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Found 16 results

  1. Hi all. I've seen a setting video on youtube, but the sound I have after intital set up isn't the best I think. What are you setting when using h1n with sony a6400? Mic output volume and internal sony recording volume? Also what are you preferable mic gain settings? How do you set both up for the best sound? Thanks
  2. IMG_6645.HEICIMG_6645.HEIC Hi there, I'm trying to set up my Sony a6300 as webcam using the Sony Remote software to my Mac Book Pro. For some reason it's recognising the camera but not connecting. It seems to be stuck in the 'Connecting... USB' cycle even when I've left it for several hours. I'm using the USB setting PC Connect on the camera I'm using the Sony USB to B cable supplied with camera. So far I've tried the following; 1. Using another USB to B cable (although it is recognising the camera, just not connecting - see screenshots) 2. Reset camera to factory settings 3. Uninstalled and re-installed the Sony Image Edge software 4. Several restarts of the Mac and Camera Fair to say I'm stumped!!! Anyone else have any ideas? Thank you :-)
  3. I’m starting to stream shows using a Mac Pro to run Ecamm and zoom with my Sony 6300 & Sony 6000. Currently I use a 6ft usb cable that works great, but I want to get longer cables. I just purchased two 20 ft cables last week and the connection didn’t work. (To be honest, they were cheep cables... you get what you pay for, lol). Does anyone know the limitations of usb cables for connectivity or are their specific cables I need to buy. Anything longer than 6 feet would be awesome, but I’d love to go 25 feet so I can mount a camera to a gimbal or slider. Thanks in advance!
  4. Hi all! New Sony A7RII owner here. I am looking for recommendations for a tele zoom to be used only on the A7RII. I am pretty flexible in terms of focal length and speed, and mostly interested in optical performance as well as price. Size matters, but it is not the most crucial factor. Basically, I wish to find a fairly affordable lens which gives a flat field and good, even sharpness across the frame, at least at f/8-11, preferably at f/4-5.6, too. The focal length range should cover at least 100-200mm, over 400mm is definitely not needed, and down to even 28mm range is a nice option (as long as the 100-200mm performance is strong). As the mirrorless Alpha system opens so many possibilities and my requirements are not dictated by the numbers on the lens barrel, I am quite at lost. In this focal length range, I have previously used pretty much all the Canon L zooms and many of the 70-300 type consumer lenses in EF mount. I have no experience on their performance on this new body, and I no longer even have access to any of those lenses. For adapted lenses, I anyway prefer a solution that is usable with a dumb adapter ring (Canon EF isn't). The intended use for the lens is mainly tight landscapes and cityscapes. I therefore require the 100-200mm focal length range, and sharpness across frame is very important. May print really big sometimes, and will definitely view big at 4k resolution (and higher as soon as available) including crops. I will certainly use the lens also for detail shots, portraits, and some wildlife and sports. However, sports and birds in flight etc. are no priority, and this need not be the most flattering portrait lens either. Manual focus is just fine, and I currently mostly use MF lenses. Lens speed is secondary, but an f/2.8 lens is interesting. I prefer constant aperture, but it's not a major consideration (and does not rule out the 28-200 type zooms, if there are good alternatives out there). Tripod ring on the lens is good to have, but not a requirement. I travel a lot, walk around and do plenty of hikes, so small size is nice. My initial thought therefore is buying two lenses for this tele-zoom-for-landscapes purpose: one good smaller lens, and one bigger lens with higher performance. If a single lens gets the job done, this allows spending more on it. The short-term budget is perhaps about 1000 EUR/USD (for one lens), but I really don't mind going cheap. I don't think I will spend more than 2500 EUR/USD for the one or two lenses combined, and I may not have that much right away. Good adapter should be included in the price, if it isn't a native lens. I have some adapters, but they may be too flimsy for large and heavy lenses, and I have not tested them on the full-frame body so far. In summary, what's your recommendation for: - Tele zoom covering at least 100-200mm - Sharp across the frame - May be native or adapted - May be AF or MF - As small and light as possible (optical performance more important) - Should not cost much more than 1000 EUR/USD (with high-quality adapter)
