Відео

Can you not set the HDMI output settings on the A7s3?

I don’t see why it wouldn’t if you had a need to use 2 screens. I’d put the Ninja first in the chain though as it has more options for output signal.

@@PaulJoy thanks, thats what I figured, I bought the LH7P thanks to your video so well find out. Chain will be Source to Ninja to wireless TX to wireless RX, to LH7P, I know there will be latency but curious how much. This is just for wireless monitoring / touch to focus.

Thanks. No not really for a 30p timeline as you’ll be limited to 1/120th of a second shutter.

Using ND wouldn't make any difference to the amount of motion blur assuming you're setting the same shutter speed.

Glad it was helpful, thanks for letting me know.

Hi there. I aim for 60% for judging skin tones when using the s709 lut in the camera.

@@PaulJoy thank you for your reply, Paul. And highlights 108%? Or lower value for in camera monitoring in rec709 lut?

Highlights are tricky because they change depending on which EI value you use. For low base (800) set to 99% but you will notice you need to set that different if you move away from the base.

@@PaulJoy thank you, Paul. I guess for the second native ISO of 12800, I will also use 99%. Thank you for your video, it’s very helpful. I added it to my favorites, to make sure I keep those values in memory 😅

@@AleksanderZh No problem at all. I keep a note on my phone of settings for each camera / shooting mode as there's way too much info to remember. For example the one for this says... Slog-3 + S709 Middle Grey: 45% Skin: 60% White: 77% Blown: 99% (800 Base)

Thanks, glad you like it.

You’re very welcome, glad it helped.

Thanks for letting me know :)

You’re very welcome.

The video is about shooting at 50 fps for delivery at 25fps. As I say in the video, if delivering a 50 fps video then you would shoot at 1/100th or 180 degree shutter anyway.

​@@PaulJoy Right, but at 4:38 and 6:15 you gave some examples of what the 50p footage looks like played back at normal speed, and asked the audience to observe some of its characteristics, including judder and fluidity, which aren't going to be be accurately represented if the video is limited to 25p or 30p.

@@AJ-on-youtube I'm showing how footage shot at 50 fps using 1/100th shutter looks juddery when played back at 25 fps (dropping half the frames). At no point in this video am I showing how footage looks played back at 50 fps so no need to publish it at 50 fps.

@PaulJoy You were though, at 4:38 and 6:15. You can click those time links and they'll take you right to the parts I'm talking about so you can check.

@@AJ-on-youtube I don't say that at all, in both cases I talk about playing the footage back at "normal speed" ie, not in slow motion. Again, this video is about shooting 50 fps and using that footage on a 25 fps timeline either as slow motion or at "normal speed", ie as if you had shot at 25 fps.

Certainly digital gives us the ability to change the equivalent of shutter angle on the fly.

Glad you liked the video. Phantom power is one of the menu items, you press + or ~ until it’s shown and then press set to change it.

Good question, I’ll check next time I have chance.

@@PaulJoy haha thanks! Well I have this set now and can tell that camera timecode is not imbedded. Monitor recordings all start with 00:00 🙏🏽🙏🏽

2 channels, you can record the mic on to both of them at different levels or just have them the same.

Yeah it’s primarily for video so it doesn’t offer photography options. You can get various wireless shutter release devices, I haven’t tried any so can’t recommend anything. Hope you figure it out.

Glad it was helpful!

Not at all, a grey card or even white paper is fine for a custom white balance. The colour checker is a good choice as it also allows you to adjust colours in post to be accurate but not necessary just for white balancing.

Hi, it was possible in previous A7S3 firmware versions to keep the WiFi running after a reboot but unfortunately that's no longer the case.

Yes, it used to work well but unfortunately after a Sony update the connection works in a different way that means the connection is not retained after a reboot of the camera.

Yes sorry, it’s quite a tricky thing to explain, your summary is correct so I think you have it :)

Not sure what you mean?

@@PaulJoy I mean does light leak through a problem with this type of monitor but not with OLED

@@HISPEKK The contrast is much better than other monitors I own, it retains blacks very well. Saying that, it's not going to compete with a good OLED display in terms of blacks.

It should do 4K 24, but yes 4K 30 is max input signal.

I normally have the gain at -6 but I’m using the mkh416 mostly. It shouldn’t add hiss though, that sounds a bit strange!

Yup, I think it's just a limitation of using polarisation. To this day the best experience I've had is the electronic ND in Sony cameras like the FS5 and FS6. I wonder who will be the first to put that in a mirrorless style body.

@@PaulJoy if BlackMagic 6k can be called mirrorless body, that is the only one that comes to mind. I have heard a lot of good things about Sony FS. What was your general experience? Would you consider FX6 as its comparable form factor.

@@ReiDoesIt I’ve used the BMD 6K I’m im not a fan of the form factor, great UI and images though. FS5 was good in its day but limited by the rubbish EVF and tiny screen. I really like the FX6 and would love to have one but for me the image stabilisation and small form factor of the FX3 made more sense for the work I use it for.

Check your HDMI output settings, I can’t remember what I had set when I made this short but you should able to set the HDMI output separately from the recording settings.

I’ve not used the Flame so not sure.

My system is single channel so I’d need to use both receivers connected to two audio inputs to do that.

Which camera are you using?

@@PaulJoy Sony zve1

@@PaulJoy it greys out the option to click custom WB to be able to select the gray/white card

Are you using a custom memory mode? For some strange reason Sony don't let you change the WB when doing that.

