As a television/video cinematographer, producer, director, editor, consultant, and founder of Vortex Media, Doug thoroughly enjoys being involved in all facets of video and television production. His various professional roles have included: freelance ENG/EFP owner-operator; hand-held camera operator for live sporting events and concerts; television news photographer; director of photography for documentaries; corporate video writer/director/producer specializing in training and promotional videos; and a development consultant for such products as Sony’s XDCAM camcorders.
The Z450 is amazingly good - even by today's standards. The grading might be a bit rich for some, but I love it. Of course the awesome content makes a great show reel. Fabulous work Doug.
This is an example of good footage, and I can tell this camera can still hold very well in 2024. Compare that to JVC's GY-HC500 and you notice less chromatic abberation, and more accurate color. For indie filmmakers and RU-vidrs on a budget this is best, IMO. The only advantages the HC500 has over the Z150 is 4K 60 FPS HLG/Log support, and Genlock/Timecode sync, but I don't think I need that 😛
@@DougJensenVortexMediaIndoor vs outdoor, natural vs LED. minimal lighting vs several lighting. Back light vs no backlight. All situations considered. Im on set right now talking about the VND. Trying to figure out if the worth if the VND.
Mi dispiace di non avere una risposta per te. Tradurre i miei video in altre lingue va oltre le mie capacità e costerebbe troppo. Scusa. Ma grazie per avermelo chiesto.
Yep, that's the way I chose to grade it. That's the beauty of today's cameras and workflows -- we can get almost any look we want rather than all settling for the same couple of looks.
I purchased the FX6 last summer and this year I purchased three G-Master lenses to increase my focal length array. It's a lot of gear to carry in a backpack along with a tripod. I have had my Z280 for four years now and it provides a lot of flexibility for focal lengths, packability, and ease of use (no need to carry and attach a separate EVF like on the FX6). I very much like both cameras. When I tweaked my upper back about six weeks ago, I seriously considered taking just the Z280 on an upcoming trip to Norway to shoot in the midnight sun in the mountains. The Z280 image is very high quality and it's an acceptable alternative to the FX6. When I was in Dubrovnik two years ago, I was walking along the old wall and they were filming The Vikings below me. A production assistant and camera man approached me, saw my Z280, and the PA remarked "We found our 4th camera." If you purchase the Z280, I would highly recommend purchasing Doug's Master Class for it. I have purchased six of his classes over the years and they really improve the learning curve.
Hi Ray, thanks for sharing your experience and comments about the cameras. I hope you have (or had) a great time on the trip to Norway no matter which camera you choose to take. The footage you showed me at NAB was awesome.
Good question. I have owned the Canon 200-400mm f/4 with a built-in 1.4x extender for about 10 years. At the time I bought it for my F55 there was nothing else to match it. There were no Sony lenses back then that match that focal length and quality, and they still do not have one today. The Canon is a really nice lens for my F55. But when I sell my F55 I will probably also sell the Canon lens. Now that the FX6 and other Sony cameras have such great auto-focus, and Sony now has some really good telephoto lenses, I intend on only using Sony lenses in the future. I alreadyI never use any lenses with my FX6 that are not Sony lenses. The Canon is just for the F55 and I would not buy the Canon lens today.
Hi Doug, another question, how does the FS7’s XAVC L codec matchup with the latest Z90V and Z190. Are they exactly the same or is it a little older tech?
Anytime you see the same codec on two different Sony cameras, you can be sure they are exactly the same. Of course the cameras themselves are very different so the images will not look identical, but the codecs are exactly the same.
@@DougJensenVortexMedia thank you Doug that is good news, I plan to use it for longer record times in my live event work. I had the Z150 since it came out and love the recording times I got with 512gb cards. Understanding that since it is 420 in 4K, I will need to use a Color scene file and not log.
Hi Doug, I just bought this camera and always watch all your videos. I purchased your videos for the Z150, Z90V and now the FS7. Do you have any new 4K picture profiles for this camera you can share? Thanks in advance.
Thank you for your support over the years, I really appreciate it. No, I don't have any new scene file recommendations for the FS7. I almost always shoot S-LOG, and on the rare time I do shoot with a scene file I use one of the files I provide in my master class and book. After all these years, the FS7 is still a great camera!
hi can help me ? I factory reset and all reset the cam z190 And my cam become Full MF , can’t auto focus , even I switch the button to auto Screen forever show Full MF How can I set to AF?
