You're welcome! It's been quite popular. UA-cam is full of reviews and advice on the latest, greatest full-frame kit, but large swathes of content that we see on TV and streamers is shot on FS7 (and other super-35-sensor cameras). You don't need to be shooting a RED or an FX9 to make fantastic content, and for documentary work, one lens that does almost everything is essential. Unless you need small and light (in which case, you're probably shooting on a mirrorless body anyway), for Sony, that lens is probably the 18-110. If you really liked the video, there's a coffee link in the description... just saying... And don't forget to like and subscribe and tell all your friends etc etc...
Great video Amada! I recently got a very low hr FS5 , and have teamed it with the 18-110 , which I bought new ...ouch! But what a beautiful lens , and I'm only just beginning to discover its many talents. I'm glad I spent the extra dollars and it suits the FS5 perfectly for my type of shooting. Thanks and cheers, Gregg.
Thankyou - downsizing from a large Cinema Camera & need the reminders to rein in weight to keep up with live action & perhaps climb a tree or two - good coming back to sony Appreciate your taking the time to talk it through.
Good to hear. I have some more videos, each going into a bit more depth on the other, more specialised lenses I use, coming shortly, so (as they say) stay tuned. Or perhaps more usefully, stay subscribed. Or whatever.
Good stuff! I bought the 18-110mm new two years ago, to breathe new life into my old NEX-VG20 and it did but soon after, I picked up both an FS5 and an FS7 for just.. well, let's paraphrase Jeremy Clarkson: "I didn't know numbers went that low!" Guess what? The FS7 also came with an 18-110mm so now I have two proper cinema cameras with two proper cinema lenses! But... I wanted a small, ultra wide angle lens to compliment those two so putting my Zeiss 21mm Distagon/Speed Booster to one side, I have just acquired 7Artisans remarkable 12mm, T2.9, E-Mount Cinema Prime for just under 200 UK pounds! Now, there's a real match for the FS5 floating ND. Set the focus to infinity, aperture at T5.6 and Bob's your Uncle.
I guess you've seen my short series on budget lenses? ua-cam.com/video/8UP4za7MG7w/v-deo.html Most of those aren't E-mount, but with a pair of Metabones adapters, you'd hardly know the difference - and if I elect to change a different camera system, I can take them with me.
@@AmandaProsser I will watch that link. I started collecting nearly all the Zeiss Contax FF lenses where they were a bargain but as you know, the documentary world does not wait for you to change lenses so I sold them all except the legendary 21mm Distagon to finance my first 18-110mm servo zoom. Top Tip: Seek out the Contax 35-70mm constant aperture F/3.4 as it is a true 'variable prime'. FF lenses and a good focal reducer are a great option for S35 sensors as the latter improves the lens' MTF.
I’ve been shooting mainly on an FS7ii for a few months now, and of course the 18-110 pairs with it beautifully. It’s a big camera to start with, and the weighty 18-110 makes it even bigger, but it’s such a capable package that it’s usually worth it.
The cheaper 18-105 will get the job done most of the time, but the 18-110 is a much nicer and more capable lens in many ways. Lots of people are moving up to full-frame FX3, FX6 or FX9, and so selling on their 18-110 lenses because they won't cover those cameras' bigger sensors, so it's well worth looking out for used 18-110s on mpb, Ebay or wherever.
@@AmandaProsser Thanks very much! Ive bought used FS7 so really want to get the better lens. Im looking forward to using the super 35 because actually it seems a bit more forgiving(than full frame) on the focusing and i prefer a bit more depth of field anyway. Your vid was perfect for me to make my mind up. Thanks again.
In my opinion, Super 35 is a sweet spot: big enough for reasonable low-light performance and high resolutions at sensible prices, but small enough to keep the size of lenses down and deliver a usable depth of field for doc work. If you really want shallow depth of field, you can still get it on super 35; you'll just need fast and/or longer lenses. In my line of doc work, we're often working at around f8 to f11 with focus set at hyperfocal distance so as NOT to have too shallow a depth of field and be constantly focusing to follow a contributor. If Sony brought out an FX90 - like the FX9 but with a super 35 sensor - I'd buy it in a heartbeat!
