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This was all with the 18-200mm Kit lens

We shot at base ISO and it was a lot brighter than this has been graded. The skateboard intro, Kombi entrance & vehicle interior and the guys dropping in to frame were all shot in late afternoon / early evening. Every scene except the skateboard intro has additional lighting. The tracking shot leading up to the door I had a guy with a light moving behind me to keep the subject lit. Without the added lighting we would have need to increase gain and add noise. Hope that helps 👍🏻

@@HeathMcKinley it did thank you sir 🙏🏼

Thanks man! Yeah watching Jason Morris and the others work was pretty amazing. Let's get you to 300 subs so you can get that ZV-E1 😉😂 The ZV-E1 is a little beast of a camera for RUclips content creation. If you're a solo shooter it really does add a lot to your work & output. You already have the FX30 and that's still an amazing camera, has a sharper oversampled image, built in fan and more pro features. So for me the FX30 would be for client work or documentary style jobs & ZV-E1 for vlogging & RUclips content.

@HeathMcKinley Stop giving me more reasons to buy it hahahah. Appreciate that input! Will see what happens when I hit 300! Thanks for that and looking forward to seeing you grow!

The FX3 is going to have a similar noise profile to the FX6. High Base can show a little more noise than Low Base but if you expose correctly you should be able to get clean footage at either 800 or 12800 in Log Shooting / Cine EI mode.

Haha nice!

I doubt you own this camera if you think it's only a slight improvement

@@HeathMcKinley send me email or something I will send pics of this camera including the photos with noise it proclduces

I can consistently shoot with 1/5s on the 24-105 with A7RV handheld. I can only doubt if you've ever used any sony previous cameras before.

​@@Pkfan72use denoise software

Hey man, took me a while to track it down but it's available here artlist.io/song/35828/cartoon-hotel

@@HeathMcKinley thank you so much for taking the time to find it! really appreciate it so much!

With birds in flight it depends on the species and how big they are in the frame. If it can't find an eye it will still focus on the main part of the bird.

@@HeathMcKinley thank you! Does it allow you to use the zoom focus area with tracking like for stills in the A1 for example ? Thanks again!

There's no APS-C crop mode if that's what you mean? You can use Clear Image Zoom but you don't get tracking in that mode.

@@HeathMcKinley I meant the focus area. You know how there is wide, zoom, spot focus areas ? For stills it allows you to use the same focus area but add tracking on top. For example most ppl use zone tracking to capture birds in flight for stills. I wonder if they’ll ever do this in video.

@@happy1wandering Oh right, yeah at the moment it's not possible but would be great to see it one day!

The A7IV has 33MP so you won't get the same results as the A7RV. Also the A7IV doesn't do Pixel Shift shooting. But in terms of sharpness and quality the A7IV photos will look very similar to the A7RV

It was pretty windy and the 200-600 is a long lens so it was that.

You should be able to select 4K in the quality settings on YT. There's no real IQ loss going up to the higher frame rate. The 4K 25, 50 (30, 60) is probably a little sharper but you will only notice when pixel peeping. The average viewer won't be able to tell.

@@HeathMcKinley Thanks! I'm currently shooting the A1 but am considering the FX30 for the superior video-centric functions and bird eye-AF. (Sorry for the 4k question...I was watching on my iPad which is limited to HD).

@BlowoutJoe Good question...and the answer lies is in the details. I'm a wildlife guy so reach and acuity is everything. To get the "reach" with my A1 I need to use the 2xTC on the 200-600G (=1200mm) but the image is soft because of the 2xTC and @f13 results in more noise because of the higher ISO, and the AF is sluggish at such a small aperture. The FX30 gives me a 4k oversampled 1.5x cropped image (=900mm) right off the bat which is superior to the A1 that bins everything in 4k. The FX30 also lets extends an additional 1.5x using clear image zoom for a 1:1 pixel readout (=1350mm) @f6.3 with superior image due to the lack if TC and cleaner (lower) ISO. On paper, the FX30 is the better camera when it comes to reach, but it needs to be tested.

@BlowoutJoe The a7IV can't do 4k120 nor any 240, which I use 80% of the time. I know it sounds crazy, but the FX30 appears to fit my use case perfectly...*IF* the IQ stands up, and being an APS-C sensor, that's a big IF.

@BlowoutJoe Yes, 120p (and sometimes 240p) is essential to slow down wildlife behaviour to really see what they are doing. It's not something that would be used much by mainstream videographers.

