of work coming through the door.. all tax deductible and they can bill it to their clients..or make stuff on spec without rental costs if the camera,s are on the shelf anyway.. but not good for the freelancers who they call for work.. but we dont need your camera gear..
Glad to hear its not the majority.. killer for freelancers wages..
Glad to hear its not the majority.. killer for freelancers wages..
Ben Scott
Veteran
As I said though, the killer is those jobs aren't being given to actual shooters. Poor APs being given 1hr crash course and being sent out to capture stuff for 'homes under the hammer' or similar....
I don't mind working with someone else's gear as long is it is all tested and I get advance warning so I can read up on any quirks or workarounds. Being camera agnostic means I can also be in the frame other bigger jobs.
I don't mind working with someone else's gear as long is it is all tested and I get advance warning so I can read up on any quirks or workarounds. Being camera agnostic means I can also be in the frame other bigger jobs.
Im the opposite.. I think my F5/CN7 is good enough for anything Im offered .. so I will only work with my own gear.. so I did lose work in the C300 for everything days.. but on the back of the Fs7 popularity .. they are all fine now with the F5.. no Fs7 and I might have had to change my tune.. hate working with a camera I don't know 100% back to front.. and is going to work.. !
Most rental house will let you have a play with their camera,s.. as long as you don't leave the building !.. in their interest too..
Yeah.. you dont have to freak out if the VF screen goes all weird .. or you cant change the frame rates !!.. or you cant find the audio head phone socket for the sound person to check tone.. all in front of the director you are trying to impress..
Ben Scott
Veteran
Yeah.. you dont have to freak out if the VF screen goes all weird .. or you cant change the frame rates !!.. or you cant find the audio head phone socket for the sound person to check tone.. all in front of the director you are trying to impress..
Exciting though, right?
Some cool toys
http://www.arri.com/camera/amira/tools/amira_simulator/
https://itunes.apple.com/us/app/donna/id938319301
http://learn.usa.canon.com/resources/articles/Simulators/c300.shtml?categoryId=229
And I bought these ages ago:
https://www.theblackandblue.com/pocket-guides/
JPNola
Veteran
A Director / DP I know purchased the CN7 for his Amira and he recently told me he rarely uses primes anymore. Just lives on the CN7 and is able to make fantastic images that have his clients smiling.
Yes it was a pricy lens.. about $35,000... but does the job so well..for my kind of shoots anyway.. its a box full of 4K spec primes in one.. but heavy..!! had to buy a easy rig.. but I very rarely have an assistant .. no way Im going to trust a Dir to carry a box full of $35,000 worth of primes..!!.. but if I did drama or commercials.. with a camera crew.. I guess i would have bought primes.. horses for courses .. just suited me and and I guess alot of others who need an "ENG" S35 zoom with a decent stop and range.. not right for everyone thats for sure..
They have got alot cheaper these days though too
They have got alot cheaper these days though too
Run&Gun
Veteran
The 17-120 is a beautiful lens. A lot of people poo-poo on it because it ramps, but I'd take it over the Cabrio's(19-90 or 20-120)(and I'm a Fuji guy on the broadcast/ENG side) or new Canon 18-80 any day. I demo'd it last year and it is HEAVY. Ridiculously heavy, because all of the weight is actually in front of the grip. I did a quick comparison with it against my CN-E primes and was pretty happy the 17-120. It would cut easily.
The lens has come down significantly since it's introduction, it's about $26K here in the US, now. If I'd use it more, I'd buy one(I could justify it with once or twice a month all year long), but most of my s35 work is sit-down interviews with my primes. I did buy the HDx35 adapter earlier this year so that I could use my ENG lenses when I needed them on my C300 and F55. You do lose a lot of light with it, though, so there were a few times I rented a friends 17-120 when I didn't have the stops to spare.
The lens has come down significantly since it's introduction, it's about $26K here in the US, now. If I'd use it more, I'd buy one(I could justify it with once or twice a month all year long), but most of my s35 work is sit-down interviews with my primes. I did buy the HDx35 adapter earlier this year so that I could use my ENG lenses when I needed them on my C300 and F55. You do lose a lot of light with it, though, so there were a few times I rented a friends 17-120 when I didn't have the stops to spare.