julienjarry

I recently had the pleasure of shooting for two days in NYC. I can't tell you why yet but we'll soon all find out. Belive it or not, this was my rig and yes, it worked like a charm. I can't wait to share frames and footage from what I captured with this bad boy. The FX6 is such a powerful little camera. The lens is the Leica R 15mm f3.5.

I am continually impressed by the FX6 and love the combination I get with vintage lenses especially this wild Leica R 15mm f2.8. I wanted to share these frames below. The second stack of three frames was taken using the Leica R 28m f2.8. When shooting the FX6 one of my priorities is to protect the highlights and not clip. As long as I do that, all is well. I am really happy with the images and look I am getting out of the camera and can't wait to keep creating!

@DougJensen haha thank you Doug. Back at you!

Hey guys, I just cut up a new reel which I am very proud of. It was shot mostly (99%) on FX6 and it solidifies how amazing the camera is for me.

I got to get an early look at the new Atlas Mercury lenses including the prototype 54mm - all shot on the Sony FX6. Below are frames from the 72mm and 36mm. Nothing but good things to say about the lenses so far! So stoked on what we got. Film to come! Let me know if you have any questions.

I got to get an early look at the new Atlas Mercury lenses including the prototype 54mm - all shot on the Sony FX6. Nothing but good things to say about the lenses so far! Check out frames over at the Cinematography thread!

Incredible.

I recently got the new GM ii version of the 24-70mm f2.8. I can't say enough good things about its size, weight, build quality, and image but I think there is an auto focus issue on the FX cameras and not on the Alpha cameras. I saw some other reports of this - that is where I first heard about it. It's a real bummer and hopefully fixed on the next FX firmware update. The newest and best workhorse zoom not working properly on the FX6? Doesn't make sense. Can anyone else confirm or deny? Thanks!

Verrry interesting and I am glad I know this now and not on set the first time I try this. Thank you!

This is sweet. I love old digital camera tech.

I'll be there Doug! See you there. I'll be doing some recap stuff for Sennheiser on Sunday and Monday but then free roaming for fun.

I'm not a huge sci-fi fan but I can say that once we all use more sensitive camera's like the Venice and really anything else by yesterday's standards it's hard to go back. The little you need nowadays to get so much done is where the value comes in. I can imagine your examples above if they were shot on the Alexa mini at 800 iso or even 400 in order to have cleaner shadows - you'd need way more light for everything. That would mean more people, time, money, and potentially a different look. But the time and people variable is what really changes up a production. I love the tools we have in today's world and it's only going to continue to get better each day. Thanks for sharing.

We produced and shot the following commercial for Sennheiser's Profile USB Microphone launch. Shot on FX9 and 6 using Tokina Vista Primes and Sirui Jupiter macro lenses.

Last week while in Taos, New Mexico scouting and shooting a screen test we stopped for lunch at Mante's Chow Cart. The midday winter light was coming in so beautifully that we started our screen test there - at lunch. Shot on the Sony Venice at 2500 ei and vintage full frame stills Angenieux 28-70mm f2.6

I wanted to share a recent Pelican 1535 Air Venice pack with you. I've packed my fair share of cases over the years for local, domestic, and international travel. This is just a breakdown of this one case. It's a Pelican 1535 Air which is made to be carried on Airplanes and fit in the overhead compartment. Don't let a Domestic flight tell you it won't fit - it will. In addition to this carry-on case, I have my 'personal item' which is a Mindshift backpack that slider under the seat. That backpack is holding an FX3, two Angenieux FF vintage rehoused zooms, a 20 mm, and a few other accessories. My wife is also carrying a backpack with 2x (personal 150wh limit) 150 wh V-mounts. The 1535 holdes the Venice, R7, Wooden Camera D-Box, Movcam shoulder pad/baseplate, 2x 1tb AXS cards, 2x 256gb SXS cards, readers, cables, SmallHD Cine7, Noga Arm (large), top handle, 2x 150 wh V-Mounts, 4x AB V-Mount charger. A link to the case can be found here: https://amzn.to/41yE2ID

@IamOakley handheld like underslung at my belly (ish) or using an Easyrig, or on the shoulder? Thanks!

Thanks @Danny_Schmidt - I love this filter for the music videos. Davinci was okay. Not bad. I'm a FCPX guy.

@alisterchapman are you saying that it is noisier even when exposed correctly? Or noisier because generally underexposed (which I know you know). Thanks!

I agree with @alisterchapman - I would say no because of the amount of data it takes to ingest 6k at higher frame rates. I would have loved to see 48 fps but I don't think that is going to happen.

I run into low-quality indoor fluorescent lighting all the time and they're either skewing green or magenta. I've found that if I have to shoot a talking head (or similar) under those lights I'll block out the light directly spilling onto the subject (using gaff tape or a cutter), let the space be lit by the indoor lights (usually 4400k in the US), and key the subject with a bi-color 4400k light and tweak the G-R value to match. This is just one simple example of something we run into all the time. There are infinite problems we solve. Note for the picture below: The can lights are tungsten and the background is daylight. We couldn't turn anything off. The same theory stands. In this case, I set WB for the background as it made up most of the image and set a pleasing warm interior. I then set the key to about 4800k for a nice warm key.

Thanks for starting the conversation, yes. I agree with everything you've said. A few things that come to mind immediately as I read were the nighttime street lights and those pesky low-quality indoor fluorescents (which are particularly bad). I haven't thought too much about the outdoor stuff because I haven't done much of that work in a paid or high-pressure environment prioritizing the skin tone but now I will certainly make a note of it.

I recently shot and edited this on Venice and Atlas Orion 2x 50 and 80mm T2 lenses with Prism Lens FX Dream FX filter (and Lindsay Optics Diopter +1 for one take). I used the full sensor height in 3:2 full frame mode then desqueezed it and delivered it at 2.2:1.It was my first time cutting in DaVinci and there was zero budget. You could consider it a passion project. I've shot a few multicam live music videos before but this was the first time I shot a creative narrative-type music video.I hope you enjoy and feel free to share it around! Thanks!

Yea dude thanks! I'll check out your post!

After exactly two years of owning a pair of Sony FX6's and creating my own detachable V-Mount plate comprising of a few rig parts, the rig build breakdown is up on YouTube. No music. Throw your own on in the background and give it a watch for me. Thanks! (peace sign)

Here is a sneak peak of a music video I recently shot on Sony Venice, Atlas Orion, and the Prism Lens FX Dream FX Filter in full sensor height on the Venice 6k 3:2 with a 2.2:1 final deliverable. I am really pleased with the look and excited to share the link when I can this Friday. Shot everything at 2500 ei and did a ton of post-pushing to 5000+. Loving the camera so far. The raw codec has forced me to move from FCPX, which I am extremely versed in, to Davinci. It wasn't welcomed but I am getting there.