I also used EF-mount DSLR lenses on my FS5 and FS7, with either a Metabones adapter, a Metabones Speedbooster or (on my 150-500) a Sigma MC-11. I tend to use a Sigma 24-70 f2.8 for narrative work. With the Speedbooster, it’s effectively f2.0, giving me that shallow depth of field when I need it, and 24-70mm covers most drama scenarios. When space is really tight, I have a Tokina 9-16mm f2.8 too. They don’t have the power zoom or stepless aperture control, and only the monster 150-500 has image stabilisation. These things aren’t much needed in scripted work, but they can be handy for documentary. Perhaps I should make a video about those lenses too?
Currently lurking at a used FS5 for sports documentary. Motorized zoom is needed for this second camera, so i am looking at these two lenses... Thing shoot primarily with gh5 or gh5S, smaller lenses, gimbal or handheld, but very mobile... And when i had to shoot with the fs7+18-110 i didnt like it : the size of this combo was really limiting the shots i could get... The 18-105 looks interesting but if its loosing focus on zoom out its not usable. I havent found a real test of what you can and can't do with the 18-105 while zooming in-out.
To be fair to it, the 18-105 focuses reasonably briskly, even on the FS5 (as long as there’s plenty of contrast in the image). So if you’re not crash zooming, the focus usually keeps up reasonably well. If you zoom at top speed from one end of its range to the other, focus will lag a bit though, as you see in the lighthouse shot in the film. Agreed about the bulk of the FS7+18-110. It’s a monster to lug around. My B camera is a GH4 - pocket size by comparison, and a very capable little beast. But the images the FS7 produces are just so much more pleasing… Often, the FS5 + 18-105 is a good compromise between the two - light and small enough to pass as an ‘amateur’ camcorder or to be lugged up a mountain, but a bit nicer image than the perhaps overly sharp M43 sensor’s image.
Thanks Craig; you're welcome. As a subscriber, hopefully UA-cam has already served you some of them, but if not, you might also be interested in my series of videos about my more specialised lenses. Here's the first: ua-cam.com/video/f1nL0gV63Rk/v-deo.html
Good afternoon Amanda, very interesting. I am looking for a wide angle lens for my fs5, something like a 10-20mm. Have you used one that suits you and is not too expensive? Cheers
My wide-angle is a Tokina 11-16mm F/2.8 DXII. It's a Canon EF-mount lens, and I use it with a Metabones adapter (NOT a speedbooster). I got it used on Ebay a few years ago now, and it's useful for shooting indoors in small rooms where you can't get far enough away from your subject otherwise, and for those slo-mo 'hero' shots of people approaching the camera, shot from ground level. (You get to see a shot made with it here - on a Canon M50 - here: ua-cam.com/video/a7WO59HNoX4/v-deo.html, at about 4:15. You can also see it on the desk while I'm talking indoors). Apart from my walkaround lenses, all my lenses are Canon EF-mount. There's an excellent range of nice lenses at affordable prices, including used ones, for EF - more than for Sony E mount. They can be used with an adapter or speedbooster on almost any camera, so if I find myself switching, or using someone else's camera, I'm not stuck with a case full of lenses that are no use to me. Because the Tokina 11-16 is a DX-type lens, it throws an image circle big enough only to cover a "crop" sensor. It will cover the FS5's super 35 sensor if used with a straight adapter, with no glass in it. A speedbooster squeezes down a full-frame image circle onto a smaller sensor - but if you use a DX lens and a speedbooster together on a super 35 camera, you'll get a vignetted image (unless you switch to centre scan on the FS5 - but then you lose the wide angle!) I should probably make a video about all this, but I'm kinda busy just now...
Oh, and that Tokina doesn't have image stabilisation. But at very wide-angle, you really won't need it much. Autofocus on a Sony is slow, but again, on a very wide-angle, you almost don't need to worry about focussing unless you're very close-up and with the aperture wide open.
@@MARYCAZATVHonestly, I don't know: I've never tried one. But from looking at the specs relative to the Tokina: Pros: native E mount so will probably focus and perform better on Sony; has image stabilisation; won't need an adapter. Cons: kinda pricey, even used; looks like it's focus-by-wire (although as I said, you won't be focussing much anyway); max aperture of f/4 is a bit slow.
