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Found 9 results

  1. 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.
  2. You are looking at my trusted Sony PMW-F5 Camera. I've just upgraded to another system and unfortunately have to let it go. The system only has 634h on it's back and includes the 4k upgrade that allows for internal 4k recording. The package includes: 1x Sony PMW-F5 camera body and handle (PL-MOUNT) 1x Sony DVF-L350 3.5" Color LCD Viewfinder (Loupe included but not fully functional) 1x Sony SxS Pro+ 64GB Card 1x SxS Card Case 1x Movcam Shoulder Rig with sliding baseplate and shoulder pad 1x Movcam Right Handgrip Batteries (V-Mount) are NOT included. New this set up cost me $22k. I'm offering it for $8999 incl. Free US shipping. http://www.ebay.com/itm/122590849000 It's a great camera and has worked for me very reliably with no corrupted files or any other technical hick-ups. Neither screen nor sensor have any dead pixels or other glitches. It's never been rented out and has only been used on my own shoots. IMPORTANT NOTE: the camera is updated to version 7.01 and since it's one of the first units (Serial: 0100383) released it CAN ONLY be upgraded to version 8+ by Sony, which is a free procedure they provide. It's fully functional now and I've tested this version for 100h+ so far with no problems. All sales are final and there are no returns accepted, so please feel free to ask any questions before buying. I only ship to CONFIRMED Paypal addresses and NO PO Boxes. Thank you for your interest! More pics on ebay:
  3. Dear colleagues, I have already put on my website the article that we published in the spanish Cameraman magazine about cinematography of TV serie "Pambelé" with the Sony F5 camera. We talk about Luts, sensitivity and exposure. I hope it's of your interest. The article is in both, Spanish and English. You can download from http://www.alfonsoparra.com/index.php/reportajes/el-color-en-forma-de-fabula Best regards Alfonso Parra AEC,ADFC www.alfonsoparra.com
  4. Hi guys, Selling my F55 kit. Hours are around 1050. I'm looking for £20,500 (+ 20% vat if applicable) for the list below. All beautifully boxed by Case Design. Photos attached, although I don't have the Arri Pro Support set that you see in the photos anymore. Sony F55 + DVF-EL100 OLED Viewfinder 4 x Sony Olivine Batteries Sony BC-L90 Battery Charger Sony SxS Pro+ Card128GB R5 Raw Recorder (Hours: 370) 2 x Sony AXS Card 512GB AXS Card Reader Rigidised Aluminium Camera & Accessories Case with lazer-cut interior Rigidised Aluminium Battery and Charger Case (can accommodate 6 Olivine batteries) Cheers, Jamie Kennerley jamiekennerley@hotmail.com 07863 180 802
  5. 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!
  6. I am selling my mint condition Optitek ProLock Mark II. I used it about a dozen times on a F5 with various Canon EF lenses. This is a great option for using more the affordable Canon DSLR lenses on the F3/F5/F55. The KEY feature of the Mark II is that it is powered by the mount so so power cable is required. New was $1800, asking $1400. Make an offer! Pictures emailed upon request The Prolock EF has electrical contacts to allow powered control over the iris in 1/3 stop increments via keys on the mount. The mount adapter also provides power to IS stabilization and internal focus servos. When used with the Optitek Optitron Lens Controller, precision repeatable remote focus control is also available. The Optitek Prolock EF draws its power directly from the camera mount, so no additional cable is required. The Optitek Prolock EF also features a PL-style clamping lock ring on the Canon EF mount, assuring that the lens will not shift in the lens mount.
  7. My Chevy Avalanche was stolen Monday night along with my Sony F5 camera, tripod, and Porta Brace Accessory bag. Avalanche found in bad shape, but everything else gone. If you hear about THIS camera being pawned off anywhere in or around Los Angeles, please call LAPD West Valley division immediately. Suspects driving a Saturn, believed to be two male Hispanics in or around the Encino, CA area. Almost every piece on this Pinterest board was stolen. All serial numbers are included. If you come across any of them, please contact Detective Fillmore #37036, phone (818)374-7753. Thank you. http://www.pinterest.com/bdzyak/sony-f5/
  8. I've just been finishing up an article about how Panasonic have a new handheld P2 camera that can record to off the shelf SD cards at up to 50Mbp/s and turned to the front page to discover David had posted this article: http://www.redsharknews.com/technology/item/1532-totally-unexpected-move-by-sony-f5-and-f55-cameras-to-support-prores-and-dnxhd WOW! Things are changing in the camera industry that's for sure! Freya
  9. Hello all, I'm new to the forum as I recently purchased a Sony F5 package, a decision made for our production of an upcoming indie film. After getting hands on this product I am blown away. What a beautiful image. In looking at lens options on a budget I'm drawn to the Angenieux 25-250 T3.9 from the mid 70's (no135 and up). Does anyone have experience using this lens on a digital cinema camera at 4K or above? I want to say "if it was good enough for Kubrick it is good enough for me." I understand the exterior zooms in Barry Lyndon were all shot on this lens. Thanks and I look forward to being a part of this forum. PS: This is not my setup in the pic
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