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DougJensen's Achievements

  1. 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.
  2. 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.
  3. 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?
  4. 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.
  5. I suggest you ask your colorist which one they prefer. But with that said, I don't know anyone who does not use the .cine version.
  6. 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.
  7. Videosoul is correct, this is very strange. I spent about 2 hours yesterday matching all the settings on your camera that I could see in the viewfinder and trying to recreate your problem. No matter what I do, VND functions normally. So, I then reached out to one of the top techs at Sony overnight to see if he could figure it out , but he's stumped as well. Here is our advice: STEP 1: First of all, make sure your camera is running the latest firmware, which is V4.0. If it is not, then you can download and install it here. STEP 2: RESET the camera: Menu > Maintenance > All Reset STEP 3: Load my custom ALL File. After I matched all the settings on your camera (at least the ones I can see) I saved an ALL File. You should download my ALL file via the link below and load it into your camera. It will be called "VND-TEST1" when you see it in the camera's menu. After you have loaded the ALL file, check to see if the VND functions correctly now -- it does on my camera with those settings. If you still experience the same issue then there is probably something wrong with your camera. ALL FILE: Disclaimer: Just to be clear, none of the settings saved in the "VND-TEST1" file are settings I would ever use myself except for 4K XAVC-I. So, if anyone else is reading this thread, I do NOT recommend the settings in this file. I'm just trying to troubleshoot Nailer's problem. STEP 4: Report your findings! 🙂 Good luck.
  8. What are your other exposure settings? It sounds like Iris, Shutter Speed, or Gain/ISO might be set to automatic and is then cancelling out the changes you make to the variable ND. Please provide more details or, even better, shoot a video with your phone that shows the settings on the camera's LCD screen while you adjust the VND. I'll bet that will show exactly what the issue is.
  9. 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.
  10. Hi Mark, no problem! It is actually in the YouTube description. *** Spoiler Alert *** Test 1: A: XAVC-I B: ProResHQ Test 2: A: ProResHQ B: XAVC-I Test 3: A: ProResHQ B: XAVC-I Test 4: A: XAVC-I B: ProResHQ Test 5: A: ProResHQ B: XAVC-I Test 6: A: XAVC-I B: ProResHQ
  11. Are you talking about all flavors of X-OCN or just X-OCN-XT? Although I have never shot with a Venice, I have been shooting 4K RAW, X-OCN-ST, and X-OCN-LT with my F55+R7 recorder for about seven or eight years. I have never had any trouble viewing and editing X-OCN in Catalyst Browse or Catalyst Prepare. I have no experience with X-OCN-XT, so I can't say whether it is compatible with Cataylst or not. However, if "XT" is the specific flavor or X-OCN you are referring to, I think you should say so, rather than painting all X-OCN codecs with the same brush.
  12. Well, that's the kind of thing that sounds good on paper, but usually turns out not so good in practice. There's no way of creating a better REC709 scene file than S-CINETONE for the FX6 because there are virtually no paint menus to make it with. Not that I think S-CINETONE is very good. The lack of paint menus is probably the second biggest shortcoming of the camera. As for baking-in an MLUT, I've never seen it done successfully. I'm not saying it is impossible, but I would have to see some actual real-world video that shows a custom MLUT in practice. Until then, I'm a skeptic. 🙂
  13. Thanks for taking a look and for the feedback. I agree that the results are subjective and may look different on different monitors. That's kind of why I made two. If the news station in the UK is shooting with FX6's then I don't blame them for choosing S-CINETONE since the only other viable option is S-LOG3 -- on that camera. If they are shooting with any other Sony cameras, then I agree that it is an odd choice.
  14. The first two S-CINETONE BOOSTER LUTs I created work great for B-roll. And now I have now created two more BOOSTER LUTs that are specifically intended for use on human faces --- i.e., interviews and headshots. Here's a video that explains it. There's a download link in YouTube comments section.
  15. I've created two custom LUTs to to quickly help me get better-looking images from my Sony FX6 -- when I do NOT want to shoot with S-LOG3; and I'm making them available free to anyone who wants to use them. My LUTs are called "S-CINETONE BOOSTERS" because they make it faster and easier for anyone (regardless of how inexperienced they are at color grading) to quickly improve their S-CINETONE footage. They are compatible with S-CINETONE footage that has been shot with any Sony camera that has an S-CINETONE shooting mode. Just to be clear, the LUTs are NOT monitor LUTs for the camera. These LUTs are designed to be applied to S-CINETONE footage in post with Resolve, Premiere, Final Cut Pro, and any other NLE that allows you to import custom LUTs. I'm teaching a 5-day Interview Lighting workshop in Maine next month that will give me some sample footage of human faces indoors. I'll post an update video after I've had the chance to use the LUTs on people. Maybe a third LUT will be forthcoming. We'll see. Download the free LUTs: Watch Doug Jensen's FX6 Master Class: Watch Doug Jensen's Wildlife Cinematography Master Class:
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