Thanks - it works for me! I found myself spending more than half my working time editing, so it made sense to make it as easy and comfortable as possible. I've learned that having plenty of screen space makes things a lot easier and quicker - I can find the clip I want without having to scroll and then click back to my timeline too often. Editing on a laptop screen is so fiddly! Every screen seems to be set up and calibrated differently, so I can get a look at what I've made on four different screens, including the high-up AV TV screen, without even leaving the room: if it looks okay on all of them, it'll probably look okay on most screens. The overhead AV screen impresses clients too - "just like a proper edit suite!" And the speakers: they're Teacs - LS-MC78 'bookshelf' speakers. Under the desk, on a little shelf (which also houses my router, NAS RAID server and a couple of hard discs) is a Teac CR-H100 amplifier that drives them. The desk itself is home-made. When I moved in here, I had no almost no money to spare, so I cobbled the desk together from chipboard and scrap steel and used cheap plywood to make a reasonable-looking top surface. A year or so ago, I renovated the whole room, with nice oak window boards and skirting, so I got some oak veneer and edging for the desk too.
Nice review! That electronic ND filter seems very nice to have! I use some old Nikon lenses to my Fujifilm xh1. But I looking for one Sony Fs5. Regards from Peter in Sweden
@@petersundkvist5374 I don’t know, but as the camera has no moving parts other than its controls, I’d be more concerned with everything else about the camera than its hour count. In particular the menu dial on the side of the camera fails at some point on almost all FS5s, so that either it won’t work at all, or it will scroll through menu options but won’t select them. Fortunately, you can work through the menu perfectly well with the joystick on the side handle, but it’d be nice to get a camera on which everything works. Other than that, I’d look at the overall condition - a camera that’s covered in scratches probably hasn’t been cared for - and check carefully for cracks in the casing. It’s nice if it’s got all the little rubber covers for its ports - this also suggests a careful owner. Finally, cameras used outside with a loupe fitted can get burnt spots on their LCDs.
.... and while yer at it, what's that "eye piece"... and are you happy with it or have you seen others you would recommend. You probably found that one in an old Bently Boot. ;-)
Hi - I haven't tried one, but I believe generic LANC controllers should work, and my colleague James Coburn reviewed an Ebay cheapie a while back. Search for 'lanc zoom controller' on ebay and you'll find one. Here's James' review: ua-cam.com/video/2e-myhmSUzo/v-deo.html
@@SanjayProductionsUSA I think you're looking at my Zacuto Z-finder. I talk more about it - and other options for seeing what your FS5 is doing, here: ua-cam.com/video/kZnngR5Wo6g/v-deo.html
@@AmandaProsser Please suggest a way to get the "grip handle" on an extension arm out front.. with a lanc connection. I missed getting the Sony adapter while in usa. Now working internationally and desperate for a way to controle the action with right hand extension arm via rosetta connector. or whateve will work. THANK YOU!!!!
@@SanjayProductionsUSA For FS5, right? Okay, SmallRig used to do a kit for the FS5 which included an extension arm, with an adapter to take the bayonet fitting that the side handle has and a regular Arri rosette on the other end to attach to a VCT shoulder plate or rail-mounted rosette. It also included a 2.5mm LANC extension cable. You might be able to find such a kit used. Otherwise, SmallRig part number 3403 has the bayonet-to-Arri rosette adapter and the LANC extension cable you need (UK Ebay link: www.ebay.co.uk/itm/265282681998?itmmeta=01HWJ209S5MDF6QHVAXGFYB1YQ&hash=item3dc4147c8e:g:z9EAAOSwqs1hJM5S), and their extension arm, part number 1870, will get it where you want it (www.ebay.co.uk/itm/256089047821?itmmeta=01HWJ25W1CWEBVWTVG4HG87H1E&hash=item3ba018c30d:g:pdgAAOSwwXdjahI3). Also worth mentioning: if you undo the two small screws where the LANC cable enters the FS5 side handle itself, you'll find that underneath the cover, there's a regular 2.5mm TRS jack plug - any 2.5mm LANC extension cable will do. Also, an FS7 side handle works with the FS5, has a long LANC cable attached, and comes with an Arri rosette fitting, so no adapters are needed
Dear Amanda, thank you for the video. Did you have chance to try new tamron 17-70 f2.8? It look like a good Walk around lense for inside filming, because it's faster. But I'm worried about manual focusing, I'm afraid if it is as bad as 18-105.