  5. I have owned a Sony Zeiss 24-70/2.8 SSM lens for about 6 years. Since I bought it (new), I have told myself the sharpness at the corners is normal. Maybe I have been trying to justify the cost of the lens, but I want to know what you think. I also want to hear form other SAL2470Z owners. What do you think of the lens you own? Does it look like this in the corners? (For full resolution version, click here.) This shot was handheld with a Sony a900 at ISO200, 1/500sec, ƒ7.1. I made sure to turn off any distortion correction in Capture One, and turned the sharpening down to zero. Note the smeared details at the corners. For what it's worth, no amount of correction in Capture One fixes this issue. Everywhere else in the image is amazingly sharp and always has been. It's just the corners that annoy me. If this were a $500 lens, I'd maybe get used to it, but it was over $1200 and that stings. I've also noticed that even a single filter causes terrible vignetting at the corners at 24mm. Again, I've told myself this is normal, but it sucks when I use a polarizing filter for a landscape and I end up with black corners at the widest focal length. You can see it slightly in this shot. Apertures smaller than ƒ8 are much worse.
  6. I have two questions about using Sony's E PZ 18-105. First if I zoom in on my subject, particularly when shooting multiple interviews at the same location - let's say there is a gap of time and I allow the camera to go into sleep mode the zoom is not longer framed correctly but has zoomed out. Because everything is internally there's no manual way to tape the lens. Is there a solution for this? Second question, using the lens for video, the zoom is rather abrupt is there anyway to set it for a much slower push in /pull out? Thanks for your help. jeff
  7. Hi there, not sure what terms to search for, almost all of my searches are giving me results regarding the lens motor. My a5k which has seen light use over the years has developed an issue with the zoom in/out rocker which sits around the 'snap picture' button. Sorry, I'm a layman and don't know what the correct terms are for these things. When previewing an image, if I flick the rocker to the right, it zooms into the picture all the way. Now I have to start backing out to see what I want to see. As I flick or hold the rocker to the left (marked W on the camera body), the preview starts to zoom out but then will glitch out and zoom back in and out and in and out and it will get 'stuck' in this pattern until it eventually, jerkingly, zooms all the way out of the preview. This behavior occurs when using the rocker to zoom out the lens, but if I use the zoom control on the lens itself, it works fine, so I know its an issue with the rocker which sits around the 'take pic' button. Has anyone experienced this before? Can you suggest some better search terms? I usually repair my own gadgets and wouldn't mind taking this one on, just not sure where to start. Seems like I'd need to purchase a donor camera to get the parts off of. Thoughts appreciated, thanks.
  8. Hi there, I have an original A7 for which have two FE Zeiss primes and the FE 70-200mm G. All works great, incredibly sharp pics. I also bought a A6500 body recently as well, mainly for use with the 70-200mm but obviously making it an effective 300mm with crop factor (I always felt 200mm was a bit short). The a6500 is clearly a good camera, but when I use the zoom lens, it is impossible to get a sharp photo. I have used the DMF focus setting and the camera is never able to get the image in focus. In fact, the focus peaking can't even find a sharp edge. I have tried switching off lens stabilisation but to no avail. By comparison, the A7 is ten times sharper, with same camera settings. Any suggestions for improving sharpness, or is it a case that this lens simply isn't suitable for the A6500? That would be disappointing given it was a recommended combination. Thanks, Jamie
  9. Does anyone have experience with this lens on the sony a6000. I found a used one for sale for $75 (Canadian) and apparently is e mount. Thanks!!! JSS
