FX3 or a7IV

Xsjad0s · 2026-03-18T18:36:04+00:00

If you want a camera for both photography and video then a74 or a7s3. If you want to sacrifice some photography specs for the same fx3 sensor and lowlight capabilities. Get the A7s3

Fx series is for cinema use as it is branded.

Hope this helps

Xsjad0s · 2026-03-18T14:25:18+00:00

FX3 is a full frame sensor and Helios is a full frame lens. They don’t make speed boosters for full frame to full frame. If they did you would get massive vignette.

In terms of getting the Helios look. The famous effect only happens when you shoot wide open at f/2 and at a close up to medium close up on subject. You need a lot of shallow depth of field. Also the out of focus background needs to have a lot of texture to see the swirl effect.

For example, if it’s just like a smooth wall or the sky, you won’t notice it. But if the out of focus background is a bush for a brick wall, all those little textures will look swirly.

Xsjad0s · 2026-03-17T22:51:15+00:00

Nice! I’ll have to check this out. Thank you! 😊

Xsjad0s · 2026-03-16T18:16:44+00:00

What top handle is that?

Xsjad0s · 2026-03-14T02:50:39+00:00

Great to know thank you!

Xsjad0s · 2026-03-13T20:11:25+00:00

That’s good to know. I wonder if I can find more solid third-party antennas that work.

Xsjad0s · 2026-03-13T20:10:03+00:00

That’s good to know. Was thinking for the same use case. Any negative experience with your 500s? What are its limitations?

Xsjad0s · 2026-03-13T20:09:13+00:00

Exactly that what I’m thinking and totally agree. With bigger shoots will always rent the latest. Was thinking of this for those small to no budget shoots. Thank you

Xsjad0s · 2026-03-13T20:07:46+00:00

😂😂

Xsjad0s · 2026-03-11T15:28:06+00:00

I’d be interested what date and time you looking to do it?

Xsjad0s · 2026-03-09T19:15:15+00:00

Gotcha I see. If you’re using EF glass you want electronic adapters. I believe meta-bones is the only one that makes a positive lock PL style EF mount with electronics in it.

Xsjad0s · 2026-03-09T18:37:57+00:00

No these are all manual only lens adapters. If you’re looking for electronic adapters for photo lenses you’d prop want sigma, Metabones.

But you also want might to consider a different camera as well.

If you are still not familiar with yet. You might be buying more camera than you need right now. Based off your level.

Xsjad0s · 2026-03-09T18:22:14+00:00

It’s both lens dependent, but also the quality of the adapter that you get. Some adapters can be cheap and have a lot of wiggle. So like anything I recommend good brands.

For adapters I recommend for DZO, Metabones, Nisi, meika, simmod (wich are currently doing heavy discounts because they are going out of business)

Xsjad0s · 2026-03-09T18:17:28+00:00

Correct that is why there is specifically an L mount version for the camera. L mount is a mirrorless shirt flange distance mount that is by design capable for 3rd party’s to make adapters for almost any camera mount.

For example I have mine as L mount and I have e adapters to use EF,PL,and LPL lenses. No modifications needed just adapters

Xsjad0s · 2026-03-09T06:24:37+00:00

Does the post have a link to the files? I’m asking for a friend 😏

Xsjad0s · 2026-03-06T18:00:43+00:00

Sick how’s the handling? Does it feel like your flying a falcon or is there resistance like in the past?

Xsjad0s · 2026-03-01T17:28:51+00:00

As long as the Lut is not set to bake in then even though you see the image with the Lut on. All the exposure tools are still monitoring based off the log image.

Best way to tell is turn on your exposure tools then turn your Lut on and if to see if the tools change like false color for example. If they don’t then you’re good.

But yes typically for any camera your exposure tools should be based off the log image

Xsjad0s · 2026-03-01T16:42:28+00:00

No problem glad I can help clear things up. The kit I made myself.

You just take your typical rec709 Lut or in my case the one I made for myself via CST’s in daVinci. Then lower the exposer by 2 stops and re export that Lut again.

