Sony FX3, Sigma 100-400 f5-6.3 DG DN | 120p, Slow Motion | High Frame Rate Test
Вставка
- Опубліковано 27 лис 2021
- Test shooting with the Sony FX3 and Sigma 100-400 F5-6.3 DG DN.
Music Credit: Bensound.com
Technical Information |
All shots are handheld with Image Stabilization set to Standard. Shot in broad daylight and some shade. Stupid clouds did not shade the sun like they were supposed to. Mixture of touch and wide tracking auto focus used for most shots, manual for a few.
Camera:
Sony FX3
XAVC-HS, 10bit 4:2:2
60p/120p
Slog3, Sgamut3
Lensing:
Sigma 100-400 f5-6.3
Schneider Hollywood Blackmagic 1/4 filter
No ND filters, tested and stretched dynamic range.
Matte Box for some shots to help with flaring, can't remember which.
Post Production:
Davinci Resolve
ACEScct Color Managed
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Amazing image for a lens under $1000. Nice work!
such a lovely pond with goose! I wish I could remake the footage and color grading like this
My channel has information on how to use ACES color managed workflows to grade your footage from any camera. Please take a look at the resources here.
Amazing imagery, Tony. I noticed in other comments that you said the lighting conditions were horrible. But, you managed to capture some lovely shots out of it. Great work.
Luckily the xavc files were very malleable. Lots of exposure adjustments here.
Beautiful. You should do a video for why go aces 1.3 vs DaVinci wide gamut
Sure, have any samples you would like me to look at for this video?
Insane ! Beatifull ! Handheld with a such long lense. The autofocus should help a lot too. IS seems to be great for micro movment. Can you tell us when it could break appart ? Can you acheive the same look with an A7IV ? Thanks a lot.
The IS is much better after the Sigma lens update and the FX3 has much better IS in general compared to my a7riii's video IS.
By break apart do you mean in the grade? If you overly correct the image or underexpose and try to pull shadows out that are 2 stops or so underexposed, it will break. I don't do either of these things because generally they are not necessary. If you use zebras to gauge the highlight clip point and the shadow noise floor, you should not have to "save" either of the extreme ends of the material. In more controlled scenarios I expose "correctly" up to 1.5 stops overexposure for middle gray IRE according to Sony's white papers. I can try an HDR10 render to see if the image breaks when pushed to 10bit output as that will be the biggest test of the flexibility of the capture.
A7iv will likely have worse results because A: it can't do 120p in 4K, which does help the motion control to look less wobbly when played back in slow motion and B: its cropping in to s35 for high frame rate, which will exacerbate any issues with the lens (aberrations, sharpness, etc.) and the image stabilization. It doesn't mean it will be unusable, but it will likely be worse based on everything we know about how these cameras tend to work when cropped in. It will be super sampling I believe so artifacts should be OK, but the other things like lens issues won't benefit from super sampling.
The good thing though about the super 35 crop mode would be some extra reach with longer lenses, if that's what you need.
@@TonyDae Thank you so much for this precious details. I realy apreciate your level of expertise ! Meaning " break appart " i was thinking about IS. The FX3 is realy amazing 🤩 i own a bmpcc 6k wich i love, but the tools that the FX3 offers is realy apealing. Thanks again for your work.
@@thomasl4533 For IS, it looks pretty good out of this camera and lens combination for the most part. I did a couple of shoots with a client over the last few weeks with the Sigma 24-70 f2.8 DG DN with active stabilization and standard and got very good results from both while just doing all my broll handheld.
At longer FL's, it gets worse, but still good at 70mm. Resolve has a very easy to use translation stabilizer as well that works very well ontop of the in camera stabilization.
The eye tracking autofocus is extremely good, tap to focus works most of the time for heads/humans but objects and animals sometimes not so good. I moved from the bmpcc4k after doing grading with a7siii footage. As long as you get your white balance close enough, the image is just as good without the magenta shadows of the pocket 4k.
Compared to the 6k, colors can look exactly the same and there is a slight nod to the bmd camera for dynamic range in highlight retention but only when you use the recovery option in the raw tab (which is a composite of two non-clipped channels).
Also, no IR pollution with the Sony.
I am pretty happy with the change since the package works well in my work... the AF, small form factor, articulating screen, really good Sigma AF lenses, high dynamic range, compressed files, etc. and auto white balance on the Sony (its really good, best I have used) make it near perfect. Only thing I am missing is Braw.
What’s the color grading process behind this?
I could do a separate video but I use the same techniques for ACES color management as found on my channel. Most of the work on this one had to with exposure and drawing the eye to the subjects since the lighting was terrible. Bald sun, just past noon, with black and white birds. The clouds were supposed to give me cover and some softness but that didn't happen. Not necessarily the ideal situation.
Is the internal 4k 120fps on the FX3 burst or continuous?
You can run it continuous until it overheats eventually, it is only promised not to overheat up to 60p under the operating temp guidelines. I shot for a few hours shooting bursts up to a few minutes at a time, no overheat warning etc.
@@TonyDae very cool. Great camera and I’m looking to purchase soon!
@@timdanyo898 Its all around the finest workhorse cam I have used since the Canon C100mi. Good luck to you!
@@TonyDae thanks buddy! yeah.. the images I'm seeing and the small form factor are clutch.