  10. New toy arrived this morning! I'll be doing some real world tests for my own satisfaction mainly over the next few days...but thought I'd start with a size comparison including the Canon 2.8 mkii on it's metabones adapter Let the (unscientific) testing begin! Jon www.jonroberts.co.uk
  11. I've been trying to figure out good audio monitoring options for the a6300. I still can't believe they didn't include a headphone jack, but I like the camera enough that I've been trying to work around this shortcoming. Here are my findings: Shotgun Mics The (now discontinued) Shure VP83F has a built-in headphone jack. Beware there is a cheaper VP83 (no F) that does NOT have a headphone jack. It's cheaper because it doesn't have the built-in recorder that the VP83F has. As far as I know, the VP83F is the only shotgun mic of this type with a built in headphone jack. I've switched to the VP83F and can confirm this works as a headphone solution for the a6300. Lav Mics The Sony UWP and Audio Technica System 10s have headphone monitoring outs built into the receivers. I don't believe the Sennheiser G2 or G3 series have headphone jacks on the receiver units, but you may be able to use a splitter on the audio out as a solution. If anyone has experience with this I'd definitely be interested. I know a splitter like this (http://amzn.com/B000068O5H) works on the audio out of my H4N to plug one into my a6300 and one into headphones. Zooms and Other Recorders One option I've seen is people using a Zoom H1 with a 3.5mm mic to monitor and record audio. You can purchase a multi-coldshoe mount like this http://amzn.com/B00HTWF8M2, attach a mic up top and the Zoom to one of the sides. The Zoom H1 and H4N (and probably other ones) only have one line out/headphone out jack. You can use a splitter (http://amzn.com/B000068O5H) on the line out and use an aux cable or male to male adapter to connect to the a6300 with one end of the splitter and use your headphones on the other end to monitor audio. Of course, you can also just record using the Zooms and sync in post later, but the splitter does allow you record your mic audio directly to your footage. An Adapter First, I've tried this adapter with an hdmi to micro hdmi converter that has an aux out jack: http://amzn.com/B00YC7U0NE I could not get the aux out to work with headphones. I didn't have the VGA connected to any video source (like a monitor), so maybe that's why audio didn't work. I was hoping this would work because you can connect an external monitor via the micro hdmi out on the a6300, and the a6300 will deliver audio to that monitor and you can use headphones if the monitor has a jack for it. Recording Two Mono Audio Sources (ie a Shotgun and Lav Mic track) on the same footage! Using a splitter you can actually record two tracks to the same footage. If you plug the splitter into the a6300 mic jack, you can now record one audio track to the left channel and another audio track to the right channel. For example, you can plug a shotgun mic into one end of the splitter and a lav mic into the other end. When you look at the audio bars on the a6300, they should each be different volumes from each other. In post, you now have two audio tracks with your footage that you don't have to sync. You'll just have to mute the channel you don't want to use (left or right) and apply the channel you do want to use to the other side. While recording, you can even monitor one of the options, or possibly both with separate ears but that might not be so useful. The Splitter... When I mention the audio splitter in all of these suggestions, I'm suggestions a specific one. The one I suggest has two mono female ends (left and right signal), that combine into one stereo male end. I believe most headphone splitters actually will split one stereo signal into two stereo signals, and this will not work for anything I've said above. Also, if you're trying to work audio with an iPhone involved, they use different audio tip called TRRS. This may require all different type of adapters too (I believe Rode actually sells a few specific to the iPhone). I don't know enough about audio science to really dive into this, but just be aware of the different audio connectors out there. It'd be great if anyone has anything to add to this or point out anything I missed. It's a unique (...okay, frustrating) situation to have such a great video camera without built-in headphone monitoring, so the more info out there the better!
