I got abused and assaulted at a riot the other week (no damage/injuries) and it reminded me of your video from a few months ago. I am curious about the police attitudes over there in the US as they seem completely different to here in England. Whilst photographers do sometimes have trouble with the police, nowadays the police tend to leave us alone. The only issue you are likely to have is if you are getting in their way. I know people who do have a lot of trouble with police, but they tend to set out to cause trouble themselves, whereas I have a bit of an unwritten/unspoken agreement with the police - I let them get on with their job and they let me get on with mine!
Great ode to the VG30. I feel you buddy. I still have three workingVG30s in my collection. Loved every shoot with them but it's time to move on now that reliable phase-detect AF, new color science, 4K, and S-log3 comes standard with even the cheapest ZV-e10.
Thanks bud, The ls300 is good if you find one without loose or damaged parts. They’re hard to find that’s for sure lol. 1dc is great but theres always a c100 if your only doing video
Most emotional camera review ever! Stay strong my friend! You made me reconsider once again the LS-300. I was always put off by its built quality. I will have to choose between a Canon 1DC and that camera… All for the image vs swiss army knife functionality. What do you think? I do short movies (i hate the lack of focus peaking on 1DC. I can tell you that 😢). Keep up the good work! Greetings from France!
On my fs100 and the gh5s, both have larger sensors, the gh5s slightly larger, most of the distortion goes away and the CA starts to fade. So its comparable to an entry level b4 camera in image. Also who doesnt love romeros day of the dead soundtrack?
Pretty good! The doubler corrects a good amount. Would be totally usable quality for when I was shooting SD regional news. With a HD lens it would ve even cleaner. Its a shame the MTF adapter on its own doesnt do the correction, would save you needing the doubler for correction. Keen to see how it goes with a speedbooster 😊👍
Its getting it about identical to how my last b4 lens worked on a HD camera, wide open the hd lens I had to use was very soft and had a lot of CA. Even with a speedbooster, I think the lens is holding me back more than anything. Its not very wide regardless so the doubler is okay, I think I am gonna do a test to see the sharpest I can get this lens by stopping down. Some stuff here like the cars driving was so sharp and clear its good for paid work. The CA is just as bad on my b4 cameras as it is here. The MTF adapter is helping alot, it would be just garbage without that on. I think that the MTF adapter doesnt correct as good as the pricier ones, or the mirrorless ones like yours because theres room for more glass. But since I have emount and m43 mount cameras this was the only adapter I could use on either of them. I returned the b4 to m43 one I got first because I didnt want to part with my lovely FS100. But I could sell this for a good chunk of change and see if a different one would be better. Also alot of this was 96fps on the GH4 which is horribly soft. This combo is sharper than a f4 zoom lens, I cant get over how bad those are. My panny 14-140 is not as sharp as this lens at f2.8 lol. The telephoto options this opens up is big james, tele lenses for large sensor cameras are just out of control with prices, and most of them are a pain to use. This is probably as close to a quality telephoto lens that I can use for alot more I will ever get. I wish I could try an HD lens with this as well, but my new camera the gh5s comes in on Wednesday and I think thats gonna help out alot with better, and sharper, video quality. I do not think the 4k lenses are much better than the later hd ones though. And you have that unicorn cinema b4 lens that has no CA. But I do not envy the weight of that, Ill take a little CA and keep my rig under 15 pounds lol. You've been quite helpful and pleasant to chat with. Thanks mate.
@@chrisw443 if you ever want one that can do both Sony E mount and Micro4/3. The adapter I make now has user interchangeable rear mounts between E, M4/3, RF and most mirrorless. Just incase it ever interests you 😉 I am glad you are happy with the combo, it is looking good 😊👌. Have you got a video on how you have it rigged up?
@@jamesandcamera Well damn it james. Now you tell me! I am using a very heavy and annoying old 35mm Letus DOF adapter rig, Tomorrow I got a nice little plate and lens support base coming in and that'll easily move in between cameras. I love your fs7 rig btw. When this canon is stopped down to f5.6 its my sharpest lens. Isnt that crazy? Maybe thered be less CA with your adapter, but then itd be performing better than my b4 lens at fox 12 two years ago...... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ps80yJpxcc4.htmlsi=P336vSfpl9Xqr3HK this is a fox pkg we made on a very bright summer day with the sun just blasting us and the lens was not happy! lol. HD lens HD camera. That camera always made me fight it, sony's and JVC's were better picture wise.
@@chrisw443 oh wow, old-school with the letus ground glass adapter, nice 😊🤙 No need to upgrade if you are happy. A heavy camera build is pretty normal for a 2/3" system. Yeah I see what you mean about the sun with the fox camera. It's a tough lighting situation. Still, the package turned out great 😊👌
@@jamesandcamera Thanks it was a nice one, got some neat shots. Miss that job, dont miss the 30 pound tripod they made me use. New setup should keep the new rig very light, well as light as this b4 lens will let me be. Should have another video out soonish when some more gear comes in and I get a few shoots done. You must be around my age to of worked in SDTV and know about 35mm DOF adapters. Looked beautiful but so hard to rig and use lol.
