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  1. Last week
  2. Here are the reasons that I think the FX6 is the best camera ever made for filming wildlife: 4K XAVC-I codecs. Touch-tracking auto-focus. Slow-motion @ 120 fps. Up to 30 seconds of Picture Cache. The ability to use Picture Cache and Slow-motion simultaneously (the only Sony camera to offer that functionality). Dual ISO Sensitivity. Variable ND for perfect exposure. Slow-motion, Dual Sensitivity, and Picture Cache can all be turned on/off instantly with one button push. Ability to record on ordinary SDXC cards. There are no other cameras that offer all these advanced features. If you think there is a better camera for wildlife, what is it?
  3. Earlier
  4. a7S3. solid reliable workhorse. I use 3 of them every Saturday recording 6-8 hours continuous in 10 bit 422 at 60fps.
  5. 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.
  6. This contraption allows for 6-8 hours continuous recording in 8k30fps 10 bit 4:2:2 SLog3 in direct sunlight 90deg F.
  7. Hi just joined. I have live streamed from FX9 via BMD web presenter both connected to laptop as webcam and directly connected via ethernet with no laptop. I have also connected the camera's ethernet connector to a small modem in order to transmit to a remote monitor. But I have never tried to actually send a live stream directly from the camera. Is this advisable? Any downsides? Thanks in advance for any wisdom from the hive mind.
  8. 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.
  9. Has anyone downloaded it? It almost seems like it was mistakenly uploaded or something. It's shakycam home movie footage of some fish in 10-bit 4k, nothing helpful at all. You'd think they'd upload XOCN or at the very least XAVC H-I HQ. Very, very odd.
  10. The primary reason S-gamut3.cine/SLog3 exists is because it is designed to mimic Arri LOG C. Therefore, colorists who are used to working with Arri footage can apply the same grades to Sony S-gamut3.cine/SLog3 and be assured of getting similar results. But again, you should really ask your colorist what he/she wants you to shoot.
  11. Sony themselves offer a data recovery service via Prime Support.
  12. I don't think it's possible to record or output 1280x720 with an FX9. Except with the proxy feature.
  13. From Sony Creative Software support when asked about VENICE 2 X-OCN 8K in Catalyst: Nice and vague! 🙄
  14. It's hard to say what the issue may be, but I've had my FX6 since the first week the camera started shipping (3 years) and I can honestly say that I've never had a lens come off my FX6 or even get loosened during transport. The lens that is on my FX6 about 90% of the time is the relatively heavy Sony 200-600mm. I keep my camera completely built during transport, regardless of the lens. The other 10% of the time the lens would be my Sony 70-200 or 24-70. Never any issues whatsoever with any of them coming loose.
  15. Apologies for the delay in responding. I really appreciate your efforts Doug in helping me. So short answer is I’ve just done a reset and it seems to be working. Before the reset i did a double check and it was faulty still. Since the reset I can’t get it to repeat the same issue. Touchwood this isn’t temporary because sometimes the fault doesn’t happen immediately. But I’ve done all my usual tests that trigger the fault and so far nothing. Thanks for your help also videosoul - I tried auto nd and the fault still happened. Bokeh control was off and i tried iris on auto and manual and it still happened. I’m on the latest firmware also. Hopefully all is well now. Thanks again.
  16. Does anybody know, it would still has a problem with switching NTSC/PAL like it was after previous update? Or they will have it fixed in the new one? I couldnt update my fx30 because of problem with switching region, otherwise my camera would become useless without 25fps. Theres a lot of people, who became disappointed in their 1800$ cameras after last update, hoping that it would fixed in the next, but theres no sign of it...
  17. What exactly are you finding problematically different with them? I use both and haven't had any significant issues matching.
  18. You are correct. Most LUTs designed for slog3 seem to be for sgamut3.cine LUT creators should really specify! When people say "monitoring LUTs" they usually mean 33-point or 17-point, as most cameras and monitors will only accept these. But grading LUTs should be 65-point for best quality. FYI, if you haven't come across it, you can make your own LUTs with / (latest version is on the Mac App Store).
  19. Can anyone tell me (speculation is fun, but would be good to know for sure) what exactly "709tone" is? I see it's already available in the FR7... wondering if it's a LUT? Or will it be a Paint Menu present (Scene file / Picture Profile setting) like S-Cinetone. I'm also curious what it's "optimum"/"suggested" settings will be (white clip, black clip, legal/full range, matrix boundaries, 90% white, 18% grey, etc etc)? -- Also, I'm curious about the "integrated high-quality 3D LUT processes to mirror the VENICE cinema camera, which allows for more accurate color processing". What exactly does this mean? The FX6 already has LUT support. What's wrong with what it currently has? Or is this just an improvement in LUT "quality" (17x vs 33x 65x) or something like that? Funny it's being marketed as process to mirror the VENICE, when one of the selling points of that was the preferred use of ART files over LUTs! -- Also, direct-from-camera streaming in the FX30 and FX3... but no love for the FX6? I wonder why. Several news stations in the UK are now preferring the FX6 (a somewhat backward decision, in my opinion), so one would expect a demand for streaming in the FX6...