  12. So last night I went to a reading at a coffeeshop, and wanted to take pictures of the speakers and crowd. I knew it was going to be pretty dimly lit, so took my A7S for its high-ISO capability. I knew I was going to be alternating a lot between wider and longer shots, and didn't want to be swapping primes all night, so opted for a zoom. I don't have any native FE zoom lenses yet, so that left me choosing between adapting my (A-mount) Minolta 28-70mm f/2.8 G lens, or else going crop with my E-mount 16-50mm f/3.5-5.6 PZ kit lens. I wanted to be as inconspicuous as possible, since I was going to be taking some close-up images of the crowd, too, so opted for the 16-50 PZ, even though this meant I'd only get about 5MP. The images are just going up on the web for some reportage anyway, so the size limit is no big deal. For what I needed to do, I loved that combo! I don't know if it's physically possible or not, but it'd be awesome if we could get a zoom lens with that same size profile for FF. Either that, or get a crop body with the same ISO capability as the A7S, though that might be the taller order. Anyway, I find this sort of low-profile lens and high-ISO-capable camera to be the perfect marriage for this type of shooting, so would love to see such a combo made possible (w/o the cropping down to 5MP)... I was "only" shooting at about ISO 20,000, so I suppose it might be possible with the A7RII, as the ISO is pretty good on that thing, and the crop factor would still yield about 18MP. Of course, that's another $3200...
  13. I'm just asking the above question because I am thinking that a F2.8 zoom whether it be in FE mount or Alpha mount will need the same amount of glass to collect the light to present it to the image sensor. So, the new FE zooms will be approximately the same weight as the standard pro zooms in the Alpha range: 1. 16-35 F2.8 Z 2. 24-70 F2.8 Z 3. 70-200 F2.8 G 4. 70-400 F2.8 G If that is the case, then using these lenses on the A7R2 size body would feel a "bit" out of balance to say the least. I think I have read somewhere that the shorter gap between the sensor and rear glass element on the FE mount (when compared with the Alpha mount) will actually require a larger diameter glass to obtain the "magic" F2.8 number throughout the zoom range. If this is the case, then the equivalent FE lens could be heavier than the Alpha series lens. Can Sony do a magic act and "pull" a lighter lens "out of their hat"? Or, are we going down the path of lower noise / higher usable ISO to off-set the loss of this optical solution? I for one, just love the beautiful Bokeh produced by these F2.8 zoom lenses. What does this community think?
  14. For about five weeks I have been the owner of my first Sony still camera, the A7RII. I feel a bit like the Austrian emperor in the 'Amadeus' movie, who complained (about Mozart's compositions) of 'too many notes'. I complain of 'too many buttons' and 'too many menu options'. I am still learning, and I love it. My main lens is the FE 24-240mm F3.5-6.3 OSS, a 10x superzoom. I have been a bit reluctant of buying a superzoom as I was afraid the quality would be disappointing. I was even thinking of using a new Canon EOS 25-105mm IS, my old one having been stolen. But reading some tests of the 24-240 encouraged me. Here are some results. The first two were shot on a sunny afternoon. Both in Amsterdam, Neth.. The first one at ISO 500, 1/3200 F5.6 87mm Number two: ISO 500 F5.6 24mm Number three on a rainy day in Diemen (heavily overcast, drizzle): ISO 5000, 1/125 F8.0 240mm All handheld, no post-processing. Conclusion: the image quality is a pleasant surprise! Kind regards, Freddy
  15. A Flickr gallery of images captured with the Zeiss FE1635 ultra wide-angle lens. https://www.flickr.com/photos/markgaler/sets/72157647309662617/
  16. I've had the A7s since it came out in July. I have been using the Sony 28-70mm zoom. I've also adapted some old Canon FD's which give a cool look. They've been fine but the quality doesn't blow me away and I recently shot an event and because of the full-frame, it was very hard to get close ups that I needed. I was looking for a zoom to replace my 28-70 with a bit more range, more on the telephoto side. I have looked over almost every full-frame e-mount lens made which isn't that many. There's also a bunch of a-mount which I'd be open to adapting to the a-mount. I came from Canon before this and saw the visual difference of buying cheap lenses and nicer lenses. What would you recommend for a nice wide range zoom for the A7s? I'd be open to a Sigma or Tamron if they were nice. I've actually had some really awesome Sigma's so would like that. Also, I only shoot video with this, would adapting for a-mount be an issue? What's the difference between the $200 and $350 adapter for the a-mount in terms of shooting video? I don't do fast action shooting, it's mostly set up a shot, shoot it, move on. So I don't need super quick auto focus as you would for sports or something. Thank you!
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