u/dubpG

And as good as Red raw is for dynamic range and colour, at 12-bit (about 400MB/s) it will not make sense for most projects.

Practically, you’ll likely run H.265 most of the time and the ZR looked noticeably worse in that format.

Once you learn EI you’ll likely never leave 800/12800 ISO on an FX3.

No other camera comes close to the lowlight performance on the FX3. I don’t agree with reviewers saying 6400 ISO (ZR and C50) is pretty good compared to 12800 ISO.

Yea it’s pretty good.

However, I would still pick the FX3 IMO - better AF, the IBIS, dual slot, the fan, the monitoring apps. All of these have become must-haves for me.

Red raw is pretty sick and at that price point it’s probably the ZR likely has the best performance per dollar. But even at 4 years old, I think the FX3 still holds up.

Honestly, the FX3 is a beast - I run one personally. But if I were to get a camera today I would seriously consider the new Nikon/Red ZR. Go watch Matti Haapoja's review, it's pretty compelling. FWIW, Matti's also runs the FX3 as his main camera.

Love this. I’m headed to Japan in November and picked up an X100VI specifically for that trip.

Can’t wait to see more of Japan from your camera. Please post more.

This also worked for me.

I have this card. No coil whine.

I think 45 inches is the sweet spot for a widescreen monitor.
21:9 is the sweet spot for screen ratio

But as for gaming, dual mode is nice and all but instead the ability to play at a smaller screen resolution with comparable pixel perfomance and the 240Hz would be much preferred to dual mode.

Biased opinion over here.

I have the Sony 24-70 GM II and I love it. It's the ONLY lens I own, every other lens I rent when needed. I prefer the clinical sharpness I get from GM glass, any time I show up on set I offer up my lens as an option for the shot and often it's selected over any of the Sigma and Tamron lenses available - even by other DPs when I'm assist/grip/gaffer. But that could be unique to my use cases, the productions I'm on and the type of commercial work I've done.

The only other lens I would consider as the ONLY lens I'd own would be the Sigma 24-70mm f/2.8 DG DN II Art lens. I actually prefer the texture in the image of Sigma Art. There's something about the look and feel of the Sigma Art image that is hard to describe but hard to miss once you see it. Sigma Art lenses are also the only other lenses that have been selected when my GM II is in the mix of options.

If you're stuck in a choice between the ART II vs GM 2 you'll be satisfied with either IMO. You're splitting hairs with the difference and it will come down to image preference. Cost wise, my approach was to save for the lens I wanted instead of buying one that was cheaper. I rented and borrowed lenses for gigs until I had enough for the 24-70 GM II.

I know that's not saying much as this might be a given but I thought I'd add my anecdotal $0.02 to the conversation.

Hope that helps.

This is the way. The body is weather sealed.

This is exactly the same setup as mine. I make sure the cover is on my multiport and my side panels are shut. But that's it.

Nothing. This camera is weather sealed. I have run it in the Pacific Northwest rain without any protection many times.

But it’s important to note that the audio handle is not weather sealed. It will short out and break if it gets wet. A friend of mine has already burned through a few audio handles getting caught in the rain.

Just a heads up, everything I've read indicates that there's no risk of water damage if water gets into those vents. I've run my FX3 bare in heavy rain, water has gotten into those vents before and no issues.

Snow is a little different in that it can get stuck in those vents, but there is no exposure to any electronics in those vents, it's a fan that blows air onto a sealed back off backplate of the camera where the electronics are. There are no exposed electronics inside of those vents.

That said, I could see there being fans in the vent and I guess if snow got jammed in there, maybe the fans could get jammed up or frozen and that could cause a mechanical failure if the fan tries to spin up.

But, the fans would only spin up if the the camera gets hot...and if you're outdoors and there's snow jammed in the vents it would be keeping your camera quite cool in the first place.

u/NickyRizzles Have you read any stories or had experience where snow has caused issues being jammed in the vents? If so please do share can't seem to find any.

Here's another thread on here where folks discuss the FX3 weather sealing in snow. They mention the use of the A7SIII in the snow as well - doesn't have the vents but the FX3 is also weather sealed - fan vents included.
Weather Sealing for FX3

Hope this helps.