Hi Denis - no, I didn't try that new Tamron. It certainly looks like a great fast general-purpose lens, but probably with many of the limitations of the Sony 18-105: fly-by-wire controls, no direct aperture control, and no servo zoom. I specifically wanted the more video-orientated lens. The f/4 aperture I can live with: I'm usually shooting outdoors in daylight.
Having worked with both quite a bit, I think the expensive one IS better quality - but, agreed, not six times better. Sometimes the choice isn't down to price; it's down to weight and bulk too - shoot with that big lens on your shoulder for a couple of days and you'll probably agree! I think it's worth the money, for professional doc use, for all the other reasons I gave, though.
And yet FS7s with Canon 24-70 photography lenses are a staple of many broadcast kit rooms... As for how pro stuff looks, that puts off as many clients as it encourages. Sometimes it's best to find out a videography client's expectations and then match them - at least when they're there at a shoot.
Ty for this video!!!
You're welcome! It's been quite popular.
UA-cam is full of reviews and advice on the latest, greatest full-frame kit, but large swathes of content that we see on TV and streamers is shot on FS7 (and other super-35-sensor cameras). You don't need to be shooting a RED or an FX9 to make fantastic content, and for documentary work, one lens that does almost everything is essential. Unless you need small and light (in which case, you're probably shooting on a mirrorless body anyway), for Sony, that lens is probably the 18-110.
If you really liked the video, there's a coffee link in the description... just saying... And don't forget to like and subscribe and tell all your friends etc etc...
Great video Amada! I recently got a very low hr FS5 , and have teamed it with the 18-110 , which I bought new ...ouch! But what a beautiful lens , and I'm only just beginning to discover its many talents. I'm glad I spent the extra dollars and it suits the FS5 perfectly for my type of shooting.
Thanks and cheers,
Gregg.
Thanks Gregg - glad I've been helpful.
Just add an insanely cheap 7Atisans T2.9 12mm Cinema Prime in E-Mount and you'll have everything you'll ever need.
Thankyou - downsizing from a large Cinema Camera & need the reminders to rein in weight to keep up with live action & perhaps climb a tree or two - good coming back to sony
Appreciate your taking the time to talk it through.
Good to hear. I have some more videos, each going into a bit more depth on the other, more specialised lenses I use, coming shortly, so (as they say) stay tuned. Or perhaps more usefully, stay subscribed. Or whatever.
@@AmandaProsser Cheers - look forward to that & yes, already done
Good stuff! I bought the 18-110mm new two years ago, to breathe new life into my old NEX-VG20 and it did but soon after, I picked up both an FS5 and an FS7 for just.. well, let's paraphrase Jeremy Clarkson: "I didn't know numbers went that low!" Guess what? The FS7 also came with an 18-110mm so now I have two proper cinema cameras with two proper cinema lenses! But... I wanted a small, ultra wide angle lens to compliment those two so putting my Zeiss 21mm Distagon/Speed Booster to one side, I have just acquired 7Artisans remarkable 12mm, T2.9, E-Mount Cinema Prime for just under 200 UK pounds! Now, there's a real match for the FS5 floating ND. Set the focus to infinity, aperture at T5.6 and Bob's your Uncle.
I guess you've seen my short series on budget lenses? ua-cam.com/video/8UP4za7MG7w/v-deo.html
Most of those aren't E-mount, but with a pair of Metabones adapters, you'd hardly know the difference - and if I elect to change a different camera system, I can take them with me.
@@AmandaProsser I will watch that link. I started collecting nearly all the Zeiss Contax FF lenses where they were a bargain but as you know, the documentary world does not wait for you to change lenses so I sold them all except the legendary 21mm Distagon to finance my first 18-110mm servo zoom. Top Tip: Seek out the Contax 35-70mm constant aperture F/3.4 as it is a true 'variable prime'. FF lenses and a good focal reducer are a great option for S35 sensors as the latter improves the lens' MTF.