The swamphen chick close up is about a 200% crop from the original clip.

Thanks for your answer👍

Sorry to ask you again...Does the bird eye af really works at 120fps?

@@beltsazardaniel5590 hey yeah, Bird Eye AF will work in 100/120p

Txs so much@@HeathMcKinley

It's a combination of SLog3 & S.Cinetone

It was all shot with AF-C and Subject Tracking with Bird Eye AF selected. I just touched the screen to switch subjects like with the 2 ducks. Aperture varied between f9 & f13 at 800 ISO

@@HeathMcKinley Thanks! I was thinking the same if you shoot on 200-600 the F6.3 aperture will anyways become F9 at 900mm. Does that also mean thaen that you really have to bump up the iso very high in s log.

@@kapilesh14 if it's a bright sunny day like it was for me, even f9 wasn't that dark with 1/200 shutter speed at 800 ISO. If it's overcast or low light you could shoot at 2500 ISO quite easily as the noise profile is the same as at 800 ISO in SLog3

The A7IV is better than FX30 for stills. FX30 is single shot only, no continuous shooting (burst mode). If you shoot the A7IV in APSC (S35) you will get the same field of view as FX30.

Sounds like someone has GAS (Gear Acquisition Syndrome).Your camera has a crop mode (APSC), switch to it when you want to increase the range of your lens. You don’t need the FX30, the A7IV will get the job done.

RUclips compression? Are you watching on your phone?

Looks great on my iMac.

This was shot with the Sony 200-600G, some clips had the 1.4 Teleconverter as well. It was shot in XAVCS-I 4K at either 50p or 100p then slowed down to 25p

@@HeathMcKinley interesting that you did not shoot in 120p which has a crop applied. I also have a 200-600mm and not clear on what that actual crop would be - is it 1.5x plus an additional 1.62 crop when using 4K 120p as suggested by Camera Conspiracies or is it only 1.62x in total

@@markwalker8374 I'm in Australia so the camera was set to PAL therefore 100p. There is an approx 1.6x crop into the S35 sensor at 100/120p. Equivalent FF focal length on the 200-600 at 600 in 100/120p is around 1560mm

@@HeathMcKinley Thanks for that Heath, I am also Australian, though currently travelling on a long trip in SE Asia. The 200-600mm might be too much zoom for low light bird video. Perhaps the 70-200mm MkII might be better with F2.8 or the 135mm F.18. What tripod and head do you use?

@@markwalker8374 I use a Manfrotto 535 MPRO Carbon tripod with 608 Fluid Video Head

I guess it depends what lenses you're using with it. In low light it's not as good as the FX3 but if it's just to use as a hobby then it's fine for most situations.

You only need to shift the EI if your are losing highlight detail. Use Zebras to help find correct exposure for your subject then add ND to bring exposure down in the highlights. Shift the EI up as required. Don't use the Multi Meter to judge exposure when shooting Cine EI

You're pretty close on all 3 points you make. You can use Cine EI in 3 different ways. 1. For regular Slog shooting at Base ISO. 2. For Push Process shooting as shown in this video. 3. For Pull Process shooting. Most people already shoot Slog in Pull Process by overexposing by +1.7 then correcting in post. The difference with Cine EI is that you're forced to do it at Base ISO, reducing the amount of noise in the image. With Cine EI you have to use ND or added lighting to obtain the exposure you're after. You can move the Middle Grey point this way (affecting Dynamic Range) without adding noise/gain like you would with ISO. Having the monitor image match what you will get in post is useful for correct exposure on set but also if you're sending footage off to be processed by another editor. Traditionally editors would have to check camera notes for Push/Pull information. The new Catalyst Plug in will streamline that work flow for Premiere Pro users. Hope this helps.

So. If I’m shooting low light - explain like I’m five.. do I want less dynamic range in the shadows? And what does that mean 😅 I’m more confused than ever. Ha Do I go to second base iso and then use cine ei at a lower number?

Maybe not at 5y/o level but it depends if your subject is in the shadows. If so, then yes, over exposing with the 2nd base ISO and using EI to bring the exposure down in post will maintain cleaner shadows. If your aim is to have the cleanest image then at some point you're going to have to add external lighting to your low light shooting. This way you can continue using lower / base ISO without increasing the visual noise.