Use the hollyland Mars M1 on camera. That will be your monitor so connect your HDMI cable from your camera to it.

Set the M1 to transceiver and it will send a wireless feed to video village. At video village have either another M1 set to receiver mode, or a Mars4K receiver.

Consider how you want the motion of the vehicle to look. If you want to speed ramp or slow motion at any point in your edit, then shoot 60fps or 120fps with your shutter speed at 1/125 or 1/250 respectively. Otherwise, stick to 30fps 1/60 shutter or 24fps and 1/48 shutter (firmware 3.0) according to your taste.

And as mentioned expose properly. Typically you’d aim to expose properly for the subject, but with the road and mountains taking up a big part of the picture, you may want to expose for those.

I.e. Aim for 60 IRE for in the road/mountains or just under as it’s clear you want to shoot a darker scene.

When exposing in darker scenarios, to get the cleanest image out of the FX3, shoot CINE EI at 12800 ISO. Try to keep your EI value close to 12800 EI but don’t be afraid to bump that up as much as needed to expose properly.

White Balance - I usually set mine to 3300 at night but this is a taste preference.

Long story short, get out and run some test shots at each of the recommended settings and bring them into post and see what works for you. And have fun, enjoy the process - don’t wait until production to start having fun.

Oh and I think it’s amazing how flexible the image can be pushed with our FX3, but there is value in shooting for the edit and dialling the look in on set. Use the camera LUT setting on to preview the look.

Either use the built in s709 LUT or load up the SLOG3 to rec.709 technical LUT of your choice into your FX3. Bonus points if you prepare your look ahead of time and load a monitoring LUT for your shoot - phantom LUTs or Film Convert Nitrate LUTs come to mind.

Hope that gives you food for thought or sparks conversation. I’m also open to any comments or criticisms as I love to learn new ways of doing things too.

I run VMOUNT on a cold plate and USB power into camera - leaving the battery in camera. Powers my camera all day. And if my VMOUNT ever runs out in the middle of a long shot, the camera battery still powers the camera making sure I never lose the shot.

Some people opt for a dummy battery - I think USB power into camera is enough for my purposes.

Note: the battery in-camera does drain a little bit faster than the VMOUNT can charge it, so you will see the battery tick down. But that happens at a really slow rate while you’ve got juice in your VMOUNT.

This. I always max out my RAM. Especially since I round trip often between Premiere, After Effects, Audition and DaVinci Resolve.

My workload just requires I have more RAM available.

Important to note that I max out my CPU and GPU with each build too.

Just got this issue this week and that tried that link. It leads to a 404 page not found now.

Anyone else have this issue recently and know where to find DJI Assistant?

Did you ever get this fixed? I’m having the same issue. PRORES RAW works but when I switch to PRORES HQ the record button is greyed out.

My Ode Gen 2 just stopped grinding on me. This slap technique worked perfectly for me. Thanks 😄

You might have already tried this, but in case you haven’t the quickest way I know of is adding HDMI Output Settings to the menu shortcuts menu

From there you can get to 4K Output Set and switch between the different 4K output settings (24p/30p/60p).

Considerations:

This only works in HDMI mode only (cannot record internally at the same time)

Still requires some button pushing - menu button > navigate to the shortcuts menu > 4K Output Set > then set desired frame rate

• but afterward you still need to adjust your shutter speed after switching between frame rates to keep the 180 degree rule

If there’s a quicker way, I hope we do find out - I’d be interested to know it too.

I noticed the same thing today. I'm currently on Resolve 18.1 and the ability to connect to frame.io from Preferences > Internet Accounts is no longer available.

It was available to me about a month ago.

u/mpindara did you end up finding an answer?

Like the new 16-35 PZ - https://www.bhphotovideo.com/c/product/1697010-REG/sony_fe_pz_16_35mm_f_4.html

If you use Sony catalyst prepare, the footage will have the EI metadata attached to the clip.

You can apply the same EI settings (and LUT if you used one) and export from prepare giving you the exact exposure you would have seen on your monitor and in-camera.