Just purchased the fs7 and I have been looking at what lenses to purchase. This was extremely helpful thanks :)
I’ve been shooting mainly on an FS7ii for a few months now, and of course the 18-110 pairs with it beautifully. It’s a big camera to start with, and the weighty 18-110 makes it even bigger, but it’s such a capable package that it’s usually worth it.
Thank you, Amanda!
I was undecided and thinking to go for the cheaper lens. But after watching your vid im going to hold out until i can get the bigger lens. Thanks
The cheaper 18-105 will get the job done most of the time, but the 18-110 is a much nicer and more capable lens in many ways. Lots of people are moving up to full-frame FX3, FX6 or FX9, and so selling on their 18-110 lenses because they won't cover those cameras' bigger sensors, so it's well worth looking out for used 18-110s on mpb, Ebay or wherever.
@@AmandaProsser Thanks very much! Ive bought used FS7 so really want to get the better lens. Im looking forward to using the super 35 because actually it seems a bit more forgiving(than full frame) on the focusing and i prefer a bit more depth of field anyway. Your vid was perfect for me to make my mind up. Thanks again.
In my opinion, Super 35 is a sweet spot: big enough for reasonable low-light performance and high resolutions at sensible prices, but small enough to keep the size of lenses down and deliver a usable depth of field for doc work. If you really want shallow depth of field, you can still get it on super 35; you'll just need fast and/or longer lenses.
In my line of doc work, we're often working at around f8 to f11 with focus set at hyperfocal distance so as NOT to have too shallow a depth of field and be constantly focusing to follow a contributor.
If Sony brought out an FX90 - like the FX9 but with a super 35 sensor - I'd buy it in a heartbeat!
I am saving to buy a Sony fs7 by en of year. This was informative. Thank you.
Yes, I'd like to upgrade to an FS7 (since an FX9 is way out of range just now). When I do, I've got lenses covered!
Nicely done Amanda! I always learn something new from your posts!!
Very comprehensive, been using my canon dslr lenses on my new used fs5 and cool tip on the depth of field pull. Might have to use it in the field.
I also used EF-mount DSLR lenses on my FS5 and FS7, with either a Metabones adapter, a Metabones Speedbooster or (on my 150-500) a Sigma MC-11. I tend to use a Sigma 24-70 f2.8 for narrative work. With the Speedbooster, it’s effectively f2.0, giving me that shallow depth of field when I need it, and 24-70mm covers most drama scenarios. When space is really tight, I have a Tokina 9-16mm f2.8 too.
They don’t have the power zoom or stepless aperture control, and only the monster 150-500 has image stabilisation. These things aren’t much needed in scripted work, but they can be handy for documentary.
Perhaps I should make a video about those lenses too?
Currently lurking at a used FS5 for sports documentary. Motorized zoom is needed for this second camera, so i am looking at these two lenses... Thing shoot primarily with gh5 or gh5S, smaller lenses, gimbal or handheld, but very mobile... And when i had to shoot with the fs7+18-110 i didnt like it : the size of this combo was really limiting the shots i could get... The 18-105 looks interesting but if its loosing focus on zoom out its not usable. I havent found a real test of what you can and can't do with the 18-105 while zooming in-out.
To be fair to it, the 18-105 focuses reasonably briskly, even on the FS5 (as long as there’s plenty of contrast in the image). So if you’re not crash zooming, the focus usually keeps up reasonably well. If you zoom at top speed from one end of its range to the other, focus will lag a bit though, as you see in the lighthouse shot in the film.
Agreed about the bulk of the FS7+18-110. It’s a monster to lug around.
My B camera is a GH4 - pocket size by comparison, and a very capable little beast. But the images the FS7 produces are just so much more pleasing… Often, the FS5 + 18-105 is a good compromise between the two - light and small enough to pass as an ‘amateur’ camcorder or to be lugged up a mountain, but a bit nicer image than the perhaps overly sharp M43 sensor’s image.
nicely done review!
Thanks!
Great review, Amanda! Thanks and I am now a subscriber to your channel.
Thanks Craig; you're welcome. As a subscriber, hopefully UA-cam has already served you some of them, but if not, you might also be interested in my series of videos about my more specialised lenses. Here's the first: ua-cam.com/video/f1nL0gV63Rk/v-deo.html
Super video, helped me no end, thanks
Great to hear!
