Philipp Kunzli

Hey Tyler, Can you say what kind of Projects your friends were shooting? I'm prepping a Documentary and thinking about buying a KOMODO. I shoot my last few "Doc's" on a Sony F5 an FS7 or Amira, always rentals, but for this new project, it seams right to buy a camera packet. And I don't wane shoot on a FF-Sensor. (So FX6&FX9 are kind of off the table.) Big Thanks for your answer

Just that I understand it right... they used the 5K Crop Area and recorded 4K?

HEy Everybody Has anyone any experience with the 4K S-35mm Crop on the Sony FX9? I'm planing to buy a FX9 but the first project im going to shoot is a 40 Day Documentary. Since it's a small production/team (director, sound, camera) and it involves some "run and gun", I'd rather not shoot FullFrame. Also I'd love to use my Fujinon MK18-55 T2.9 with "only covers S-35mm. Can anyone say something about this Crop? Is this 4K quality as good as the FS7 4K footage? I'm really looking forward to your answers... THX a lot in advance and take care. Philipp

Hey everybody I'm in Preproduction for a feature length Cinema Documentary on which we're going to have around 40 shooting Days. Has anyone any experience in shooting Documentary-style with the Komodo? Its going to be a mix of shoulder & tripod and some long take(60Min) Interviews... The team is just very basic. Director, Sond-Guy and myself on the Camera. (The setup would be the Komodo with the Fujinon MK18-55mm T2,9) I'd love to hear your thoughts. Philipp

About the "water blow out" – There is no doubt about that! But economically it's just also a different league. 35000.–€ to 8000.- including the RAW Recorder... And in addition It may sound old fashion, but I rather invest in good glas. I do believe that on this level it will make the bigger difference. Meaning spending 35'000 on a amazing camera but mounting some "Stilllens" on it or having a good camera with a 20'000.-€ lens... Or what are your thoughts?

I just have heard from different sides that the fx9 still "walks in its children shoes".. that were are still quite some issues considering its reliability and the the "greenish" tone as you mention... So for me, going in to a 40 shootingday documentary, I feel like I rather go with the proofed and reliable "old" camera instead of going for the "funky" new one... But maybe I'm just to old fashion... ;-)

Hey everybody I'd love to hear your thoughts on buying a used Sony F55 (incl. RAW-Recorder) for around 8000.-€ First of all, the data Handling of the AXS 4K RAW files. a few years ago I shoot a short with this system and as I remember it was quite a "handful" working and handling this huge files. What do you guys think compared to a FS7? Does anyone has experience about the its image quality compared to the Sony Venice? (of corse beside the full frame sensor!) Venice: XAVC 4KClass 480 compared to F55 XAVC (AVC/H.264 High 4:2:2 Intra Profile) 4K: VBR, 600

Hey Everybody I'm looking for some thoughts or advice considering purchasing a Camera for an upcoming documentary. For this film (around shooting 50 days) I'm planing to pay one of the following two cameras. A used Sony F5 or a new Sony FS7 II. Facts are: that I shoot already a documentary on the F5 and I really liked the compact size, which includes everything also a TC Lock. Additionally I really like the Color management Handling. This is just more "hands on as the on from the FS7. The same Time is the F5 already almost 10 years old. But, as far as I know it has still the same sensor as the FS7. What I don't like on the FS7 is, that with its V-Mount adapter it's massive and you need that one for the TC -Look... Maybe one of you has some more insight and shares his thoughts.... And to make the whole thing even more complicated... What if we would bring an used F55 on the table... Thanks a lot. Philipp

Hey Jordan. Thx a lot! The "raf" camera one looks really solid. I definitely will try this one out!

Hey everybody I own an old ARRIFLEX 2C including a whole set of Schneider kreuznach Xenon optics... For an upcoming project, I play with the thought about using those. They would be used only little, in "reflections about the past" The film is going to be shoot on an Alexa with PL Mount. Now, is there any Adapter for Arri Standart Lens to PL Mount? Or those that not work about the focal plane? I was looking for it online but didn't find anything solid... Big thx for a short feedback! Philipp

What exactly you mean with latency? Breathing? And since we only shoot nature plattes without pulling focus - what do you think about the leans quality by itself?

Hey Everybody I have a question about the matching of different Cameras and Codecs. We are just considering a reshoot for our feature film which wrapped last fall. The main footage was shot on an ARRI Amira on Log-C. With Zeiss High Speed primes and an Angenieux Optima Style 16-40 zoom. Du to budget reasons, we won't be able to get the same package. The possibility we have is to shoot on an Sony FS7 MKI on Cine3/Slog3. Has anybody any experience how this two codecs are coming together in grading, if we would use the same optics? And what about the worst case option, the Sony 18-110G 4.0 FS7 Kit lens? THX for sharing your experience! Phil

Hey Everybody I have a question about the matching of different Cameras and Codecs. We are just considering a reshoot for our feature film which wrapped last fall. The main footage was shot on an ARRI Amira on Log-C. With Zeiss High Speed primes and an Angenieux Optima Style 16-40 zoom. Du to budget reasons, we won't be able to get the same package. The possibility we have is to shoot on an Sony FS7 MKI on Cine3/Slog3. Has anybody any experience how this two codecs are coming together in grading, if we would use the same optics? And what about the worst case option, the Sony 18-110G 4.0 FS7 Kit lens? THX for sharing your experience! Phil

Hey everybody We're in preproduction for a feature film and start shooting in 3 weeks. I'm wondering if anybody has any experience with a KS-8x8 Gyro on an Amira with a light Highspeeds-lens? Our plan is to mount the camera on a "hanging system" on the back of a pickup and shoot a following car. Our prefer leans is a 50m, the street is straight and we drive around 30km/h... What you guy think, Is the Kenyon KS 8x8 strong enough for this set up, and is it going to "flatten out" any "bumps" and shitter? (It seams there are no 10x10 or 12x12 in Germany for rent...) Thy you guys for your thoughts. Philipp