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My Gear


Found 12 results

  1. I have a studio shoot coming up in which I need to shoot a bunch of 120FPS footage with limited lighting (probably no more than a 2' 4 bank Kino and 2x 1x1 LEDs). I unfortunately don't have the budget to do much camera testing, and I'm wondering if there is a consensus as whether the Sony FS7 or a Red Dragon will give me better high speed low light performance.. would appreciate any insight!
  2. Hi, In the current scenario, with price of C300M2 and FS7M2 almost same at around $9000, needed a suggestion as to which one to go for. The camera would be used to shoot fiction, documentaries and corporate films. Also when not in use by myself, I plan to rent it out. I understand from previous threads that producers are usually asking for FS7. Being fairly new to the industry, I needed to know if producers globally ask for FS7 or in just some specific countries. As this would be my first cinema camera, I would like to know which camera will pay for itself sooner? Thanks H
  3. Hey, does anyone have a FS7 or FS5 profile for their Sekonic meter? Only available one online for Sony is the F65. Cheers.
  4. Canon CN-E Prime Lenses 24mm T1.5, 35mm T1.5, 50mm T1.5 In excellent condition. EF mount, covers S35 and full frame. Asking $3400 CAD ($2600 USD) each. Contact info@johnker.com. More photos available. Lenses are located in Toronto, Canada.
  5. Hello, I have a short film approaching and some of these shots are in a very tight space, allowing only me as an operator to be close to the action and the actors, forbidding the use of a 1st AC. Due to budget and time reasons we are using my FS7m2 with the 18-110mm G OSS F4 Sony lens. As I discovered, my 1st AC can remotely control the camera thru the Sony wifi dongle that comes with the camera and a smartphone. I have successfully manage to connect the camera with my iPhone and to my surprise all the controls work flawlessly and with no lag. Except the focus control slider that is very very slow and not usable. Does anyone ever used the wifi controls with an Fs7? Do you also have problems with the focus? I am very disappointed as this would have make quite a difference in these tight shots. Thank you, Hector Papageorgiou
  6. I have my two Sony complete 2nd camera systems that I'm selling - multiple Arri shoots means it's time to change out some barely used gear, so the two 2nd camera systems are on the block. Both are in great condition, both are very complete as shooting kits, and both have very low hours. One is a Sony F5 4k model, with the AXS-R5 RAW back option, media and all the rest - very low studio only hours at 588 (and only 38 hours on the back). I'm selling it for $10,800 just for the F5, with PL, FZR, Leica R and Canon EF lens mounts and more. The whole package with the AXS-R5 back, 3# 512 Gb SSDs, QXD Adapters and media, V-Moun to Anton Bauer plate, Arri LWS shoulder rig and shell case is $17,800 plus shipping. The other is my Sony FS7 Mk1 camera system with just 153 hours on it, which again is fully rigged with the XDCA-FS7 Adapter for RAW and more codecs, the fabulous Zacuto Gratical HD EVF, a full Zacuto Recoil shoulder mount system, XQD media and batteries. The basic FS7 camera is $5,750, including an ergocine shoulder rig and camera cage. The complete camera package, including the XDCA-FS7 back and power unit, the Gratical HD and Recoil systems, media and batteries is just $10,500 plus shipping. There is too much to list here, so I've put everything up at https://www.clai.tv/chris-layhe-clai-tools-2/ with photos at https://flic.kr/s/aHsmkm12cn. Call Chris at 650.762.5241 or Chris@CLAi.tv in the San Francisco Bay area.
  7. Element Technica Micron camera mount with LW 15mm rail mount, dovetail, padded shoulder mount, and riser plate. This works with most Sony F series cameras (FS700, FS-7, FS-5, F-5, F-55, F-3) and Canon C series cameras (C100, C200, C300, C500). The mount is in great shape with only a few minor scuffs to the anodization. Works great, but I don't have access to an FS-7 camera anymore. :( This is being sold as a complete set, so don't ask me to part is out. PM me for details. This is a duplicate listing because I can't delete the original and this is a better picture of the camera mount.
  8. How exactly is the 1080p achieved in this camera? Is it downscaled in camera from the 4k like a hardware downscale? Or is it some complicated in camera magic happening?
  9. EDIT - damnit, sorry I totally posted this in the wrong category.. oops I have a studio shoot coming up in which I need to shoot a bunch of 120FPS footage with limited lighting (probably no more than a 2' 4 bank Kino and 2x 1x1 LEDs). I unfortunately don't have the budget to do much camera testing, and I'm wondering if there is a consensus as whether the Sony FS7 or a Red Dragon will give me better high speed low light performance.. would appreciate any insight!
