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  1. Last week
  2. Hi all! I'm relatively new to Davinci Resolve and read quite a bit and watched a few videos about working in Color Management. My issue is that the result I get from Color Management is much different from what was shown when I was recording at the time. (I shoot on an FX6, cine EI mode. This particular shot was at ISO 12.800 EI 3.200. WB 3472K with the light I used being 3500). As you can see the image in CTB (which is the same as the preview in camera) is much warmer and overexposed as compared to the one in Resolve. I tried changing the Color management settings and they do make changes to the image but none of them seem to be similiar to the original in CTB. I read that it might be to do with monitor calibration but if that is the case surely it would affect both images (in resolve and CTB). My aim is just for resolve to display the image as I have shot it originally without changes. Thank you to anyone able to help!
  3. Thanks for the compliment on the footage. In my opinion, the FX6 is a far superior camera to the A1 for wildlife video (I own both cameras). As you mention, the electronic Variable ND is one reason, but there are many others, including better ergonomics, better monitoring options, touch-screen AF, multiple Assign Buttons for instantly changing settings and modes on-the-fly, better battery system, ability to record 120 fps 4K on regular SD cards, better peaking and zebras, better compatibility with Catalyst Browse, and of course, Picture Cache. Picture Cache is basically an endlessly looping buffer that allows you to record stuff that happened up to 30 second prior to deciding to hit the record button. The A1 is a fine camera with excellent picture quality, but it's main advantage is size and weight. Nothing else I can think of that would make me choose the A1 over the FX6 for wildlife video. This video I recorded a couple of years ago explains Picture Cache better than I can here.
  4. Earlier
  5. My external monitor was connected yesterday to my Sony FX6 new camera and was working fine then all of a sudden the HDMI port of the camera stopped working. I cheked the monitor and the cable and they are working fine. It is a new camera that i only shoot two commercials with it. any help please?
  6. For some reason the video comparison is not visible. Just a large blank area. Can the Youtube link be posted?
  7. Thanks for your reply. I use Resolve Studio and see that it includes stabilization and can run Gyroflow as a plugin. I have also used Mercalli to stabilize video. I shoot video of Peregrines that nest in the cliff wall along the Pacific coast. Getting a good angle often requires shooting in the surf. Even with my tripod as stable as possible the video still needs some stabilization. I found that the gyro data Sony included in the video file works amazingly well with Sony Catalyst Browse and I would like to use gyro stabilization. I am hoping someone has done a careful job of calibrating the Sony A1 + 600/4 and the A1 + 600-200/6.3 with Gyroflow and will share that data. I will probably have to do the calibration myself, which does not look too difficult.
  8. Doug is correct. Surely you made a mistake with what you wrote, because if 41% is 1.7 stops over, then how can 75% be correct?! I'd say 41-45% are fine for a grey card in S-Cinetone.
  9. That's a very niche request! Have you tried calling local authorised repair centres? Both Sony Professional (Broadcast and CineAlta) and Alpha centres.
  10. Hi everyone, the problem is described at the title. If I choose to use both HDMI and internal rec the camera viewfinder monitor is off. What if I want to use my external Ninja V just like a monitor what might be an option? Thanks
  11. Interesting! That's quite a major fault. I'm amazed that passed quality-control. Hopefully a straightforward repair.
  12. DougJensen

    FX30 help

    Paul, it sounds like you've gotten in way over your head with the FX30. Even if you are able to get a few answers to your questions on this forum, I don't think that will give you the depth of knowledge that is necessary to consistently get good results with a complicated professional camera like the FX30. My recommendation is that you find an experienced FX30 owner in your area and hire him/her to give you some one-on-one training and help you get your camera setup properly. If you find the right person, the expense will be well worth it in the long run and save you a lot of frustration and wasted time and money.
  13. I've shot a test and found that the FX30 has less DR than the FS7. The attached images are SLog with no LUT. Note my son has the same IRE value - the sky is clipped on the FX30 and highlights are retained on the FS7. The shot was taken at the same time with the FX30 mounted on top of the FS7 so the level of the sky is consistent. The FX30 is sharper.
  14. Absolutely normal. You shouldn't expect to dial in random numbers on any two different models of camera and expect them to match. Manual white balance on a white card or other suitable target is the right way to do it. Always has been, and always will be. The numbers shown onboard the cameras are just meant to be a rough approximation and do not represent the precise color setting. Plus, and this is very important to understand, dialing in a random WB number only changes the warm/cool axis of the color balance and does not address the equally important magenta/green axis. However, when you manually white balance on a white card or other target, both the warm/cool and magenta/green are automatically adjusted for you. It is always faster, easier, and more fool proof than dialing in a random number you THINK is correct. Let the cameras do the work for you.
