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good camera body for steadicam to intercut with Venice footage


Cynthia Brett Webster
 

I would recommend the Sony FX9 as the FX6 and FX3 have an image Sharpening feature that cannot be defeated, at least with the present firmware... SONY are you listening?

Cynthia Webster DP
Los Angeles



On Thu, Apr 22, 2021, 6:38 AM Michel Suissa <michel@... wrote:

Hi Roberto,

i would second the suggestions already posted.
Sony FX9, FX6 and FX3 as the “mirrorless” cinema camera companion of the rest of the Sony cinema camera line are excellent choices. 

Note that the FX6 could be the hardest one to get due to very high demand and relatively low supply. 

Depending on preference, other options on the market could be the Panasonic GH line, the RED Komodo or even Blackmagic cinema cameras.


cheers 

--
Michel Suissa 
The Studio-B&H


 

Andrew.

All very good points, I was thinking purely along the lines of picture matching but off course its not just the pictures.

The weight is a real problem, I’ve just come of the phone to a friend whose bought an FX9 and thinking about buying an FX6 as a second camera and I was saying just how insanely light it is. We were trying to balance one on a Ronin S with a Sony 24 - 105.  Combined weight is well within the limits of the FX6 payload but the body is so light it would’n’t balance.

Michael Sanders

London based Cinematographer and host of The Camera Channel podcast, available on Apple Podcasts and Spotify.

+ 44 (0) 7976 269818








On 22 Apr 2021, at 09:41, Andrew McClymont (Alpha) <andrewmc@...> wrote:

5. In this case, putting professional anamorphic lenses on a lightweight camera essentially means mounting the lens to the Steadicam rig, and the camera to the lens.
Which is a lot of fun for quick lens changes ...

Also, small cameras can actually be too light.
To get a full-size rig working properly, I would be adding a weight plate to an A7S/FX3.


Michel Suissa
 

Hi Roberto,

i would second the suggestions already posted.
Sony FX9, FX6 and FX3 as the “mirrorless” cinema camera companion of the rest of the Sony cinema camera line are excellent choices. 

Note that the FX6 could be the hardest one to get due to very high demand and relatively low supply. 

Depending on preference, other options on the market could be the Panasonic GH line, the RED Komodo or even Blackmagic cinema cameras.


cheers 

--
Michel Suissa 
The Studio-B&H


Daniel Chung
 

Roberto,

If you are shooting 2x or 1.8x anamorphic I would recommend looking at the Sony FX9, Z CAM F6, S1H or Kinefinity Mavo LF if you want a 4K final output. After the FX9 my guess is the Z CAM will match the Venice the closest. 

A7S III and FX6 won’t give you the same resolution with anamorphic 

I have Z CAM and Kinefinity here if you want to try. S1H is easily borrowed.

Dan






On Tue, 20 Apr 2021 at 19:43, Ganzo <roberto@...> wrote:
On the show I'm starting we might not be able to source a 4th Venice body so I'm considering an alternative for the steadicam use. There will be day, night, all lighting conditions. Any knowledgable suggestions for a camera body PL mount that can handle anamorphics that might be more available? In the UK. We're shooting 6K and framing 2:1 by pillarboxing.
--
Roberto Schaefer, ASC, AIC
London, England
The Key To The Light Is In The Dark


Andrew McClymont (Alpha)
 


On 22 Apr 2021, at 6:20 pm, Michael Sanders via cml.news wrote:


It maybe worth trying to get your hands on an A7s3 or an FX6, effectively the same camera but the FX6 has TC in and Variable ND ...


As a Steadicam operator, I would much rather deal with an FX9 or even an FX6 if necessary, than an A7S or FX3.

1. We operators like SDI. We’re not looking at an on-board monitor or viewfinder, so we need a robust and reliable connection to the rig.
2. HDMI-SDI converters are annoying, often produce at least a frame or more of image lag, and are prone to intermittent signal failure.
3. We like the ability to power the camera (if necessary) from the rig.
4. Lens mounts need to be super-solid to avoid vibration
5. In this case, putting professional anamorphic lenses on a lightweight camera essentially means mounting the lens to the Steadicam rig, and the camera to the lens.
Which is a lot of fun for quick lens changes ...

