I can't wait to see this all set up in your van in a working environment, That would be an awesome video to see, You take us through how you set up the cameras, match the pictures on a waveform monitor & show the making of a production.
This was awesome. I had always wondered why anybody would shoot with these smaller sensored cameras when we have super 35 and full frame video cameras of outstanding quality. Can definitely see that it's a lot more about the ecosystems that are set up around these big rigs that make them easy(er) to manage on a shoot day.
I believe the smaller sensor is necessary to get a reasonable sized zoom lens with constant aperture. Having larger sensors would make the lens inordinately big. On the flip-side, these sensors don't have great ISO-equivalent performance
We still have our Ursa broadcast G2 and I am looking at a few more for another department. The Sonys came in as an incredible offer and I had a few similar models in house so we took the decision to expand that system. Thanks for the comments!
Hi it depends on the model I think. I use clearcom more than RTS so I’m not the most qualified to answer. That being said I often have to rig something up or buy a converter - most intercoms are 2 wire or 4 wire and the Sony’s are a five pin. The sub d has intercom tally and a tone of other things on it so I will pic up some wire and sub d connecters and solder both the Tally and intercom from this port to the mixer board and the intercom base station.
In the boroadcast world (B4 mount) you only have canon an fujinon making lenses. And they are used with cameras from all brands (Sony, Panasonic, Blackmagic) canon doesn’t produce any cameras with b4 lens mount.
I totally get that Ursa G2’s are awesome and may be our next studio choice. Oddly enough the ruggedness of the Sonys really came into play here as this purchase was intended for mobile productions. We installed the G2’s earlier in a sister studio to us and again they are terrific but I was concerned about them traveling. There are more places to break these that the Sonys like the LCD screen and we use a lot of volunteers at times. When it comes to mobile crews I have seen a fair share of accidents or mishaps. Out of curiosity are you using yours primarily in studio or in a mobile unit? Thanks for the comment!
@@soldoutmedia8025 Outside broadcast. Built in screen is rarely used. Usually tripod and studio viewfinder or handheld. They may look a little brittle but comparing with the industry leaders i had my share of breaking stuff on JVC (KY), GV and Sony camera chains in studio environment. Nothings bullet(idiot)proof :) The price is where all the math(logic) shows.... Did you try the 4k on fb80? Any difference from 1080p? Thx!
My day job is a tech at a TV station so I personally do not own the big Sonys. We have a few. We got these with the fiber, remotes CCUs and lenses for around 35k each before tax ball park- there were some extras. It was a package deal dependent on the quantity.
So bad rolling shutter and then people complain about URSA Broadcast G2/BMPCC 6K having a bad rolling shutter, despite the S35 sensor. How is there so much focus breathing with this lens? Somehow, I'd have assumed a B4 lens having none.
@@SportFlow Yeah, I have since learned that most B4 lens designs don't consider breathing to be an issue. Given the longer dof, it might make sense because you don't need to hunt for the focus like with (S)35mm cameras. PS missing the foxus servo doesn't necessarily mean anything. Look at those Zeiss and Fujinon cine lenses for B4 that don't even have any electronics usually 😝 (yeah, I know those are legacy that almost nobody is using anymore)
@@hbp_ well, most of the broadcast b4 lenses have digital servos (Fujinon digisuper and Canon ones). The one here doesn't and all the cables needed is really a mess. You get what you pay for I guess.
@@SportFlow oh, yeah :) I don't get it. It's just weird segmenting. The separate focus servo module must be way more expensive (design and manufacturing) than just integrating it in the handle. I think some Angenieux HD lenses even had both options, either buying it as integrated or as a separate unit. They also had demands with and without (eco model) LCDs. Didn't Fujinon also sell mechanical follow focus style demands? Although I get why, many people think (right) that the mechanical coupling has more accurate feeling. That's why cine people used to use those whips, until the RF remotes achieved almost the feel of a mechanical coupling.
I can't wait to see this all set up in your van in a working environment, That would be an awesome video to see, You take us through how you set up the cameras, match the pictures on a waveform monitor & show the making of a production.
I need to watch more videos like thet! Fantastic!
Very nice cameras! Your very fortunate to have those cameras, I only have access to old broadcast cameras 😅
Great video...I love that! I need a camera like yours. I love broadcast video cameras. I have SONY HDV HD 1000
Fantastic video. I will probably never own one of these beasts but it's nice to know what the big ENG workhorses look like up close!
They are fantastic to work with.
That has to be a $10k camera. Dreaming on!!
Loving your video!!!!
Thanks so much for the comment!!!
can you guys do a full tutorial about Lens Broadcast and there Manual.
This was awesome. I had always wondered why anybody would shoot with these smaller sensored cameras when we have super 35 and full frame video cameras of outstanding quality.
Can definitely see that it's a lot more about the ecosystems that are set up around these big rigs that make them easy(er) to manage on a shoot day.
I'm sure it smokes literally any mirrorless and dslr but youtube makes it all look the same, atleast when viewed on phone.
I believe the smaller sensor is necessary to get a reasonable sized zoom lens with constant aperture. Having larger sensors would make the lens inordinately big. On the flip-side, these sensors don't have great ISO-equivalent performance
this camera IS MY DREAM !!! 😢😢😢
Same
I prefer an Eng one with a recorder unit for standalone use. Since it can still be adapted to studio use without limiting yourself.