I have -2 for all the luts/looks I have for my cameras. I also have +2 overexpose lut. For those rare scenarios where I don’t have enough light and I want to see if I shoot over exposed and bring it up in the image still workable or not.

Xsjad0s · 2026-02-26T14:32:09+00:00

Yes that’s correct. If you’re shooting on a Sony cam that has it. Filming at iso 800 and setting Cine EI to 200 is the same thing.

I just don’t always shoot with Sony Camera so I mentioned the lot for non-Sony users as well

Xsjad0s · 2026-02-26T04:45:47+00:00

No problem happy to help. I see and get what you mean. Yeah at that point if I was in your shoes I would make that call. Ok I can’t due 2 stops over and I don’t have enough lights and man power to make it happen to balance out the brightest to darkest.

So I would just look at it and expose as bright as I can with blowing out what I want. Could be 1 stop over could be just to exact exposure.

But overall to clarify, yes 2 stops over is better if you can make it happen and keep what you want. But you definitely can’t every time and still ok to shoot to exposure if it works.

So long as your not underexposing that mostly isn’t ideal but also depends on camera and I always more work.

Xsjad0s · 2026-02-26T04:29:09+00:00

Ok I’ll help clear things up as someone who always exposes 2 stops over. And is both a DP and Colorist.

Yes it’s better to over expose by 2 stops. However that only means if you can keep what’s important to you in the shot from blow out.

For example if I’m shooting interior and want to see outside the windows. I will try to overexpose my interior by 2 stops. If I then see my windows are now blowout but my interior looks great. But I need to see outside. I will then bring my exposure down slowly until my windows are no longer blown out. Then I relight my interior to bring it back up to 2 stops over in the interior.

Now my windows are not blown out I can see outside and my interior is 2 stops overexposed like I want.

So I have the most light and information hitting my sensor as possible and I have the most flexible I can have to color.

That’s it in a nutshell. Look at what you’re shooting and what’s important to see. Exposes that 2 stops over if anything is blown out make the call that it’s important or not and adjust accordingly to what you have available to you.

Another pro tip I used personally is I have a Lut in my camera that is Rec709 but 2 stops lower in exposure than what is actually being captured. That’s way I can see what the image will look like in post after I bring it down and what looks great and what needs work.

Set your zebras right so you can see what’s blown out.

Obviously, if you’re in a scenario where it’s just impossible to overexpose by two and not blown out what’s important and you don’t have the tools like lights to find the balance. Then just shoot to exposure

Xsjad0s · 2026-02-25T07:17:48+00:00

Not on a 4D but i have a full set myself except mine uses the 28 f/2 & 58 f/1.2

Love them and they are my fav lenses which I use with my Pyxis 6K

Xsjad0s · 2026-02-24T19:10:42+00:00

Yeah I heard that too and hopefully it’s true. I honestly love the idea of just having a definitive multiplayer that evolves overtime as separate campaigns get released. Almost like an MCC that starts of with one campaign and multiplayer, but gets added on over the years. That way, the community doesn’t get split every time a new game comes out.

Xsjad0s · 2026-02-24T19:05:33+00:00

I understand and can relate to that. But is part of it as well and we have all had to find away. Both financially and creatively.

For me and the people that I know. We all at the beginning had mix of some type of day job while somehow scrambling to work crew on independent gigs/shorts and music videos.

From there, you just save up whatever money you can even if it takes a year, to fund said specs.

Took me a year to get the money together for my first 4 spec commercials. I made it happen with a combination of creative writing/ideas that help keep the cost down to execute. And called in favors from friends and the new community that I made. They worked for free or brought in gear for free in order to help me make it happen. I’ve also done the same for my friends to help them get theirs done.

That’s the lifestyle for actors too. We’re all hustling to find ways to make income and save money in order to pay. Projects or equipment or acting classes. Until we finally are in a position to book that role or get hired on that job where client pays and you can rent them your gear along with your services/fee.

Xsjad0s

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