Also, small cameras can actually be too light.
To get a full-size rig working properly, I would be adding a weight plate to an A7S/FX3.

So … MiniLFs are a great Steadicam camera.

Andrew McClymont
Cinematography
Sydney AUSTRALIA

Mobile:
0417 265524
Mail:






 



 

(Sorry for not signing - I did it via the web interface which didn’t automatically add my signature!)

Michael Sanders

London based Cinematographer and host of The Camera Channel podcast, available on Apple Podcasts and Spotify.

+ 44 (0) 7976 269818








On 22 Apr 2021, at 09:20, Michael Sanders <lists@...> wrote:

Roberto..

It maybe worth trying to get your hands on an A7s3 or an FX6, effectively the same camera but the FX6 has TC in and Variable ND where as the A7s has no variable ND or TC in but does has IBIS.  Both can record RAW on an external recorder and are insanely good in low light.  They aren't as good as the Venice obviously but you'd be amazed at good they are. There's also the FX3 which is a kind of Cinevised A7s3.

Depending on what you are doing to the pictures they might just work.
 



 

Roberto..

It maybe worth trying to get your hands on an A7s3 or an FX6, effectively the same camera but the FX6 has TC in and Variable ND where as the A7s has no variable ND or TC in but does has IBIS.  Both can record RAW on an external recorder and are insanely good in low light.  They aren't as good as the Venice obviously but you'd be amazed at good they are. There's also the FX3 which is a kind of Cinevised A7s3.

Depending on what you are doing to the pictures they might just work.
 


K_Skowron
 

Hi Roberto,

If the budget is an issue I would definitely consider Lumix S1H, it can handle all the things you mentioned including a PL mount. It's a very powerful and cost effective camera :)
I love what Panasonic was able to put in that little body :)

Good luck with your project. 

Kacper Skowron

Cinematographer
t. 310-956-2528
LA | NYC | CHICAGO | WARSAW
www.kacperskowron.com






On Apr 20, 2021, at 11:43 AM, Ganzo <roberto@...> wrote:

On the show I'm starting we might not be able to source a 4th Venice body so I'm considering an alternative for the steadicam use. There will be day, night, all lighting conditions. Any knowledgable suggestions for a camera body PL mount that can handle anamorphics that might be more available? In the UK. We're shooting 6K and framing 2:1 by pillarboxing.
--
Roberto Schaefer, ASC, AIC
London, England
The Key To The Light Is In The Dark


Kris Denton
 

Roberto,

If you’re going that route definitely an FX9 over an FS7.

Much better image quality verses the FS7. Speaking from six years of experience owning two FS7’s and twelve months with two FX9’s


Kris Denton
DP
Los Angeles




On Apr 21, 2021, at 9:40 AM, Ganzo <roberto@...> wrote:

[Edited Message Follows]

Thanks Graham. I have thought of that too but it's not only availability but budget too. I was thinking more like a Sony FX-7 or...
--
Roberto Schaefer, ASC, AIC
Venice, CA
The Key To The Light Is In The Dark


Roberto Schaefer, ASC, AIC
 
Edited

Thanks Graham. I have thought of that too but it's not only availability but budget too. I was thinking more like a Sony FX-7 or...
--
Roberto Schaefer, ASC, AIC
Venice, CA
The Key To The Light Is In The Dark


Graham Futerfas
 

Hi Roberto, When I worked on ‘Yes Day’ for Netflix, they mixed Venice and Arri Mini LF. Not sure if that helps but maybe you can look at it and see.

-Graham


---
Graham Futerfas
Director of Photography
Los Angeles, CA, USA
web www.GFuterfas.com

Sent via phone


Roberto Schaefer, ASC, AIC
 

On the show I'm starting we might not be able to source a 4th Venice body so I'm considering an alternative for the steadicam use. There will be day, night, all lighting conditions. Any knowledgable suggestions for a camera body PL mount that can handle anamorphics that might be more available? In the UK. We're shooting 6K and framing 2:1 by pillarboxing.
--
Roberto Schaefer, ASC, AIC
London, England
The Key To The Light Is In The Dark