Holding off purchasing nex FS100

[John Vincent]

Interesting story Garrett.

David - worked with both the JVCGYU100 and the EX1, and yeah, the DoF difference is negligible - esp when compared to a S35 sized chip. You get a bit more shallow DoF w/ the 1/2" chip set then a 1/3", but if shallow DoF is what you're after, the EX series isn't for you.

And settings aside, it's that large DoF that help makes all small chip cameras look more video-like (and yeah, I think the EX series does look more video-like then other similar non-Sony cams IMO).

Certainly not a slam - some people prefer the ultra clean look. And the EX series were an amazing camera in many ways. But for the reasons I gave, I'd rather have a FS100. That said, I certainly can understand why someone would rather buy into the way of life.

[Chad Whelan]

Hey Gabe

I have also been recently looking into some FD mount lenses to play around with. I look forward to seeing some more footage from you shot with them.

Chad

[Jeff Troiano]

I'm ordering my fs100 Thursday. I bought the fd adapter gabe shared a link for. I also bought, cheaply, off eBay, a 1.4 50mm and a 2.8 28mm manual lens. I'm not buying the kit lens, and I don't yet have the funds for better lens. Eventually I'll be getting the novaflex Nikon adapter (I'm interested in zeiss primes). But couldn't imagine getting my camera and not having a lens or two to try it out with.

Not getting the kit lens, cause I have enough funds for the camera with kits lens or camera and fmu. I decided on fmu, cause of $500 mail in rebate.

[Gabe Strong]

Originally Posted by Chad Whelan

Hey Gabe

I have also been recently looking into some FD mount lenses to play around with. I look forward to seeing some more footage from you shot with them.

Chad

Soon I hope. Really crappy weather here as usual for us this time of
the year.....just sheeting rain and blowing hard, typical SE Alaska winter.
I ordered a cheap ebay set of rods and lens support system.....just
to be safe. Don't have the cash right now to be buying a expensive
rig, but wanted something to help support this FD lens.

[Doug Jensen]

Originally Posted by John Vincent

Doug - let me quickly address your points:.

John, I posted a reply to your comments yesterday, but I guess one of the moderators chose to remove it. I have learned my lesson and will think twice next time before wasting my time trying to correct inaccurate statements. Some things are opinions, but other things are facts. Some of the things you have stated are flat out wrong and anyone who wants to do some checking can learn what they are. I can't afford to waste more time on this and write it again. So you can have the last word and I will leave it to the readers of this thread to do their own research and find out the truth for themselves. I actually own both an EX1 and FS100 so I think I should know a little bit more about the cameras than what someone else reads on B&H's website.

[Mikko Topponen]

Originally Posted by John Vincent

5. I believe most people doing sfx work would take 8 bit 4:4:4 over 10 bit 4:2:2, assuming proper exposure.

I wouldn't. While 4:4:4 helps in doing greenscreen work, it doesn't help in anything else. 4:2:2 is also sufficient for that. 10 bit latitude though helps alot, not in vfx per se but in grading.

People also seem to be quite weird about 4:2:2. The advantage of 4:4:4 and 4:2:2 disappear completely after they are onlined and continue to bluray/dvd/internet. It's not like 10bit where you can utilise all the latitude and grading and then go 8bit. When you go 4:2:0 you will completely lose any advantage 4:4:4 brought (except for greenscreen work)

4:4:4 also does not help in color correction much if at all. Maybe in doing some very heavy masks based off rgb colors, it lets the edges be more sharp. But otherwise, 4:4:4 is very much overrated. 4:4:4 is great if you stay in that format but no one ever does.

[Jeff Troiano]

Originally Posted by Mikko Topponen

I wouldn't. While 4:4:4 helps in doing greenscreen work, it doesn't help in anything else. 4:2:2 is also sufficient for that. 10 bit latitude though helps alot, not in vfx per se but in grading.

People also seem to be quite weird about 4:2:2. The advantage of 4:4:4 and 4:2:2 disappear completely after they are onlined and continue to bluray/dvd/internet. It's not like 10bit where you can utilise all the latitude and grading and then go 8bit. When you go 4:2:0 you will completely lose any advantage 4:4:4 brought (except for greenscreen work)

4:4:4 also does not help in color correction much if at all. Maybe in doing some very heavy masks based off rgb colors, it lets the edges be more sharp. But otherwise, 4:4:4 is very much overrated. 4:4:4 is great if you stay in that format but no one ever does.

Is it just me, or does Mikko seem to be "for" and "against" it all at the same time? Haha, Im messing around of course.