Good afternoon Amanda, very interesting.
I am looking for a wide angle lens for my fs5, something like a 10-20mm.
Have you used one that suits you and is not too expensive?
Cheers
My wide-angle is a Tokina 11-16mm F/2.8 DXII. It's a Canon EF-mount lens, and I use it with a Metabones adapter (NOT a speedbooster). I got it used on Ebay a few years ago now, and it's useful for shooting indoors in small rooms where you can't get far enough away from your subject otherwise, and for those slo-mo 'hero' shots of people approaching the camera, shot from ground level. (You get to see a shot made with it here - on a Canon M50 - here: ua-cam.com/video/a7WO59HNoX4/v-deo.html, at about 4:15. You can also see it on the desk while I'm talking indoors).
Apart from my walkaround lenses, all my lenses are Canon EF-mount. There's an excellent range of nice lenses at affordable prices, including used ones, for EF - more than for Sony E mount. They can be used with an adapter or speedbooster on almost any camera, so if I find myself switching, or using someone else's camera, I'm not stuck with a case full of lenses that are no use to me.
Because the Tokina 11-16 is a DX-type lens, it throws an image circle big enough only to cover a "crop" sensor. It will cover the FS5's super 35 sensor if used with a straight adapter, with no glass in it. A speedbooster squeezes down a full-frame image circle onto a smaller sensor - but if you use a DX lens and a speedbooster together on a super 35 camera, you'll get a vignetted image (unless you switch to centre scan on the FS5 - but then you lose the wide angle!)
I should probably make a video about all this, but I'm kinda busy just now...
Oh, and that Tokina doesn't have image stabilisation. But at very wide-angle, you really won't need it much. Autofocus on a Sony is slow, but again, on a very wide-angle, you almost don't need to worry about focussing unless you're very close-up and with the aperture wide open.
@@AmandaProsser Thank you very much
@@AmandaProsser Do you think that this SONY E 10-18MM F/4 ED OSS lens would work and give good results?
@@MARYCAZATVHonestly, I don't know: I've never tried one. But from looking at the specs relative to the Tokina:
Pros: native E mount so will probably focus and perform better on Sony; has image stabilisation; won't need an adapter.
Cons: kinda pricey, even used; looks like it's focus-by-wire (although as I said, you won't be focussing much anyway); max aperture of f/4 is a bit slow.
I love your desk setup! which speaker are those?
Thanks - it works for me! I found myself spending more than half my working time editing, so it made sense to make it as easy and comfortable as possible. I've learned that having plenty of screen space makes things a lot easier and quicker - I can find the clip I want without having to scroll and then click back to my timeline too often. Editing on a laptop screen is so fiddly!
Every screen seems to be set up and calibrated differently, so I can get a look at what I've made on four different screens, including the high-up AV TV screen, without even leaving the room: if it looks okay on all of them, it'll probably look okay on most screens. The overhead AV screen impresses clients too - "just like a proper edit suite!"
And the speakers: they're Teacs - LS-MC78 'bookshelf' speakers. Under the desk, on a little shelf (which also houses my router, NAS RAID server and a couple of hard discs) is a Teac CR-H100 amplifier that drives them.
The desk itself is home-made. When I moved in here, I had no almost no money to spare, so I cobbled the desk together from chipboard and scrap steel and used cheap plywood to make a reasonable-looking top surface. A year or so ago, I renovated the whole room, with nice oak window boards and skirting, so I got some oak veneer and edging for the desk too.
Nice review! That electronic ND filter seems very nice to have! I use some old Nikon lenses to my Fujifilm xh1. But I looking for one Sony Fs5. Regards from Peter in Sweden
Thanks! Once you've tried a camera with built-in ND and quality sound capabilities, you won't want to go back.
@@AmandaProsser If I buy a second hand fs5, how many hours is too much do you think?
@@petersundkvist5374 I don’t know, but as the camera has no moving parts other than its controls, I’d be more concerned with everything else about the camera than its hour count.
In particular the menu dial on the side of the camera fails at some point on almost all FS5s, so that either it won’t work at all, or it will scroll through menu options but won’t select them.