  20. Hi all! For some weird reason I don't see the 'Manage User LUTs' in the Color/Tone menu of my FX30. I did already upgrade to v3.0. Do you know a solution? Seems like I'm the only one with this problem, cannot find anything about it in other topics or on Google. Really hope someone can help out. Best!
  21. We all know about the popular shows that everyone's talking about, but what about the hidden gems that often go unnoticed? Let's create a thread dedicated to discovering those underrated TV series that deserve more attention. Share your favorite hidden gems: Title of the show Brief description (no spoilers, please!) What makes it special or unique? Feel free to recommend shows from any genre - whether it's a gripping drama, a mind-bending sci-fi, a hilarious comedy, or anything in between. Let's help each other uncover the TV treasures that might be hidden in plain sight! And as a bonus twist, let's add a bit of mystery! How about sharing your recommendations in texto invisible? To do this, wrap your text in double square brackets. Others can reveal your recommendations by highlighting the text.
  22. Doug was talking about a two-camera interview, happens in one location and typically has good audio and relatively few takes. Yes, in that case, you often don't need timecode. But what if it's a documentary and you're shooting 50 interviews over six months in different locations? What if it's intercut with event B-roll shot by three widely separated cameras doing dozens of stop/start takes? What if it's stand-up interviews in a disaster area and due to the stress, a camera operator misses the slate and accidentally has his audio turned off? What if you're looking through hundreds of interview files in post, and some operators had the wrong date/time on their camera? Timecode comes in really handy in all those situations. For all those reasons (and more) my team always uses timecode, even for "easy" two-camera interviews. It keeps the procedures fresh and ensures ongoing familiarity with the devices, cables, adapters and camera timecode operation. Regarding jam sync vs. continuous timecode, we've done it both ways, but having a continuous timecode device on each camera and recorder seems more reliable. E.g, after jam sync the FX6 maintains TC during shutdown for battery changes, but some of our RED cameras did not until a firmware update. It's easier to verify and resync the cameras using a smartphone app than revisiting each camera. There is no "harm" from TC drift. They will drift anyway, whether TC synced or not. Even though continuous TC does not lock the cameras together, when the TC devices are remotely resynced via smartphone device or if the camera is shut down to change batteries, etc. it will usually automatically resync from the TC master. So this tends to shorten the drift period to typically around 1-2 hrs. If the camera internal timebases have significant drift, that will exist even if syncing by audio. Most NLE audio sync algorithms use a single point on each clip. If the camera timebases are drifting, it will drift before/after that sync point on the 30 min. clip. The former Plural Eyes sync app had continuous sync drift correction, but that only applied to an audio file, not two A/V files. It's important to do long-duration test clips in advance and characterize the drift behavior of the specific recorders and cameras. Our FX6 cameras and Sound Devices audio recorders have all shown very low drift. That assumes you don't make a mistake and intermix DF and NDF timecode between cameras. Now THAT will drift.
  23. I have tested simultaneously-recorded S-Log3 FX6 4k/23.98 10-bit 4:2:2 XAVC-I vs 4k/23.98 ProRes 422 (recorded on Atomos) many times. A few people have alleged XAVC-I has significant "macro blocking" issues on certain scene types, especially complex tree branches moving in the wind. The videos they've posted allegedly showing these used zoom factors of 400% to 1000%. In general I can't see any difference when viewed normally or even when cropped to the maximum 200% limit for maintaining equivalent resolution for 4k on 1080p presentation. When comparing them in an NLE using overlayed clips with the top layer using "difference" compositing instead of "normal", you can see some *tiny* differences but when viewed normally, I can't see differences except in rare cases on paused frames at about 400% or so magnification. Here are some original camera files of simultaneously-recorded FX6 XAVC-I S-Log3 vs ProRes 422 from a Shogun 7. Also included is a split-screen 200% full-res TIFF file showing the same frame from both formats. It's not labeled, but according to those claiming the XAVC-I problem, it is so obvious that anybody can tell the difference under normal viewing conditions. However, I cannot tell the difference even at 200% magnification -- and of a scene type that supposedly manifests the problem: Also, the MXF container used by the FX6 has much better metadata than externally-recorded ProRes. For S-Log3 it enables the "raw controls for XAVC" feature of Resolve Studio 18.5 and later. It's not true RAW, but it enables RAW-like adjustments in post for white balance, tint, exposure, etc.
  24. Paging @alisterchapman. He’s filmed northern lights in the north of Norway several times.
  25. videosoul

    XQD Driver

    For anyone who might find this useful... finally an update!
  26. Yes, I can say with 100% certainty that it is a non-desctructive workflow. I use it on EVERY shoot to cut down the amount of footage I ingest, and I wouldn't do that if I wasn't sure it is 100% safe.
  27. The first two of those will make the VENICE 2 less competitive.
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