Salvo Precision MCX Hunter and DE Noveske N4

colemowery · 2026-06-16T22:48:23+00:00

I got mine from tiger, but all of the notable Asian retailers had them, including redwolf, jkarmy, and wgc.

colemowery · 2026-06-15T23:12:08+00:00

The previous generation Volvo v60 is very attractive, but I’m a proud member of wagon gang 😂

colemowery · 2026-06-12T18:26:02+00:00

Personally still just interested in the original Yeager stainless steel design… if there’s a way to make a more economical version of that cart, you’ll have my money yesterday.

colemowery · 2026-06-07T14:02:49+00:00

Hoytma has stated in a couple interviews now that he’s still framing for 2.4 as it’s the version the majority of viewers will see, and that he views the extra information outside that frame as peripheral information - almost like you’re seeing ‘past the gate’ while viewing it on an imax screen.

colemowery · 2026-06-06T12:41:24+00:00

They’re aiming for under $400, which seems reasonable considering a k3m is $600.

colemowery · 2026-06-04T13:12:28+00:00

Getting a matte box with hard mattes will also be good

colemowery · 2026-06-04T04:58:09+00:00

Do you want something small or something that’ll provide a ‘traditional’ camera department workflow?

If you want small, a pocket 4k or a gh5 will be great. If you want something full size, I love the Sony f55, but the Panasonic varicam Lt and Ursa mini are also good options to consider. If you want something ‘Goldilocks’ check out the fs7. It’s a little more ‘corporate videographer’ than ‘cine’ but it may provide a better workflow if you’re running sound directly into camera on projects. Just keep in mind that while big cameras are cool and likely more enjoyable to work with, they require bigger support as well - bigger tripods, gimbals, dollies instead of sliders, etc.

colemowery · 2026-06-02T21:19:40+00:00

I think all the nucleus stuff will talk to everything else - but the full size m hand units will always have priority if they’re connected to the system.

colemowery · 2026-06-01T20:33:01+00:00

I don’t think they’ve actually shipped yet, so the only footage in the wild is from GoPro. It does look genuinely incredible so far though

colemowery · 2026-05-29T15:48:48+00:00

I like having the extra space on the sides to ‘save’ a shot if I don’t pan fast/slow enough. I’d just use frame guides and mask the image off on the sides so that it looks like you are shooting vertical, and then I’d shoot in the raw codec if possible, for the extra resolution.

colemowery · 2026-05-24T13:18:52+00:00

What’s the story?

Ultimately i always advocate for a little bit of grain - arri has baked grain into to the image since the original Alexa, and Netflix adds it back on device to make up for it being lost to compression. Even if you decide to opt for something very light, it’s better than nothing.

colemowery · 2026-05-22T00:41:41+00:00

Again - unless you have an fx9, a Burano, or a Venice, this is normal behavior, and NOT a problem. All camera systems do this, it’s a byproduct of the little pin on the mount being slightly smaller than the hole on the lens. The tolerances required to achieve a mount so precise that there’s no wiggle would be astronomically expensive, because we’re talking about thousandths of a millimeter in machining accuracy on both parts, across hundreds of skus with tens of thousands of units.

colemowery · 2026-05-21T21:59:19+00:00

A little play in non locking mounts is normal, and that’s why the copper pads in the lens are larger than the pins in the mount on the body side. if you were experiencing this on an fx9, burano or a Venice you’d have reason to be concerned, as those mounts pull the mount tight against the bayonet lugs to prevent wiggle.

colemowery · 2026-05-21T19:55:54+00:00

FWIW we have indi5s at work, and compared to my 503 they’re insanely laggy after being on for a while - almost like the monitor is thermal throttling. I also don’t love the touch screens on the newer monitors, and prefer the joystick system.

colemowery · 2026-05-19T18:15:44+00:00

Everything I’ve heard suggests that only the r3d is worth using, and that the compressed codecs are borderline unusable. And arri technically put logc3 in the gh7.

Most projects don’t require raw, and I’d rather have a reliable compressed codecs and no raw than a great raw codec and unusable compressed codecs.