@@HeathMcKinley I guess. My main problem I have is that - everything I read - Ei isn’t actually changing the recorded image. It’s just for viewing? Correct? Or is it changing how the sensor interprets the light?

EI won't change the recorded footage, correct. It's just for viewing BUT with the intention of adjusting in post. This is where you change how much over / under middle grey you expose which affects dynamic rage. So if you deliberately shoot over exposed to give the shadows more light. Being careful not to blow out highlights though. You then use EI to get a better idea of how it will look after grading and for a better shooting experience. Then take that over exposed footage, correct it in post and have footage that looks like it did when you shot it with less visible noise.

In this scenario I'm only using ND & adjusting EI to maintain highlights. If you can get correct exposure at 800EI using ND or Aperture there is no need to do anything else. At 12800 Base use ND or Aperture to get basic exposure. You only adjust EI if highlights or shadows need to be adjusted in Post Production.

Is "Bluetooth Rmt Ctrl" turned On? Menu page 34/52 in the Transfer/Remote section of Network settings

@@HeathMcKinley I have activated the bluetooth function in the menu page 36/52 in Bluetooth Function.If as you say I then try to activate in the menu page 34/52 in bluetooth Rmt only this message appears (Perform pairing from the device to be connected. a supported application if connecting a smartphone.) It is not activated in short, the problem is only in the remote control device of the smallrig while the pairing works correctly if I want to connect the smartphone.

@@andycasanova5900 When you see the "perform pairing" message on the camera you need to use the remote to pair with the camera. Press the REC button for at least 7 seconds. When a confirmation message SR-RC1 appears on the camera’s screen, select [OK].

@@HeathMcKinley Thanks for your support !! In any case, the smallrig device was already operational on the fx3 and I had already paired it in the previous version ... so I already knew the pairing mode !! The problem only now occurred with the update !! I'm not the only one to have encountered this problem !! Hopefully it will be solved !!

@@andycasanova5900 All camera settings are factory reset when updating to Firmware v2.00 This includes Bluetooth and Wi-Fi. Previously connected devices are not remembered. The camera is working correctly so no problems to solve 👍🏻

This is just one way of using Cine EI. For general shooting, use the Base ISO with the Base EI and get correct exposure using ND or Lighting

Depends which s log u are in… slog 2 =iso 800 slog 3 =iso 640

@@AshtonMcCammonGotBored FX3 with firmware v2.00 doesn't have SLog2, you only have SLog3. The base ISO in Log Shooting is either 800 or 12800. It was changed to match FX6

@@HeathMcKinley Can we adjust the ISO in post if using XVAC S-I ? Or is this only for raw? Do we need to pay for Prepare to use it? I'm so confsued! Also, is this available to Davinci Resolve users or just premiere?

@@KZLR you can only adjust the Exposure not ISO. The Catalyst Prepare Plugin when available will have a free version & a paid version. For now you can use the free Catalyst Browse to see how it all works. It's Premiere Pro only at this point.

@@HeathMcKinley Thanks for the response! Would you find it useful to use the EI Cine modes if I'm not going to utilize Catalyst Browse (I normally do work in a Slog3--> sometimes ACES workflow)

In Cine EI nothing is baked in. You're either shooting at 800 or 12800 ISO. If you're just looking for correct exposure then an ND filter can usually do all you need. However you can "Push & Pull" the Base ISO like film to get the most dynamic range. Catalyst Browse / Catalyst Prepare can read the Metadata without the xml file. A plug in for Premiere Pro is coming that will do the same thing.

@@HeathMcKinley Amazing, thank you Heath. :)

@@HeathMcKinley if its not baked in, how are you adding any DR by going 3200? The only differnece here should be the ND which ads you 3 stops of highlight protection. Whatever the ISO is set to in camera should not matter. Its only for monitoring.

@@HeathMcKinley question, so if im using an ND filter or adjusting my f stop for exposure, and just want to expose in camera and not in post, what should i keep my EI at?

@@SilentD1 if you add 2 stops of ND to protect the highlights you darken the whole scene. Pushing to 3200 EI brightens the scene but leaves the protected highlights untouched. That's one of the ways Cine EI can be used. It also works in reverse to protect shadows. Once you try it you'll see it.

I shot this 6 years ago so I don't remember what settings but I'm pretty sure that it was just the Sony 18-200mm kit lens

Hey, sorry just saw this comment, I shot this 6 years ago so I'm not sure what profile was used.