  15. That sounds similar to the veiling flare / purple grid issue that affected some F5/55 cameras.
  16. With the arrival of the Atlas Mercury Edition Full Frame anamorphic primes, does Sony have any plans to include the native 1.5x desqueeze required by these lenses?
  17. Hi Alain, Unfortunately the plastic LCD arm that came with the FX6 proved not to be strong enough to support the weight of the LCD and my Zacuto viewfinder. It broke a few months after I started this thread. I replaced the arm and now use it only for the LCD, as it was designed. I now have the Zacuto EVF mounted in about the same place as you see above, but I use some Magic Arm accessories I bought at the Kondor Blue booth last year at NAB. I can't even tell you exact what parts they are, but the ball-socket arm attaches directly to the camera body and gives me plenty of flexibility for positioning. https://kondorblue.com/pages/build-your-own-cine-magic-arm
  18. I found the answer, here is a complete tutorial on how to achieve this: https://github.com/rodrigopolo/cheatsheets/blob/master/multimedia.md#custom-lut-for-the-fx30-with-the-ninja-v-and-resolve And a fix to the LUTs provided by Sony that use [tab] instead of [space] https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=138664&p=1033383#p1033383
  19. Just tested the new version...can confirm - no bueno (or non buono since Sony prefers Italian).
  20. I think the only issues with streaming direct from the camera are a) a bit less control over stream settings (bit rate etc), and b) can't insert any graphics, fades, other audio, etc.
  21. The Sony Venice 2 should be the dominant Sony cinema camera by now but the Venice 1 continues to dominate over it. Why? 8k+ origination is often not desirable. The Venice 2 would find itself on more sets with downsampled modes to X-OCN. We know it is possible thanks to the Burano, which has three oversampled / downsampled recording modes: FFc 6K 16:9 FFc 6K 17:9 S35c 4K 17:9 At the least - the Venice 2 should inherit these modes (so they can match up in Multicam shoots) if Sony wants to put in the least amount of effort for this highest priced camera. Ideally the Venice 2 would also receive a downsampled 6k open gate mode as well as a 4.3k 17x9 full width mode. The Venice 2 hasn't received the development support over firmware that it deserves.
  22. Although I have no interest in using these presets I decided I would try installing them to see if they would change the Assign Buttons on my FX6. And they did. It only took about 2 minutes to download and install them, and they worked exactly as Sony said they would work. So, there is nothing wrong with the Presets and you must be doing something wrong on your end. If you will provide more details about what steps you are taking I might be able to help pinpoint what you have done incorrectly. However, with that said, after I tested the ALL files I immediately reset my camera back to my own ALL File because there isn't a single setting of these Sony files that I agree with. What a total mess. I can't imagine anyone wanting to actually use these settings. Terrible choices. Keep in mind that ALL Files generally don't change anything about how the camera "looks". They aren't LUTs or Paint Menu presets. ALL Files are basically intended for saving/recalling your own personal preference files for YOUR camera. So, if you install these files, be warned that you will be essentially setting your camera up for what somebody else prefers. It's kind of like letting someone else get into your car and adjust the seat position, tilt of the steering wheel, rearview mirror, side mirrors, radio station presets, etc. they way they like to have them -- and then expecting you to get in and be happy with those same settings. Be warned that literally hundreds of custom camera settings will be changed when you load those ALL files, not just the few settings that Sony lists. My advice for anyone thinking of loading either of these presets is to be sure you are aware that nearly every personal setting you have made to your camera will be erased. So you should save your own ALL file first -- that way you can revert back to your own settings if you don't like the new files from Sony. My other advice is to take a few minutes and customize your camera so it works the way YOU want it to function -- and then you will be a much happier and more efficient camera operator.
  23. Hello, please bring 3:2 open gate recording to the FX3.
  24. a7S3. solid reliable workhorse. I use 3 of them every Saturday recording 6-8 hours continuous in 10 bit 422 at 60fps.
  25. The problem with using the A1 as a cinema camera is that if you use 8K it will overheat in 40 minutes. I have a mod to blow cool air and it will record 8k30fps 10 bit 422 for over 6 hours continuous.
  26. This contraption allows for 6-8 hours continuous recording in 8k30fps 10 bit 4:2:2 SLog3 in direct sunlight 90deg F. https://www.youtube.com/watch?v=IFqYIwcExS4
  27. Hello, I bought the FX30 for live-streaming and content creation from my desk. I set up an HDMI to HDMI using a capture card (elgato) and am noticing a flickering or glitch on screen when using Zoom, OBS or other live streaming software. I have it set up on 4k 15p and backed down to HD 1080 and still glitching. I am hoping I can get 4k out of the camera when live-streaming and can solve the glitch on the screen. What am I not doing or doing wrong? I tried an 8k HDMI cord and still glitching and limitations on output settings.
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