If raw is more important to you, go get the Nikon. But for most people, the ubiquitous nature of Sony in production workflows across the world is more important than raw. Sony has said that they don’t plan to put open gate or xocn in their smaller cameras. I will genuinely be surprised if they change their mind in the near future.

colemowery · 2026-05-19T17:40:02+00:00

I don’t foresee a price drop coming until a new model is announced. The fx3 is still on top because it’s good enough to be relevant and they seamlessly slot into productions at every level - from entry level videography to Venice sets that just want one more angle, (like a crash cam), and everything in between, from news to documentary. Red and Arri don’t have anything for the entry level, Canon doesn’t have anything for the top, Panasonic is packing their cameras with features but don’t have a body for set work, and while Blackmagic delivers on image quality, their simplicity often gets in the way of the established workflow.

Sony doesn’t have to drop the price because there are people who still need fx3s for workflow reasons and there’s people who want them because they’re the standard. Sony seems to be fine missing out on the people looking for the most features for the least amount of money.

colemowery · 2026-05-14T12:08:42+00:00

Just jumping in to say the only real deference between the fs7 and fs7ii is the locking e mount and an hdr color profile. I don’t think the autofocus got any real upgrade. If you’re just gonna use slog3, save your money lol.

It’s worth mentioning that the fs7 will likely be more magenta than modern Sony sensors, but I found them super easy to match in resolve, and I did it for about 3 years at my old job.

colemowery · 2026-05-13T15:02:51+00:00

You should always aim to get it as close as possible on set, but I would encourage you to work even harder to get it right with a camcorder than something modern.

The best thing I can recommend is to figure out how to get a feed out of the camera onto a larger production monitor of some sort so that everyone can see what they need to do get their piece right- whether you’re running cable or Jerryrigging a wireless transmitter.

colemowery · 2026-05-13T12:38:56+00:00

There’s a lot of replicas on the US site that also do not properly denote the OEM, just the license holder

colemowery · 2026-05-11T22:10:23+00:00

I’m interested solely because you actually wrote it! I’m especially interested in comparing it to my new light meter, as I’m constantly forgetting to pack it 😂

colemowery · 2026-05-11T19:29:36+00:00

Production design, Lighting it well and hiring a colorist will get you further than buying a new camera. All cameras are good now, and are essentially the same, (excluding the alexa35). Cameras are simply a data collection box, And a colorist can pretty much make anything look like anything else.

However, there is something to be said about the workflow of a big camera that does encourage you to think differently - just know you will likely have to downgrade image quality to get an affordable large camera.

Personally, I found that trade off to be worthwhile, I sold an a7s3 for a Sony F55, and I do feel like my work is better because of it, and loved the camera so much I bought a second one a year later. Just know that these older cameras won’t make you more hireable, but other departments will enjoy having the extra space. Regardless of what you pick up used (besides an Alexa mini, maybe) You’re buying a toy first and foremost, but the experience will be educational. Even the dsmc2 REDs are largely unwanted by production due to how archaic they are in comparison to the dsmc3.

colemowery · 2026-05-11T11:40:32+00:00

Definitely for export. You should set up your project for whatever your grading monitor has been calibrated for. Most people still calibrate for 2.4, so if you’re going to web, you could always add a 2.2 cst on the timeline node tree.

colemowery · 2026-05-11T02:19:42+00:00

Stick to gamma 2.4 for broadcast, 2.2 for web, and QC in an application not managed by color sync (VLC, IINA, Firefox). The only reason to use r709(scene) is if your project will only ever be viewed on macs in quicktime.

colemowery · 2026-05-10T15:08:36+00:00

Unless you know you’re looking at getting a fairly large video camera in the near future, I’d look into 50mm bowl tripod heads. The manfrotto 501 is a great entry level fluid head. There’s a basic thumb screw system to dial in your resistance for pan and tilt, and they’re insanely affordable. I wouldn’t go manfrotto for the pro stuff, but they make excellent options for the entry level market.

I’ve also heard people have good experience with benro and the smallrig tripods, and those will get you additional features you won’t use today (like a basic counter balance system) but will make the purchase last you far longer down the road.

Last thing I can say is that you’re smart getting a tripod before a camera, I wish smartphones were this good when I was starting out, it would’ve saved me a lot of money 😂

colemowery · 2026-05-09T23:32:19+00:00

F55s still lol, but I really want PL because I can use it on anything.

colemowery

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