Very nice shots, you can almost feel the sun on your skin🤗 Great to see someone appreciating older but still great cameras. Can you tell me which picture profile you used here with the FS100? Cinegamma/Hypergamma maybe?
The standard profile. Unfortunately the fs100 doesnt have the OG SLog the f3 has. but the skintones are amazing on this. I slightly warmed and added contrast. That was it. I want to switch to a fs700 for slow mo and 4k, but I'm nervous the colors are not the OG sony cinema colors....
Interesting video. Out of curiosity, have you been accused of assault yourself? I had an incident last year where someone was trying to obstruct me from walking up a very wide footpath to film a march, before taking the liberty of bumping her head on my soft rubber lens hood and screaming assault.
You just broke my heart telling me the NW Film center is gone. I went there for a few workshops when I was in high school, I spent my first week with my drivers license driving from the coast to portland to the film center to work on a student project. one of the best experiences I had in the actual industry. closest I ever got to a real set...
Yeah, so film, as it stands today, is an ART format, and in that regard, by no means, is it a scam. Seems more like you’re just looking back at a bad experience and surmising that “it sucked” compared to now. Well yeah, duh. Short story is, film is an effect, a very expensive one sure. In order to learn how to use film, you have to use film. Not everyone can afford to shoot on 70mm film, so they pick up something affordable to them, which may look like crap to you, what with your jaded eyes and all, but to them it might be an item of growth and learning … you do know you don’t get to play on or even look at a 70mm motion camera without a lot of hours under your belt on something else … right … right? A scam? No … just something you don’t seem to understand or WANT to understand outside of tech specs and accessibility.
The problem is it costs thousands upon thousands of dollars to shoot any real project. For terrible quality. Terrible. Thats a scam. You might like that, you are allowed to. But its overpriced and doesn't looks great compared to modern cameras. Your comment on 70mm is the same for 35 and 16mm.
@@chrisw443 I shoot on 16mm, it costs about $1/ft for color positive and the chemicals are relatively easy to get ahold of, if not just a little pricey. I don’t think anyone would try to release a feature length film on 16mm … maybe a music video … which for that, the price might be exactly what someone wants, and is willing to put in the work, for the full effect of shooting on film, when properly converted to the eventual digital format. There are people who still analyze video for how it was shot, and they can tell whether something was legitimately shot on film. Hollywood keeps the film industry alive, and we get to reap the benefits of it when we buy film … rather okay, when I buy it. Anyway, it’s expensive because it’s expensive to make on such short demand, as with the chemistry to develop it. It’s not a scam, it’s just the price you pay to use an archaic format.
Spending 10 thousand dollars for 16mm grainy footage that cant resolve HD is. Forcing people to use grants just to use a camera instead of having actors and locations is. Even tho 35mm is bad dynamic range grainy HD video, it also costs 10s of thousands of dollars to shoot it. It's a scam, you can get a red or an sony F5 for 2 or 3 grand and shoot forever comparatively.
Hi Chris, I have watched your video to review the PMW 320 many times. I have PXW X320 and I have a question about how to better recording sound. Basically, how to adjust between the mic level switch which is under the lens and mic input channel 1 & 2 level? I would like to learn it. I will filming an event and record better music sound. Thank you, and hope to learn from you soon.
The mic level switch under the lens is only for the 4 pin front port, which can only take sony stereo mics that take up 2 channels of audio. Do not use that input. Use the other xlr inputs to get your audio in and use the side audio controls to set everything up that way your not wasting half your inputs on one audio feed.
I have watched several times since you first posted it. Recently the price dropped significantly at places like B&H, and it is older. I keep/kept hoping Sony would introduce a successor. I think I am going to opt for the A6700 with a 18-135 lens. Larger sensor and much newer hardware.
I might choose a different lens. Or save for a better one like the 18-110 cinema zoom. the 18-135 can give some issues. We will be stuck with the z90 series for a very long time it seems.
Gonna use this for tv work, the sony hvr z1 for tight spaces as it is smaller and has autofocus (and my favourite feature called auofocus assist) and this one for relaxed enviroments, interviews and talking heads shots
God this is nearly a decade old, um yeah everything besides a couple shots of me using the camera, are all filmed on the jvc. if your really gonna still buy one id get the 250 it has hdsdi out so you can record to a modern recorder, the firewire drive this thing used are all impossible to find. But try to get a 2/3rd inch camera as the image will be even better and if its of this age be dirt cheap as well.
