julienjarry

Do you think we'll ever see a Sony RX1r mark iii? Do a bit of research and you'll find out that the mark ii was a really incredible camera. A7rii sensor, 35mm f2 lens (Sony doesn't even make one for E mount). Sure, it wasn't for everyone but it was nonetheless, an incredible little tool. Could we, should we see a mark iii in 2023? I know I would like one.

Wild stuff Doug! Thank you for sharing and I enjoyed the video. Can you shed a bit of intel into your stock footage model? I know most folks are using third-party sites but you're selling it all direct? Can you elaborate a bit on your system and experience for those that may be interested?

It seems like you've answered your own question you're right, it can only come out via monitor output. I use the false color tool on a SmallHD because I like using SDI vs Monitor out for my on board monitor because there are some other limitations monitor out has.

Aha thank you @DougJensen and yes I completely agree that the wide is awesome. I made it a touch cool to compliment the weather and time of day.

Spent three days hunting this Barred Owl and finally scored tonight! A1 and 200-600

There's a misconception about "super 35" anamorphic lenses and their coverage. I think when most people think of the Atlas Orion, Kowa, Lomo, and any other "super 35" anamorphic lenses they don't think they'll cover full frame. Makes sense - but actually they usually do. These anamorphic lenses were mostly designed to cover 4:3 film and Arri 4:3 open gate which has a height of about 18mm. That's the only measurement you need to care about, the sensor height. Phil Holland has a great tool on his website where you can compare sensor sizes here: https://phfx.com/tools/formatCompare/ Guess what? The A7s, A7sii, A7siii, FX3, FX6, FX9 all have the exact same sensor height as the Alexa Mini is 4:3 open gate! Can you believe it? That means you can simply treat it the same and use SmallHD (or other) monitor tools like anamorphic desqueeze, aspect ratio bars (2.39:1, 2.2:1, 2:1, etc), and crop tools per that aspect ratio to view your image properly and then do the same thing in post to finish it off (properly of course). Let me explain how to properly monitor and finish your image before wrapping this up because it is very important. You'll most likely need a good on-camera monitor. On Set: 1.) Choose what aspect ratio you want to finish in. Traditional anamorphic is 2.39:1 or 2.4:1 but you can do anything you want. I also like 2.2:1 and 2:1. 2.) Desqueeze your footage accordingly either in camera or using a monitor. 2x, 1.6x, 1.5x, 1.33x etc. 3. ) Put up those aspect ratio bars so you can see where your finished image is going to be. You'll most likely have heavy cropping going on towards the sides of the image. This is normal. 4.) Use the in-monitor crop tool to crop your image to the aspect ratio width so you don't need to see all that extra stuff to the left and right of your image. Post: 1.) Ingest your footage. 2.) Create a timeline with the proper aspect ratio and resolution you desire. I like this resource to check resolutions: https://blog.chameleondg.com/post/111891072017/resolution-aspect-ratio-cheat-sheet 3.) I personally like to create a standard 16x9 timeline and then use black letterbox templates: https://www.premiumbeat.com/blog/free-letterbox-templates-for-video-editing/ 4.) Drop in your footage and desqueeze it. 5.) Zoom in with all of your footage until it fills the aspect ratio.

Hey everyone! I can't upload and image either but that's okay! I'm here! I love the community and conversation so far so thank you for having me and making this space available.

Here's another example @DougJensen https://www.instagram.com/p/CluJ6L-MaBH/

@DougJensen I am going to share a post by a guy who uses 1/2000th ss and uses frame blending to slow down A7siii footage to 1000fps equivalents and it looks fantastic. See here: https://www.instagram.com/p/CYhmUhHl1by/ Back to the faster-than-normal shutter speeds for 120fps capture: In my experience, once you pass a threshold of lets say 100fps or more, I feel as though shutter speed matter less especially if you actually slow it down to a normal 24fps timeline. Do an experiment: Shoot a hummingbird or any action for that matter at 120fps using a 1/250th shutter speed and then again at 1/1000th. Slowed down, does the 1/1000th shot look bad? My guess is that it may actually look better. I'm sorry I don't have an example of my own but plan to asap. Again, I wish the A1 has 120fps s35.

For a handful of reasons, I personally, would love to have the ability to shoot 4k 120fps on the Alpha 1 in 4k s35 mode. Currently, the camera can shoot: 8k 422 10-bit up to 30fps in full frame 4k 422 10-bit up to 120fps in full frame with a small 1.1x crop 4k 422 10-bit up to 60fps in s35 I've been using the camera recently for wildlife both photography and video and I can really say when you're looking to strip back your load, the A1 is a really good option. A 4k 120fps s35 mode would allow for breathtaking image capture and whether or not you want to use an ND filter, usually at 120fps, anything between 1/250-1/1000 shutter speeds look great. For those tech gurus, do you think it's possible? Thanks!

I haven't felt a need to change anything. I barely feel a difference with my computer chugging away. Thankfully.

