Michael Slowe
Forum Replies Created
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Ronnie, you’ve asked a lot of questions.
The proper Pro S X S cards are very resilient and are designed to take literally thousands of re records so you should be OK, provided they haven’t been thrown around, and why should they have been. I don’t know if there is a test that Sony do to evaluate their cards.
As to 4k, even though the new Sony PXW-Z150 (which I may go to after my EX1) will shoot 4K, I doubt that I’ll do so. It really is only a help when you have to do a lot of post work on your image, or zoom in to small areas of a frame, otherwise no real advantage. TV doesn’t transmit it, clients won’t want it (yet) and it isn’t worth the hassle technically in my opinion (others may disagree).
Michael Slowe
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Marcus thank you so much. That link you posted leads to a wonderful read as you promised. There is so much there but one conclusion I agree with is (as applied to editors), “you can’t teach an old dog new tricks”. I feel that sticking with Media 100 certainly follows this mantra. The sections about 4K are really interesting and here again, I feel that my instinct to stick with HD are justified. The explanations on 4K are illuminating, it isn’t as straightforward as we are led to believe. The various permutations with regard to post production are amazing and have to be studied carefully to readily understand the options and likely results. Finally, the master class on shooting and conducting an interview is one that all documentary film makers should devour. I’m proud to say that I follow almost exactly the suggested practice, it is worth reading. I urge all colleagues to follow the link that Marcus mentions.
Michael Slowe
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Marcus, thanks for this but aren’t you complicating things? Why not do a comparison by shooting 4K, import as 1080 ProRes, then shoot in 1080, import that and compare both clips on a timeline? My quandary was whether one gains by originating in 4K or not.
Actually, when I do get the new Sony PXW-Z150 I’ll probably continue shooting in HD, it’s just not worth shooting 4K at present. Whether I can get the new Sony codec, XAVC into Media 100 is another matter, might have to move from Sony Transfer to their current Catalyst Browse.
Michael Slowe
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Well, I have been wondering this for quite a while as I’ve posted a question recently. Actually there was an exchange between a poster and Ian only the other week but he never answered my query concerning Sony’s new camera, the PXW-Z150.
Michael Slowe
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Brian, there is a brilliant guide to this camera (and indeed many others, including my own EX1). It is produced by Vortex Media and their chief guy is Doug Jensen who does wonderful Master Classes, I’m surprised you’ve never heard about him, I couldn’t possibly have managed over the years without him.
They have stopped selling DVD’s of these Tutorials, they now put them on Vimeo and you have to rent them, for a max of six months. Look up Vortex Media and you’ll find it all, absolutely essential for a new camera.
What I wanted to know was how you dealt with the exposure in a run & gun situation, and how you found the camera generally. Actually, now I’ve tested the FS5 I’ve decided to wait for the PXW-Z150. This was due out in April but Sony have been badly affected by yet another earthquake and this camera will not be available until the end of summer. Vortex are,are, even now, in the course of making their Tutorial on the Z150.
Michael Slowe
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Brian, how do you get on with setting exposure with the FS5? I have been thinking about switching from the EX 1 to the FS5 but couldn’t get on with the peculiar ways of setting the exposure. No iris ring, odd combination with iris and the (good) variable ND. I need sick, intuitive standard controls for ‘run & gun’. How do you find it?
Michael Slowe
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Jonas, I have tried telephoning the owner of Innobits but am getting no reply, I will try again. Meanwhile, have you tried buying whatever version is available from the Innobits site?
Michael Slowe
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Jonas, sorry, I see no way that I could help you. I’m not a ‘techy’, merely a film maker, and rely on support people to deal with my software. You have as much chance of getting stuff as they would. Have you tried to get whatever version is available from Innobits? What OS are you running, I suspect 10.8.5 (Mountain Lion?) would be the last one for BitVice.
Michael Slowe
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Never had this happen in 20 years! Anyone else?
Michael Slowe
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Steve, I too am thinking of changing cameras and, like you, am considering the new Z150. I’ve made many documentaries on my EX 1 and have no complaints at all with its performance. However, I do find it difficult in constrained spaces with minimising DOF, especially shooting interviews. The larger sensors of some other new Sony cameras would solve this but because of the size of the Super 35mm sensors the fitted lenses have a reduced range of focal length. I need a good range in my work so have been tempted by the Z150.
This new 1″ Stacked sensor seems ideal as you say. Shallow DOF when required, three ND filters, very good focal length range with the option of a new device to double the focal length. With the improved sensor this should not involve significant loss of quality. You say that 100mbps might not be good enough. That can’t be true, I’ve managed with 35mbps with the EX 1 and had films broadcast which looked great on transmission. If I do get the Z150 I’ll continue to shoot in HD, 4K only really becomes useful for extensive manipulation in post, or cinema projection. There again, I’ve seen my EX 1 HD material in cinemas and it looked fine.
Anyone else seen the Z150 yet, I can’t find one to try in the UK yet. There may well be a snag with it but it sounds perfect for what I want, documentary shooting “on the hoof”,no time for lens changes.
Michael Slowe