Ordered my fs100 and fmu today. Received a dumb canon fd adapter, and 2 prime canon fd lens yesterday. I'll be able to play until I get the better glass I want. I'll have the camera on Monday, can't wait!

[Rob Katz]

jeff-

congrats.

i know you have been on these boards "shopping" for answers to the many questions we all have.

i look forward to watching some of your posted efforts.

be well

rob
smalltalk productions

[Matthew Hurley]

Originally Posted by Jeff Troiano

I'm ordering my fs100 Thursday. I bought the fd adapter gabe shared a link for. I also bought, cheaply, off eBay, a 1.4 50mm and a 2.8 28mm manual lens. I'm not buying the kit lens, and I don't yet have the funds for better lens. Eventually I'll be getting the novaflex Nikon adapter (I'm interested in zeiss primes). But couldn't imagine getting my camera and not having a lens or two to try it out with.

Not getting the kit lens, cause I have enough funds for the camera with kits lens or camera and fmu. I decided on fmu, cause of $500 mail in rebate.

You will be very happy with your purchase. I LOVE the look of the FD glass. Try and find canon lenses marked SSC in red. The 35MM Canon F2 SSC is amazing. Though this glass does rotate during focusing as do all FD mount canon lenses to my knowledge. I use 52 to 72MM screw on ND filters to get around the inability to use a variable ND.

[Scott Caplan]

I'll second the S.S.D. lenses. Back in college I loved those lenses on my still camera. Asphericals are even better if you can find them in good shape. And there are Canon FD Sigma's still out there from $99-499.00 on the web, a bargain.

Scott Caplan

[Glen Vandermolen]

So, to the OP:

Did you end up buying an FS100?

[Dermot Shane]

Originally Posted by Mikko Topponen

I wouldn't. While 4:4:4 helps in doing greenscreen work, it doesn't help in anything else. 4:2:2 is also sufficient for that. 10 bit latitude though helps alot, not in vfx per se but in grading.

People also seem to be quite weird about 4:2:2. The advantage of 4:4:4 and 4:2:2 disappear completely after they are onlined and continue to bluray/dvd/internet. It's not like 10bit where you can utilise all the latitude and grading and then go 8bit. When you go 4:2:0 you will completely lose any advantage 4:4:4 brought (except for greenscreen work)

4:4:4 also does not help in color correction much if at all. Maybe in doing some very heavy masks based off rgb colors, it lets the edges be more sharp. But otherwise, 4:4:4 is very much overrated. 4:4:4 is great if you stay in that format but no one ever does.

Yea someone does, actualy loads of folks do... my main day gig is as colorist/finishing artist, in the last month two national commericals, two movie of the week's for primetime, and today a Cinemascope feature

Credentials established well enough? I hope so...

Even when i'm targeting YUV/422 like the commericals & MOW's i work in 444 if the camera delivered 444.. Mostly i'm working with RED & Alexa, so they do, and i do... i monitor in YUV, but work in RGB, when i'm delivering film i usualy work in P3 these days, and 422 is not an option there in any case.

Working in 422 feels like i have half a limb cut off, i would rather have the colour accuracy of 444 and deal with banding of 8bit, than the reverse.

Here's a little chart showing colour accuracy;
File:Common chroma subsampling ratios.svg - Wikimedia Commons


compare that to dealing with 8 bit banding? yea.. i'd take 444/8it over 422/10bit any day

All a bit of a moot point as there is no 444/8bit on offer anyway..

d

[Glen Vandermolen]

Speaking of 4:4:4:

Didn't the literature of the FS100 mention 4:4:4 at one time? I went back to check on Sony's web page, and it only mentions uncompressed 4:2:2 from the HDMI port.
Am I missing something?

[Jeff Troiano]

I remember on B&H's site, for the fs100 with the kit lens, it use to mention 4:4:4, and the body only model use to only mention 4:2:2. Now they both read 4:2:2.

[Jeff Troiano]

I just found this blog article.....


Notes On Video: The Sony NEX-FS100 and the unimportance of RGB 4:4:4

"...the data of the image created by the FS100/NX70 processor is just 4:2:2.
Then it is lifted up to 4:4:4 in the HDMI processor if the connected device is 444 capable."

"That's right, even if you have a display device or a recorder that supported RGB 4:4:4, the signal you are getting from the NEX-FS100 is just the 4:2:2 signal, converted to 4:4:4. So really, there's no reason to worry about this format at all; as Sony notes, the camera simply outputs it if the device that it is connected to supports that protocol."