Fortunately, you can work through the menu perfectly well with the joystick on the side handle, but it’d be nice to get a camera on which everything works.
Other than that, I’d look at the overall condition - a camera that’s covered in scratches probably hasn’t been cared for - and check carefully for cracks in the casing. It’s nice if it’s got all the little rubber covers for its ports - this also suggests a careful owner. Finally, cameras used outside with a loupe fitted can get burnt spots on their LCDs.
Thank you so much for the comprehensive answer!
Hi Amanda, great help there with the comparison. Re the FS5ii, are there any "Zoom Controlers" for mounting remotely on the tripod handle??? tnx!
.... and while yer at it, what's that "eye piece"... and are you happy with it or have you seen others you would recommend. You probably found that one in an old Bently Boot. ;-)
Hi - I haven't tried one, but I believe generic LANC controllers should work, and my colleague James Coburn reviewed an Ebay cheapie a while back. Search for 'lanc zoom controller' on ebay and you'll find one. Here's James' review: ua-cam.com/video/2e-myhmSUzo/v-deo.html
@@SanjayProductionsUSA I think you're looking at my Zacuto Z-finder. I talk more about it - and other options for seeing what your FS5 is doing, here: ua-cam.com/video/kZnngR5Wo6g/v-deo.html
@@AmandaProsser Please suggest a way to get the "grip handle" on an extension arm out front.. with a lanc connection. I missed getting the Sony adapter while in usa. Now working internationally and desperate for a way to controle the action with right hand extension arm via rosetta connector. or whateve will work. THANK YOU!!!!
@@SanjayProductionsUSA For FS5, right? Okay, SmallRig used to do a kit for the FS5 which included an extension arm, with an adapter to take the bayonet fitting that the side handle has and a regular Arri rosette on the other end to attach to a VCT shoulder plate or rail-mounted rosette. It also included a 2.5mm LANC extension cable. You might be able to find such a kit used.
Otherwise, SmallRig part number 3403 has the bayonet-to-Arri rosette adapter and the LANC extension cable you need (UK Ebay link: www.ebay.co.uk/itm/265282681998?itmmeta=01HWJ209S5MDF6QHVAXGFYB1YQ&hash=item3dc4147c8e:g:z9EAAOSwqs1hJM5S), and their extension arm, part number 1870, will get it where you want it (www.ebay.co.uk/itm/256089047821?itmmeta=01HWJ25W1CWEBVWTVG4HG87H1E&hash=item3ba018c30d:g:pdgAAOSwwXdjahI3).
Also worth mentioning: if you undo the two small screws where the LANC cable enters the FS5 side handle itself, you'll find that underneath the cover, there's a regular 2.5mm TRS jack plug - any 2.5mm LANC extension cable will do. Also, an FS7 side handle works with the FS5, has a long LANC cable attached, and comes with an Arri rosette fitting, so no adapters are needed
Dear Amanda, thank you for the video. Did you have chance to try new tamron 17-70 f2.8? It look like a good Walk around lense for inside filming, because it's faster. But I'm worried about manual focusing, I'm afraid if it is as bad as 18-105.
Hi Denis - no, I didn't try that new Tamron. It certainly looks like a great fast general-purpose lens, but probably with many of the limitations of the Sony 18-105: fly-by-wire controls, no direct aperture control, and no servo zoom. I specifically wanted the more video-orientated lens. The f/4 aperture I can live with: I'm usually shooting outdoors in daylight.
If money were no object the choice would be clear but the video (expensive) one is 6x more expensive but not 6x better quality
Having worked with both quite a bit, I think the expensive one IS better quality - but, agreed, not six times better.
Sometimes the choice isn't down to price; it's down to weight and bulk too - shoot with that big lens on your shoulder for a couple of days and you'll probably agree! I think it's worth the money, for professional doc use, for all the other reasons I gave, though.
@@AmandaProsser Yes, there are probably more reasons not to use the big lens but it does look more pro 😁
And yet FS7s with Canon 24-70 photography lenses are a staple of many broadcast kit rooms... As for how pro stuff looks, that puts off as many clients as it encourages. Sometimes it's best to find out a videography client's expectations and then match them - at least when they're there at a shoot.
@@AmandaProsser 👍
are you german? :P
No, I'm British. Why do you ask?