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Found 6 results

  1. Selling my Elements Micron 15mm dovetail/bridgeplate package with shim and shoulder pad. (this was primarily used with Sony F5/55 camera) The package is solidly built with quality workmanship in design and machining. Everything included is still in excellent shape and working as it should. This setup is for 15mm rods and was used primarily with the Arri MFF-1 follow focus and MMB-1 matte box on a Sony F5. The entire package consists of: 1x ELEMENTS MICRON 15MM DOVETAIL • Designed to be a scaled down version of the Arri dovetail for 17mm rods. This is shorter, thinner and lighter to accommodate 15mm rods • Sturdy safety catches at both ends of the dovetail • Provides quick, easy adjustment when needing to slide your camera forward or back for balance, focus, framing or other reasons • Easy release of bridgeplate for immediate transition to handheld mode 1x ELEMENTS MICRON 15MM BRIDGEPLATE • Should mount to all professional and/or prosumer camera models as well as quick release plates • Locking knobs for rods and dovetail are easy and precise to use with solid hold • Travels the length of the dovetail with no snagging 1x ELEMENTS MICRON SHOULDER PAD • Shoulder pad is easily removed via a single bolt matching the majority of quick release plates • Pad is able to stay mounted as long as you are using the bridgeplate. Even when mounted on a tripod or any fluid head. Easy transition to handheld by simply sliding the bridgeplate off of the dovetail and you’re ready to go. 1x ELEMENTS MICRON SHIM FOR SONY F5/55 • This is used to provide the precision spacing to allow a matte box or follow focus to align vertically with the optical center of your lens(es) ALL NECESSARY HARDWARE (15MM RODS NOT INCLUDED) Asking $650.00 - FIRM. Available for pu in NYC area. PayPal / Chase QuickPay only
  2. Hi Guys, Just looking to confirm some Sony F5 sensor size and lens crop factor. Sony F5 = Super 35mm sensor Super 35mm Crop Factor 1.5 So an 18mm lens on an F5 or any Super 35mm equivalent sensor is more like a 12mm lens? As 18 / 1.5 = 12 Is this correct? Thanks Steve
  3. Hi guys, I’m putting my F5/R5 Raw Recorder kit up for sale. It’s a complete, ready-to-shoot package, in excellent condition and has served me extremely well on commercial, narrative and documentary content, it's a camera that does it all. Package includes the following: - Sony PMW-F5 with 4k Internal Recording Upgrade - Sony AXS-R5 Raw Recorder - Sony DVF-EL100 OLED Viewfinder - 4x 64GB SxS Cards (1x SxS, 3x XQD + Adapters) - 2x 512GB AXS Raw Cards - Sony USB3 SxS Card Reader - Sony AXS Raw Card Reader - Element Technica Top Plate - Element Technica Side Plate - Element Technica Micron Bridgeplate System for 15mm LW - Element Technica Studio Riser (For Conventional Bridgeplates) - 3x Element Technica Micron Dovetails - Dovetailing Handheld Kit (Berkey System 15mm Handles + Micron Dovetailing Shoulder Pad)
 - Berkey System 15mm Rails

 Looking for $19,000 USD / $25,000 AUD for the whole lot, so you can save yourself a bundle.
 
Here's the camera:

 



 

 The dovetailing shoulder pad: 

 

And how the handheld kit works:

 

 

 And, so you can see what the camera's capable of, my showreel (about 90% of which has been shot with the F5):

 [VIDEO] [/VIDEO]
  4. I recently posted this to lighting then realized this may be a better place to pose the question. I'm new to the forum and can't figure out how to delete posts so I apologize for any repetition. Anyways, I recently shot a music video and have run into a bit of an issue with the highlights. One of the hero props on this one was a set of floating, glowing orbs a la John Carpenters "Starman". The characters had them in most scenes. Images attached. I was shooting on a Sony F5 with the Raw recorder. We also had proxies at XAVC 2k going to SXS cards. I rated the camera at 1250 most of the time to lessen noise, but when dealing with extreme highlights went to 2000 to have the most headroom. No LUTS were baked in, and I shot S-LOG2 Both the proxies and the RAW recordings have this issue. It shows up in Sony RAW Viewer and in Premiere CC. It shows up when looking at the RAWs and the SXS XAVC proxies. We decided early on to fly an actual LED light source on strings and do our best to hide the wires (which were also powering the orbs) It turned out great and we were ecstatic on set. Being able to key light with a moving source that was also a prop was amazing. However, when looking closer at the captured footage we found that the banding and pixelation around the orbs was terrible, especially when pushing the exposure towards the dark end. Quick movement seems to accentuate the issue. The odd thing is that the frames themselves seem fine, only when playing back do they look odd. The paused frames are clean of banding and posterization. I figured with 16BIT RAW we would be fine. It was obvious we were clipping the highlights. We tried to do so whenever possible to avoid too much compositing. Most modern digital cinema cameras aren't film....but highlight roll of is quite decent nowadays. What I wasn't expecting was terrible banding and posterization. Here is a clip (prores export, not de-squeezed, Slog) that shows the worst of it. It happens a lot. You have to watch in HD to notice the issue. https://youtu.be/vbKAWkfgCA8 Notice the posterization on the orb as it descends and on his face as it crosses around his back. We had planned to composite a VFX orb over some of the blown white highlights anyways. So, I would imagine that smoothing the banding in post might be an option, but it even shows up on hands and faces that get too close to the clipped highlights, as seen in this clip. I have no idea how to fix this issue. Is it something debearing or reincoding may fix or am I just out of luck? Im no expert, but I assumed the camera would be able to handle some blown highlights. After all, clipping windows, little hot spots, and clouds can look fine on this camera in my experience. All of my research pointed to the ability to wrangle down highlights in post. If anyone has any helpful words it would be most appreciated. Im not the most tech savvy at this point in my career, and even if this project is unfortunately hurt by this issue I would love to know why it happened and how to avoid it in the future. Or if anyone has any pointers towards a fix/workaround. My hope is that is an issue with post processing and not something that the raw recorder or F5 did internally...Like I said, the frames themselves are clear of the issue, it is only when you hit play that the digital garbage appears. Thanks so much for your time!
  5. Shooting with Sony F5, the idea is to have a final film with a cinemascope look once it'll be projected. I know I can't have the choice but to shoot with the native aspect ration of 17:9 of the F5, I'll so put the letterboxing markers (2.4) that crops the native aspect ratio. My question is: do I lose lots of resolution once I put 2.4 mattes on the 17:9 native to create the cinemascope look? What could be the solutions? If I shoot 4K external could be a better compromise to the loss of resolution? Since I'm recording with an higher resolution then the internal 2K? (When I set the mattes in the camera, do I record already with them? or the markers are just guide lines that help me framing knowing what would be the cinemascope look at the end?) If I shoot with Red Epic (Dragon sensor), what could be the best aspect ratio settings for a final cinemascope look? 6 wide, or do I crop later with the mattes? I can't use any anamorphic so I can't take this possibility into account. Thanks a lot for any help!
  6. WANT TO BUY! Looking to buy used PL-mount camera in good condition and fair price. Preferably EU /Europe as i am in Sweden. Canon C300 Canon C500 Sony F5 Sony F55 Other PL cameras (Alexa, Red Epic) can be of interest as well. PM me with offer! Thanks
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