  10. Has anyone checked these out? http://www.ultimateexposureguides.com/ I'm a relative newcomer to the Sony F3 and I am wondering if some of this material could be of use to me. Maybe the FS5 would share enough in common with the F3 to make it worthwhile for me to get the FS5 Guide? I do plan on hiring the FS7 so that too.
  11. Hello Guys, I am gonna start shooting a documentary next week and our main camera will be the PXW-FS7. I already check many topics, tests and other reviews. I first decided to shoot in 1920 X 1080 in S-LOG 3 / Gamut 3. Two reasons to that, first one being mobility and also wish to keep an good latitude for the grading at the director looking to a specific style. Here an example of the kind of footage we looking to end up with For some of the interview we will have a second camera which will be a Sony A7S. The Director already order a Shogun to go with it. As the A7S is capable of shooting in S-Log 2, I wonder: is the Shogun still relevant? And if I have to keep it, should I still set the camera in the Log mode? My worries are that the Shogun record only the under-expose, milky footage from the S-log but without the possibilities of grading which are suppose to come along with it. Then it is possible some day we will have to shoot with C100 but that will become an other problem. Thanks in advance for your answers All the best
  12. Hello! I'm a director and shooter based out of Indiana. Please feel free to ask me any questions, I will try to get you an immediate response. I'm selling my Sony FS7. I purchased it as a B-Stock (a demonstration model) from B&H photo about a month ago. Perfect working condition, only has 22 hours. B&H and Adorama will tell you that anything under 100 hours for this camera is practically brand new. I'm only selling it because I honestly can't afford it right now. It's a beautiful camera. S-Log3 is gorgeous, and it shoots killer slow motion in full HD at up to 180 FPS. Photos of the camera on Flickr: http://flickr.com/photos/evanburke/sets/72157654732113992 Includes all the original accessories and the box. • Sony PXW-FS7 XDCAM Super 35 Camera System • Body Cap • Viewfinder • Eyepiece • Grip Remote Control • Wireless LAN USB Module (IFU-WLM3) for Sony VPL-E200 Series Projectors • Wireless Remote Commander • WA Adaptor Bracket • MPA-AC1 AC Adapter for EVI D100 CCD Camera • SOBCU1 Battery Charger • BP-U30 Lithium-Ion Battery • 2 x Power Cord • USB Cable Additional accessories: • I've got a 64gb 1333x Lexar XQD card that I'll throw in for $100 • And I've got a Yongnuo EF-E adapter to let me use my Canon glass that I'll throw in for $75. Tech Specs: • Super 35 Sized CMOS Sensor • Sony E-Mount • UHD Up to 60 FPS, HD Up to 180 FPS • XVAC-I, XVAC-L, MPEG-2 • XVAC-I Up to 600 Mb/s • Dual XQD Memory Card Slots • Dual HD/3G-SDI & HDMI Output The 4K Super35 EXMOR sensor with features 14 Stops of latitude and a wide color gamut. It offers a choice of XAVC or MPEG-2 codecs. The XAVC codec can be used for 4K and HD recording, while MPEG-2 ios limited to HD recording. XAVC comes in two flavors, XVAC INTRA, and XVAC Long, allowing you to encode from HD to UHD using Intra-Frame or Long GoP compression with 10-bit 422 for HD and the choice of 10-bit 422 or 8-bit 420 for UHD. XAVC intra compression is very efficient, recording at modest bit rates and XAVC Long also substantially extends the recording time while attaining very high quality and low noise. The PXW-FS7 is equipped with an E-Mount machined from solid Stainless Steel for stability and strength. It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance allows you to mount most 35mm lens types such as PL, DSLR and legacy SLR lenses including Canon EF, Leica, and Nikon as well as many others with mechanical adapters. The camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It's incorporates a shoulder pad and is designed to sit on the operator's shoulder or by extending the support arm of the SmartGrip to be held in front of the operator without requiring a support rig. The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. Both the arm and handgrip can be positioned at different angles permitting great flexibility. FS7 records internally in 4K up to 60fps in UHD 3840x2160 and in HD up to 180fps using XAVC-I or up to 120fps with XAVC-L. Recording Apple ProRes to the internal XQD slots requires an optional EXCA-FS7 extension box and future upgrade. The camera features two XQD media slots that support simultaneous or relay recording. The camera also has an SD card slot that is only used for saving configuration data, and cannot be used to record video.
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