This was awesome. I had always wondered why anybody would shoot with these smaller sensored cameras when we have super 35 and full frame video cameras of outstanding quality. Can definitely see that it's a lot more about the ecosystems that are set up around these big rigs that make them easy(er) to manage on a shoot day.
I believe the smaller sensor is necessary to get a reasonable sized zoom lens with constant aperture. Having larger sensors would make the lens inordinately big. On the flip-side, these sensors don't have great ISO-equivalent performance
I totally get that Ursa G2’s are awesome and may be our next studio choice. Oddly enough the ruggedness of the Sonys really came into play here as this purchase was intended for mobile productions. We installed the G2’s earlier in a sister studio to us and again they are terrific but I was concerned about them traveling. There are more places to break these that the Sonys like the LCD screen and we use a lot of volunteers at times. When it comes to mobile crews I have seen a fair share of accidents or mishaps. Out of curiosity are you using yours primarily in studio or in a mobile unit? Thanks for the comment!
@@soldoutmedia8025 Outside broadcast. Built in screen is rarely used. Usually tripod and studio viewfinder or handheld. They may look a little brittle but comparing with the industry leaders i had my share of breaking stuff on JVC (KY), GV and Sony camera chains in studio environment. Nothings bullet(idiot)proof :) The price is where all the math(logic) shows.... Did you try the 4k on fb80? Any difference from 1080p? Thx!
This I love, use to shoot with a JVC SVHS camera, superb pro equipment to use, I also have another shoulder mount camera, but again it is DV Mini, but issues with the Battery supply, and I think the chip, has pixel drop out.
Hi it depends on the model I think. I use clearcom more than RTS so I’m not the most qualified to answer. That being said I often have to rig something up or buy a converter - most intercoms are 2 wire or 4 wire and the Sony’s are a five pin. The sub d has intercom tally and a tone of other things on it so I will pic up some wire and sub d connecters and solder both the Tally and intercom from this port to the mixer board and the intercom base station.
We still have our Ursa broadcast G2 and I am looking at a few more for another department. The Sonys came in as an incredible offer and I had a few similar models in house so we took the decision to expand that system. Thanks for the comments!
My day job is a tech at a TV station so I personally do not own the big Sonys. We have a few. We got these with the fiber, remotes CCUs and lenses for around 35k each before tax ball park- there were some extras. It was a package deal dependent on the quantity.
So bad rolling shutter and then people complain about URSA Broadcast G2/BMPCC 6K having a bad rolling shutter, despite the S35 sensor. How is there so much focus breathing with this lens? Somehow, I'd have assumed a B4 lens having none.
@@SportFlow Yeah, I have since learned that most B4 lens designs don't consider breathing to be an issue. Given the longer dof, it might make sense because you don't need to hunt for the focus like with (S)35mm cameras. PS missing the foxus servo doesn't necessarily mean anything. Look at those Zeiss and Fujinon cine lenses for B4 that don't even have any electronics usually 😝 (yeah, I know those are legacy that almost nobody is using anymore)
@@hbp_ well, most of the broadcast b4 lenses have digital servos (Fujinon digisuper and Canon ones). The one here doesn't and all the cables needed is really a mess. You get what you pay for I guess.
@@SportFlow oh, yeah :) I don't get it. It's just weird segmenting. The separate focus servo module must be way more expensive (design and manufacturing) than just integrating it in the handle. I think some Angenieux HD lenses even had both options, either buying it as integrated or as a separate unit. They also had demands with and without (eco model) LCDs. Didn't Fujinon also sell mechanical follow focus style demands? Although I get why, many people think (right) that the mechanical coupling has more accurate feeling. That's why cine people used to use those whips, until the RF remotes achieved almost the feel of a mechanical coupling.