Very interesting video. I have just subscribed. ;)
Ikegami will probably start including screwdrivers now 😂
These have been discontinued from Sony due to supply chain issues and are offering the HDC-3100 at a good price right now.
Facts! We are trying to get cameras for our studio, and the HDC-3100 is what we will get.
When are you able to do a livestream broadcast show
Mam.. I want this camera for cricket streaming..which price?
Halo kami dari Indonesia dan kami sangat menyukai pembahasan nya
Hi you are not using the Ursa broadcast G2 anymore
We still have our Ursa broadcast G2 and I am looking at a few more for another department. The Sonys came in as an incredible offer and I had a few similar models in house so we took the decision to expand that system.
Thanks for the comments!
Hi , wat is the connection of DSub25 to RTS intercom ? Thanks
Hi it depends on the model I think. I use clearcom more than RTS so I’m not the most qualified to answer.
That being said I often have to rig something up or buy a converter - most intercoms are 2 wire or 4 wire and the Sony’s are a five pin.
The sub d has intercom tally and a tone of other things on it so I will pic up some wire and sub d connecters and solder both the Tally and intercom from this port to the mixer board and the intercom base station.
Hirose push-pull connectors can not be screwed on in any way.
No you.
show, show, a sony with a canon lens, the guys over at dpreview would get a heart attack if they saw that!
In the boroadcast world (B4 mount) you only have canon an fujinon making lenses. And they are used with cameras from all brands (Sony, Panasonic, Blackmagic) canon doesn’t produce any cameras with b4 lens mount.
20k camera
I am very thankful to have found your video! Thanks for sharing your knowledge with the world! @SoldoutMedia
It was my 1 choice but when i found out that sony just upscales HD to 4k on camera control.... Ursa B G2 was the winner
I totally get that Ursa G2’s are awesome and may be our next studio choice. Oddly enough the ruggedness of the Sonys really came into play here as this purchase was intended for mobile productions.
We installed the G2’s earlier in a sister studio to us and again they are terrific but I was concerned about them traveling. There are more places to break these that the Sonys like the LCD screen and we use a lot of volunteers at times. When it comes to mobile crews I have seen a fair share of accidents or mishaps.
Out of curiosity are you using yours primarily in studio or in a mobile unit?
Thanks for the comment!
@@soldoutmedia8025
Outside broadcast. Built in screen is rarely used.
Usually tripod and studio viewfinder or handheld.
They may look a little brittle but comparing with the industry leaders i had my share of breaking stuff on JVC (KY), GV and Sony camera chains in studio environment.
Nothings bullet(idiot)proof :)
The price is where all the math(logic) shows....
Did you try the 4k on fb80? Any difference from 1080p?
Thx!
how much is the complete camera chain? Something around 35k and you said you have 2 more?? This is 100k worth of equipment!! Lucky you
My day job is a tech at a TV station so I personally do not own the big Sonys. We have a few.
We got these with the fiber, remotes CCUs and lenses for around 35k each before tax ball park- there were some extras. It was a package deal dependent on the quantity.
I am trusting this camera I like it this camera my camera man operator camera Airport
mam...which budget of all this equipment...in indian rupees
I camera with CCU lens, Viewfinder & short length fibre over 2,930,544.75 Indian Rupee
I watched the entire video and it had nothing to do with me am a simple mirrorless camera owner
Hi
Thanks for commenting! We definitely appreciate the feedback.
Cooking show
But haave not aqplication for sports events. Rolling Shutter. In this case, Sony HXC 100 still does better!
Yes no doubt there!
So bad rolling shutter and then people complain about URSA Broadcast G2/BMPCC 6K having a bad rolling shutter, despite the S35 sensor.
How is there so much focus breathing with this lens? Somehow, I'd have assumed a B4 lens having none.
I was so shocked at the focus breathing too!
this is a very entry-level B4 lens. It even doesn't have built-in focus servo.
@@SportFlow Yeah, I have since learned that most B4 lens designs don't consider breathing to be an issue. Given the longer dof, it might make sense because you don't need to hunt for the focus like with (S)35mm cameras.
PS missing the foxus servo doesn't necessarily mean anything. Look at those Zeiss and Fujinon cine lenses for B4 that don't even have any electronics usually 😝 (yeah, I know those are legacy that almost nobody is using anymore)
@@hbp_ well, most of the broadcast b4 lenses have digital servos (Fujinon digisuper and Canon ones). The one here doesn't and all the cables needed is really a mess. You get what you pay for I guess.
@@SportFlow oh, yeah :) I don't get it. It's just weird segmenting. The separate focus servo module must be way more expensive (design and manufacturing) than just integrating it in the handle.
I think some Angenieux HD lenses even had both options, either buying it as integrated or as a separate unit. They also had demands with and without (eco model) LCDs.
Didn't Fujinon also sell mechanical follow focus style demands? Although I get why, many people think (right) that the mechanical coupling has more accurate feeling. That's why cine people used to use those whips, until the RF remotes achieved almost the feel of a mechanical coupling.
Meh,
You got a towel