Sony FX30: an aps-c FX3

JimGao said:
How do you shoot this then?
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I've never done it. I think that syncing the shutters is the same issue facing all stereoscopic capture. Quick Google search doesn't give me specific answers, but I think you can use a lanc controller to trigger both cameras simultaneously. I don't know if it keeps them aligned throughout the shot or just starts them off together, which might be good enough for shots that aren't hours long

I just saw today theres a release of a software development kit for fx30 and other sony cameras to enable remote control parameters, including controlling numerous cameras simultaneously. Something like that seems like it could achieve something like this, but I'm guessing you'd waNt to have a wired connection to the controller to limit timing variables

Or you could just jam timecode and hope for the best. Might be good enough, especially for dialogue scenes

But you still need to have a stereoscopic rig so borh cameras can record the exact same frame
 
ahalpert said:
No, what I'm saying is that even if the cameras are synced via timecode, that doesn't mean that each frame is exposed at the exact same millisecond. There can be a slight difference in exposure timing but still be within tolerance for audio sync. But this technique calls for combining multiple images, and if they're even just a little offset from each other, the result will be blurry
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That's pretty much what Genlock is for.
 
ahalpert said:
Could it offer less of what people on this thread actually want?
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It seems to be a 50/50 photo-video hybrid rather than an R5C type 25% stills/75% video (I pulled the numbers from my behind) piece. But who knows. A 75% stills camera might have had a higher pixel count than a 3-year old RIV. Maybe there are surprises (in the positive sense).
 
Hi Ahalpert,

We know that free run and rec run would be insufficient, but locking it to an external time code generator is fairly accurate. certainly well within the 1/48th” shutter speed.

More of an intellectual exercise for fun, but let’s do some quick math on timecode drift to approximate how accurate EXT-LK could be in theory.

going by the estimate of 1frame drift per hour.

1hr has 60min
1min has 60seconds = 3,600 seconds per hour
1second has 24frames = 86,400 frames per hour

that in a completely theoretical sense, means that 1/86,400th of a drift ratio per frame.

if you are locked to timecode externally hard wired to a single timecode generator, or jamming every take, you are working with fairly tight tolerances.

I’ve never shot 3D, so i won’t comment on that, but even being within 1/10th accuracy of a frame, it makes it usable for sky replacement purposes, as that is 1/240th of a second, and it would be constantly re-sync’d from the external timecode generator, ….again, all in theory.


Now compare that potential accuracy to what they did in ‘NOPE’, where they combined a film camera with mechanical shutter and gate weave to a digital Alexa, and tell me again how accurate does this frame sync have to be?


Anyways, all fun. I am just thinking it through as i am motivating myself to build a rig and test it out. while $1800 cameras are cheap, it is a lot of time and likely going to end up near the $8K mark when all said and done. that is if the external timecode lock functions as well as i hope.
 
gate weave could probably be ironed out in post. you really want the cameras to be in phase. it's true that depending on what you're shooting it probably doesnt matter. let's say the guy riding the horse is shot normally and you're just combining the IR image of the sky, probably ok. but what if he's close up against the sky. could get funky. and again, seeing as you need a stereoscopic rig to begin with, saving a couple grand on camera bodies doesn't seem like the sticking point to me.

I didn't see Nope yet, but the day for night in the trailers looked fantastic

looks like the technical term is syntonized
 
A new Sony vloggger camera is announced - a nicely crippled design with a fixed 20 mm lens. So it has a photo quality of a smartphone.
 
ahalpert said:
gate weave could probably be ironed out in post. you really want the cameras to be in phase. it's true that depending on what you're shooting it probably doesnt matter. let's say the guy riding the horse is shot normally and you're just combining the IR image of the sky, probably ok. but what if he's close up against the sky. could get funky. and again, seeing as you need a stereoscopic rig to begin with, saving a couple grand on camera bodies doesn't seem like the sticking point to me.

I didn't see Nope yet, but the day for night in the trailers looked fantastic

looks like the technical term is syntonized
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Ok, but just remember, that if the FX30 has all the same options as the FX3, when FW2.00 was announced they included “EXT LK” timecode option. Which allows the camera to constantly sync with external timecode via hard wire. This is different from a one off jam sync and walking away.
 
Unfortunately, "EXT LK" is not the same thing as Genlock. You need Genlock if you want the cameras to truly be in-sync. And cameras at this level ain't gonna have Genlock.
 
New R6 MKII specs leaked. Meet the new boss, almost the same as the old boss but with 24 MPX.

There are also rumors that there'll be an R8 that will replace an ancient EOS R.
 
There are like 8 different Canon models across 3 mounts within at most $1000 of each other that are all almost exactly the same.
 
DLD said:
New R6 MKII specs leaked. Meet the new boss, almost the same as the old boss but with 24 MPX.

There are also rumors that there'll be an R8 that will replace an ancient EOS R.
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There were rumors for some Canon Cinema cameras this year, do you have any guesses as to why those haven’t materialized yet?
 
JimGao said:
There were rumors for some Canon Cinema cameras this year, do you have any guesses as to why those haven’t materialized yet?
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The Covid years slowed down new releases to a trickle. Now, they've resumed but advances in technology are forcing the revisions of the specification and product maps across the board. There are, after all, $2,000 8K models out already.

At least, that's my theory. The automotive market similarly slowed down the introduction of new cars for a while ... and now, the manufacturers have to switch lines to the electric, especially at the higher end of the spectrum. In other words, in some industries, two years is a long time.
 
Based on my reading of the tea leaves (ie rumor sites), it looks like Sony is upgrading the IBIS of the soon-to-be-released A7RV, bringing it roughly on par with Canon IBIS (or who knows, maybe better). "8 stops," they now claim. My interpretation is that Sony will stop pulling its punches in the IBIS department.

If they gave the A7SIV better IBIS, it wouldn't be enough for me to trade in my A7SIII/FX3. I would also need better AF and/or better sensitivity. I don't need or want 8K. Internal ND by itself would be enough to merit an upgrade, not that I expect it
 
Fuji's latest claim a 7 stop IBIS, so maybe this is as much as currently possible and is universally allowed by the cartel.
 
DLD said:
Fuji's latest claim a 7 stop IBIS, so maybe this is as much as currently possible and is universally allowed by the cartel.
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7.5 stops claimed for gh6. That might be with dual IS (IS on lens as well) as the Olympus OM1 (which I think is the leader of the IBIS field) claims 7 stops in general but 8 stops with an IS lens.

If Sony matches Panasonic/Olympus IBIS, that would be fantastic

But it looks like Canon claims the same 7 or 8, and I don't think theirs is as good as Panny/Olympus, so...
 
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