I've got a 200-600 coming and some camo lens coats for it. You've inspired me to get out there once again. I'll make sure to report back. I am thinking about bringing the A1 out mostly to keep things small, allow for stills capture, have 8k and S35 4k options.

I love this outlook and I love older camera tech. Thanks for sharing!

Thank you so much for sharing!

I can't wait to see your results and something I certainly want to do myself one day.

My friends and I recently got together to shoot a short film by the fire in one day. The close-up was shot on the Sony Venice in 6k OXCN and the Tokina Vista 50mm T1.5 and the wider shot was shot on the FX6 and Tokina Vista 35mm T1.5. I have very little Davinci experience and these have barely been worked to match and I am stoked! The Venice was shot at 2500 and brought up to 4000 in post. The FX6 was shot at 12800 and brought down to 6400. The fire did most of the key work and the rim/ambient lighting was provided by a single Aputure 60x on either side of the scene bouncing into a 40x40 inch Ultrabounce. One was set to fire mode and the other was set to a slightly cooler temp not pulsing to act as the moon(?).

Per my recent A1 post in the Gear thread on this forum, here are the frames I captured at a recent church service:

This is just a very simple appreciation post for all those smaller Alpha series cameras that don't always get the love. On Christmas Eve I was tasked at my church with taking stills at a photobooth before and after the service. During the service, I shot b-roll of whatever I wanted. They could use it for next year's promotion or a year-end recap video. Note: I used to work for this church as their creative director for 7 years doing exactly this. I used a 24-105mm f4 for the photo booth but took a bit to decide on what lens I wanted to bring to shoot the service b-roll. After I considered a few options, I stuck with my gut and took the Leica R 80mm f1.4 and I am glad I did. Simply put, it was a joy and refreshing to use such a small setup with nothing holding me back. Inside a dark church setting, I didn't need ND and I didn't want anything holding me back or distracting me. I had zero limitations and could move wherever I wanted thanks to the fact that my setup looked like nothing more than a simple stills camera. To harp on one final note, it is absolutely insane that we can shoot 8k 10-bit 422 on the Sony A1. The image is absolutely gorgeous whether you need 8k or not. I think I am going to try to lean in on the 8k on the A1 more often when I travel so I can come back with images I may not have otherwise. Head over to the cinematography threads to see frames from this church service shot on the A1 and Leica R 80mm f1.4.

This is really great Alister, thank you.

The following music video was shot on Sony FX9, FX6, and A7siii. The gimbal shots are shot on the A7siii with the Contax Zeiss 28mm f2 set to f5.6 and I blurred the edges in post to match the vintage/wide open/softer image of the other angles. The two handheld cameras where the FX9 and FX6 using the Leica R 35mm f1.4 and 80mm f1.4 shot at about an f2. We also used Prism Lens FX Dream FX filter on both FX cameras. This was a really fun shoot and we did it quick. In and out in about 4-5 hours. We draped neg along one entire side of the little church and lit from the other side by shooting an Aputure 1200D through a 6x6 bleached muslin. I hope you enjoy and thanks for checking it out! Abba Music Video

It's really hard to beat a 24-105 to start but I'll tell you, a manual focus 35mm prime could be your new best friend if you give it a chance.

Can you give us any pointers as to how to get into the world of paid natural history work assuming we have the work to show for it, the gear, drive, knowledge, and ambition? Thanks!

Absolutely stunning. You're inspiring me. Where are you located? Is there an immediate place where folks like us can generate an income from natural history footage like this? I've always shot this for fun. Man that 200-600 shines.

I just grabbed a used Venice 1 and the first thing I did was download those luts. I'm armed and ready and they're in their folders. I just need to have some stuff to use them on. From my initial reaction, they're a great base. For you, that may be perfect. For me, I like to get a bit more help with my look rather than creating it from scratch. You should slap it on some old footage you have.

My friend Kyle and I talk frequently about films we want to make. Hopefully, 2023 is the year when we actually make one. This frame is from a test shoot I did by myself a few weeks back in my RV that sits in the driveway. The concept is dark, scary, and mysterious. The camera is sitting on an apple box. Sony Venice and Tokina Vista Prime 18mm t1.5. There is an Astera Titan Tube outside of the door up above it mounted on a C-Stand and the cyan-ish light is an Aputure 60X with a cyan gel on it coming in from the rear window to the right of frame. It's important to understand that I didn't just set this stuff up right away. It took me a while to get the scene right. I was playing with the 60X without the gel coming in from another window for quite some time really having trouble. I didn't like what was happening - until I turned the 60X off and saw the Astera on alone. I literally said to myself, "Wow!" That was what I was missing. I played with the cyan-gelled light from a few different angles until I found what I was looking for. Sure, this is just one frame but it taught me something - actually a few things. Keep playing, keep experimenting. I've been learning something new day after day for the last 10+ years. You know why? Because I keep making mistakes.