@@PaulJoy uuuuh yes I am. That’s probably why. That’s so silly. Thank you for letting me know this. I appreciate that.

Thanks, no it doesn’t show the cameras metering on the the monitor.

@@PaulJoy Oh this is so sad. The red recording and the other infos are so useful. Thanks for the answer

I’m not sure to be honest, I don’t have any experience with reference monitors.

You're welcome, thanks for watching and letting me know.

I've not tried the Sumo so can't say, sorry.

While I appreciate and understand your point we also have to deal with common terms and most people that I deal with will take 30p as meaning 30 progressive frames per second as opposed to 30 interlaced frames per second. The same is true of the HD, 4K (UHD) and 8K, they are general terms.

@@PaulJoy Why not say 30Hz? What's wrong with using scientifically accurate words? Oh yeah, marketing BS.

@@CaleMcCollough How is calling a 30 fps Progressive Scan clip 30p marketing BS?

​@@PaulJoy No one uses 10080i30 anymore, which means 30hz interlaced 1080vp (vertical pixels). It's how we've listed monitors my entire life. No one says 30p except for people who use Sony cameras, who falsely claim their 33MP A7C II and A7 IV are 8K because k now means 8 thousand horizontal pixels. It doesn't make any sense, it's literally just BS marketing rhetoric because it sells cameras, not because they are right. But for some reason modern Sony cameras don't have p30 H.265??? I hate this with a passion. Sony makes no sense a lot of time.

​@@CaleMcCollough Seems an odd thing to get hung up about when cameras have been describing framerate and scan modes as 25p and 25i as long as I've used them. Anyway, interesting chat.

No, that isn't shown on the monitor.

Likely because it is actually receiving 50p. For example with the FX3 in Cine EI mode even if shooting at 25p the camera sends the HDMI signal as 50p.

@@PaulJoy thank you. But why does the camera send 50p through the hdmi then?

Hi there. A lot will come down to whether you're shooting in Log and if so which LUT you're using. In my experience the Portkeys monitors do need to be adjusted for colour accuracy however I've not changed any contrast settings on mine. Bare in mind also that I'm filming the screen and that doesn't always result in it looking exactly as it does to the eye.

Really pleased you like it, thanks for letting me know and enjoy the new rig!

@@alpho2010 I have a FX3 and AR7V, what issue did you have and how did you solve it?

@@pc1x1 I could not get the signal from the camera to the monitor, it was a setting issue.

The video is about shooting 50 fps for delivery at 25fps.

It likely has the newer firmware on it. Have a look at my videos and watch the one about the movnorm update.

@@PaulJoy That’s what Portkeys told me. I contacted them after I posted this. They sent me a link for the latest firmware update and some instructions on how to connect my Sony to the monitor. They said if I was still having trouble getting an image to contact them again. I am about to go through the steps that they gave me I. I just don’t know why I’m still not getting an image when connected by Wi-Fi but thank you for your response. I will let you know how this unfolds.

No image is sent using the wireless, that’s only for control data. The image is sent via HDMI cable.

@@PaulJoy So you're telling me when you connect via Wifi that you can't monitor your image? That it's only good for controlling the settings?

@@ShawnBustamante You need to use both together. The HDMI cable carries the video & audio from the camera to the monitor and the wireless connection allows control of the camera and data from the camera to be displayed.

Yup, that’s a Sony thing, when a monitor is connected via HDMI you have to watch the playback on that.

It won’t display a 120fps signal but your HDMI output might not be 120fps even when your recording at that framerate. Can you set the HDMI output in camera?

Hi there, thanks so much for this comment, I’d not given any thought to how much of the 24 fps was dedicated to the mechanics of pulling the film down on old cinema cameras and projectors before. I’ll have to have a play with that one!

I Guess 48fps with every other frame being black. This stops what is called, ‘persistence of vision’. What this means is that the motion blur stretches across 1/48th second, followed by 1/48th second black. The brain then inserts what it thinks the motion should be, giving smoother movement. It’s an optical illusion. My TV inserts black frames and it starts to look a little more ‘movie like’ when it’s on. So you get 1/48th of motion blur and 1/48th of brain insertion which (I guess) might insert the same amount for you, giving (kind of) 48fps at 360 degrees and this was originally a measurement used to calculate the best frame rate/smoothness/cost. Unfortunately not in movies possible because film needed the black frame to change the picture which suggests that perhaps we should be videoing at 50 or 60fps with 360 degree shutter! I have never been totally convinced by 24fps. When I was younger, I used film at 16fps and it always looked like poor home movie to me. Even then in the 60’s. 24fps just about works but imo, with a mostly still camera. Some movies are ghastly I think. We all seem to be hanging on to that frame rate, but the medium that we now use has drastically changed but we seem to ignore it. Especially with fast displays that don’t allow for persistence of vision. It’s a funny old topic, but one that has interested me for a long time because of this (quite often) total acceptance of 24fps, even on 60hz screens. It’s kind of become a burned in rule, like the 180 degree rule that more often than not, I break. In fact, at slow frame rates, I prefer a 270 degree shutter or even more. This is a topic that isn’t really discussed much on UA-cam. It’s always assumed that 24fps is the one that is ‘best’ without really analysing why it’s the best. I think when it’s done well, it looks fantastic, but there are many, many examples of poor camera control at 24fps and that slow frame rate makes it appear actually worse in some cases. I think faster frame rates are more forgiving of poor camera control but 24 needs more attention to detail and how you move the camera.