good camera body for steadicam to intercut with Venice footage
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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 |
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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 |
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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 |
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Roberto,
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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 |
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K_Skowron
Hi Roberto,
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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.
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Roberto.. Depending on what you are doing to the pictures they might just work. |
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(Sorry for not signing - I did it via the web interface which didn’t automatically add my signature!)
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Michael Sanders London based Cinematographer and host of The Camera Channel podcast, available on Apple Podcasts and Spotify. + 44 (0) 7976 269818
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Andrew McClymont (Alpha)
On 22 Apr 2021, at 6:20 pm, Michael Sanders via cml.news wrote:
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. |
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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. |
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Michel Suissa
Hi Roberto, 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.
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Andrew.
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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
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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:
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