Strap a sony Air Cam module on it and record live to master control servers. I had the same cam. Just replaced it. Prices are getting nuts but hey i can live with the toyota corolla for 3 more years
Hello there! A few weeks ago, I made a quick search on Google and I found out your Color Luts, in a forum about Sony Cine cameras. So I downloaded them and I decided to apply one of them (Faces 1) on a video project that I shot with Sony A9III and A7CR cameras, using S-Cinetone picture profile. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gMkvwcPfu-o.html And then I used that Lut again, to finish another video that I made using the Sony FX6 camera, using Cine EI mode. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hVeMGCPYwjg.html You really are a problem-solver! Greeting from Austin TX ;)
There are four S-Cinetone Booster LUTs. If both the b-roll versions are too strong for you, try the ones for faces. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sx4IkLmYoow.html
@@mreddieau These LUTs assume you have shot with stock S-Cinetone and no other menu modifications on the camera. Just S-Cinetone -- as Sony designed it.
@@DougJensenVortexMedia so it’s still relevant and helpful, right? - I come from the Alpha line and FX3. This is my first true cinema line cam. Having more issues than expected to get along with it.
@@JensEser Absolutely. Everything that you need to know abotu the FX6 is covered in the full 8-hour course -- with all the important Firmware 2.0 changes covered in chapter 27, which was added later. Nothing of operational significance had been added to the camera since then. vimeo.com/ondemand/fx6
@@JensEser I went through Dougs entire 8 hour course and it takes all of the learning curve for the FX6 out of the equation. I have gone through that master class several times and made numerous notes while going thru the chapters with the camera hooked up to a monitor so I could manipulate the menus and experiment with the features. Well worth it.
Great video Doug! I wish you can do a video about your experience with Sony's clear image zoom and the efficiency of the 200-600 mm with teleconverters.
Another great video Doug! Why do you choose subject shift sensitivity to be responsive in your Sony cameras ? Don't you want your AF to be sticky/locked on to the subject when filming wildlife or tracking an object ? Thank you!
I've found that you can't assume how AF will perform just based on the names of the menu choices Sony that assigns to the various settings. Plus there are dozens of possible different combinations of settings that all interact in ways that are hard to predict or describe. All I can say is that in my real-world shooting, I stand by the choices I have made and use them every time I go out shooting wildlife. Are there other combinations of settings that might produce similar results, maybe. But I have settled on the ones that work for me and I highly recommend people do their own testing to see what works for best for them.
Great video Doug! Bought the wildlife cinematography master course. Please consider doing a workshop dedicated to wildlife filming! Soo many photographers do workshops but almost none do it in video. Would be nice to have a nice hands on practical training to apply composition, technique, etc. Thanks again!
Thank you for signing up for the wildlife master class, and I appreciate your support. If you are suggesting a "live" hands-on wildlife workshop out in the field, It is already something I have definitely considered. It would be fun to lead a group out to film wildlife, but the logistics of organizing it myself is more than I want to take on. But I wouldn't rule it out!
Why do you find that funny? Seems like you don't understand the concept of shooting at faster frame rates for the purpose of slow-motion. 60 fps provides 2.5x slow-motion. 120 fps provides 5x slow-motion. Why is that "funny"?
They are available at B&H. www.bhphotovideo.com/c/product/1641173-REG/vortex_media_fgz750_complete_guide_to_sony.html And Vortex Media. www.vortexmediastore.com/pages/vortex-media-training-videos-and-books
Can you please try adding +2 to color phase, and +4 to saturation and then add your booster? I tried it and love the results and would like to see your test.
I don't have the time to do any further testing and I am already satisfied with the results I'm getting. However, there is certainly nothing stopping you from doing your own modifications and testing.
@@DougJensenVortexMedia Ok, I ready to buy. My question is where? Are the ones on amazon the same as you get say from a camera shop such as B&H or Adorama. Please help. Thanks.
@@thingsgoingoninsylacauga5490 It is the smaller Sony cameras that have BUILT IN WIFI that have diferent models, as the 5GHz WiFi band is not available worldwide.
@@DougJensenVortexMedia My station just bought some Z280's, so expect the Z290 to be released any moment. We also bought and took delivery of brand new Intel Macbook Pros the same day the M1 was announced, so we have a great track record.
The most important thing is to choose a 4K 10-bit codec. I'd also choose HG3, increase the detail slightly, and raise the saturation. That has give ne excellent results in the past. Good luck.
