Philipp Kunzli
-
Posts
74 -
Joined
-
Last visited
Posts posted by Philipp Kunzli
-
-
3 hours ago, Matthew Figueroa said:
Hi Philipp,
I have prepped a show a few times now where they shot with the Sony FX9. The DP and their post team seemed pleased with the Cropped 4K sensor mode. They were using Canon Cine Servo 17-120mm with the Wooden Camera E to PL adapter. That particular lens was able to cover 5K Crop mode on the FX9. From speaking with the DP, they came from shooting their show with Sony F55s and the same lens arrangement. The show was shooting in remote wilderness in the US.
If you're planning to shoot with the Fujinon MK that might pair well with the native E mount of the FX9. I see this as an improvement across the board compared to the FS7.
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
-
3 hours ago, AJ Young said:
To be honest, the Venice will blow the F55 out of the water in both operationally and image quality....
If you're looking to invest into a camera package to make money on it (or be hired because you have it), then go with the Venice.
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?
-
8 hours ago, Robin R Probyn said:
… basically the closest thing to a Venice image wise, is now the fx9.. not the same sensor but FF and " Venice color space ".. the Venice s709 LUT for Slog3 is also what Sony recommend for the fx9 ( but its a bit green )..
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! -
On 1/24/2019 at 12:00 AM, Matt Figler said:
Sorry for re-directing this thread Rich. If anyone else needs a comparable Arri Bayonet/standard to PL Adapter get in touch -- For sale @$300 USD + ship. Will throw in a pl mount rear cap for free also.
Hey Matt
Is your Mount still on sale and would you ship it to Germany?
Philipp
-
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
-
I don't think you'll find anything beyond 1:1 in a snorkel if you want the lens small enough to pass through a miniature, you'd need a bigger model if you want it to look bigger.
I used to work at a rental house that had 3 high end snorkel/periscope systems.
The P&S Technik T-Rex can take PL lenses and has very versatile configurations but you probably want something like the Optex Excellence or Cinemagic Revolution that have small custom lenses. They all have different features like the ability to zoom or pan or do a complete roll etc. It probably depends on what your local rental houses can supply. There are also cheaper Innovision snorkels that might do the job.
I think the T-Rex is to big for the model - and it's definitely more in the way of the Opted System. ARRI Cologne has this one and I'll check it out the next few days...
Moving the model Instead of the Camera is a nice idea, but as you said, I do think that the boom-up is easier with the camera on the dolly...
THX a lot for your support! Philipp
-
Hey Everybody
I'm right now in preproduction for a commercial and I was wondering if anyone has some advice for me.
The commercial is going to be one long shot in which the camera "fly's" true a built model-world.
Model size 5-20cm high around 0.5m wide over a distance of 1.5m.
My plan is to have a GFM Secondo Dolly on tracks, parallel to the model. Rig the camera out over the model by using a U-Banig or similar and use a PL-snorkel to get deep into the built world...
Unfortunately we can't afford a remote head or Motion Control.
What are your thoughts. Is it possible to "fly" smooth thru the model "only" by manual dolling, (traveling and boom) and operating on a fluid head?
Further, what Snorkel lens would you recommend?
The cheap one would be the "Periscope Century 2000" with standard lenses. Unfortunately I don't think that even a 1:1 Makro will be close enough...
I'm looking forward to hear your thoughts!
Philipp
-
If you're asking why these particular E mount zooms can't be converted to PL, it's all down to budget.
Hey Satsuki - Thanks for your E-mail
Of corse, I understand the "trade offs" as you call them. Lens manufacturer have always to make compromises and decide where they're going to "place" their lens on the market. And of corse, I'm aware of the physical conditions that "limit" the building of a lens.
I just like the philosophy of Zeiss who offer a small, PL zoom lens... which of corse, cost a few thousand more, but still it's cheap and a great deal. And in that thought I'm curious why Sony or Canon don't consider this direction and offer their cheap lens with a PL mount. Even it would cost a few thousand $ more...
-
Well - what shall I say
What I don't get is the "why" for example Sony and Canon don't offer them with a PL-Mount. As Zeiss with their newest LWZ3 (21-100mm /f2.9 - 3.9 /1,9kg) show, it is possible.
Of corse, lens Manufacturer want to protect their more expensive Products, like the CN17-120. But choosing the right lens for the right project, for me it is as important as picking the camera.
I shot my las documentary on the Fujinon Cabrio, I love it, I know I'm going to shot on this lens again, but this time it is just not the right one the project...
Maybe being less afraid of the competition - and believing more in their own products makes them look more professional and attractive. But that's just my opinion...
-
Hey Everybody
I'm in Preproduction for a documentary Film an we are Looking at different lens Options. The Production Company owns a Sony F55. Since there is a lot of run and gun shooting, I'm looking for a very lightweight zoom leans.
Is there a possibility to mount an E-mount lens, like the Sony 18-110 F4.0 on the PL-mount camera,
OR is the focal-plane completely different?
I didn't find anything on the web.
THX a lot for your Support!
Philipp
-
your not on centre crop or anything are you.. or 2K..
Everything standard... no center crop / 25fps / HD/1080 / XAVC ... and 90°... (S-Gammut3/cine/Log-3)
But other then that, I was and I'm quite Happy with the performance and handling of the F5.
-
but this speed is so high in the F5 .. like the Alexa/Amira/RED etc.. that it shouldn't be a problem for 99% of shots..
...but a truck passing by at 20-30 miles/hour...? I definitely never recognised distortions like this on the Alexa or Amira...
I attached a draft floorpan how the setup looked like.
-
ah ok fair enough.. sorry I cant be of any help.. the upgrade is 100% not going to change the rolling shutter.. the F55 has global shutter and all the wiring to achieve it on the sensor.. that why is a lower ISO .. or one of the reasons anyway.. but the 4K/UHD works perfectly..
Ive never noticed any problems with rolling shutter my self.. except at 300km,s and that was only poles very close to the track.. but Ive never shot traffic at below 180 shutter.. if it was a known problem there would have been alot of noise about it on the Sony forums..
Interesting... I'll have to check out some different shutter angles. In reality it shouldn't increase the effect... It actually should be more towards the opposite.
-
I dont think the upgrade has anything to do with rolling shutter.. due to the fast refresh rate Ive never had any problems with it on the F5.. except shooting from a bullet train at 300km with posts next to the track.. but ordinary traffic no problem at all.. all the Arri,s are also rolling shutter.. but unlike DSLR,s the refresh rate is very fast so its only in extreme cases.. and flash photography its a problem..
I usually shoot at 180 degree shutter too.. I can only guess that your 90 degree shutter is causing the problem ? can I ask why you are shooting at 90 degree,s..
The choice for the 90° shutter is a creative one. It's a documentary about catastrophes and practicing how to react during events like this. The movie has "two layers" and in the one during the exercise and practicing, I'd like to give the image a bit more of an edge
-
Rolling shutter effect on Sony F5. (HD/25fps / 90° shutterangle)
RED KOMODO
in Red
Posted
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