![]() ![]() Included in the box is also a dust and shockproof underwater housing, allowing you to take the action cam down to a maximum depth of 60m. All of this is housed in a splash and freezeproof body, making this action cam suitable for a variety of situations. In addition, the new low-distortion Zeiss Tessar f/2.8 lens is adjustable in-camera to f=17 mm, f=23 mm and f=32 mm for Wide, Medium and Narrow settings respectively, and features a 3x smooth zoom while recording. ![]() In terms of hardware, the FDR-X3000R weighs only 114g, and features an 8.2MP Exmor R CMOS sensor backed by a BIONZ X processor, the very same brains inside the Sony ɑ7 range, which allows for a full pixel readout without pixel binning. The B.O.SS system works by moving the entire optical path rather than just individual elements, and is supposed to achieve even greater shake reduction, making it ideal for action cam applications such as helmet or handlebar mounted operation. One of the main characteristics of the FDR-X3000R is the adoption of the Balanced Optical SteadyShot technology found in some of Sony’s handicam models. In a week packed full of new camera announcements, the Sony FDR-X3000R action cam shows us that its not just about top-of-the-range, flagship cameras. With this significant announcement, Sony takes aim at the GoPro market yet again with their latest 4K-capable action cam with optical image stabilisation. keyboard_arrow_rightCameras of the Year.keyboard_arrow_rightGear Guides by Budget.keyboard_arrow_rightGear Guides by Type.Although we have good MAC and PC machines for the needs of this project and workflow, we are dealing since 4 months ago with problems like crashes and formats/projects recognition between mac and pc (premiere and after effects).īut know, the most important issue it's this color/lut recognition. One month fine, other month with problems. Kulpreet Singh, Adobe team, can you please help us? Like PeterCorbett describes, our shoots has shifted luminance and chroma levels and the highlights are very high, although the waveform it's not clipped. We use a Sony a7S MKII, (4K, 25p, XAVC S) with Slog3 and the DJI Inspire1 X3 Log, graded for TV reviews with FilmConvert and Lumetri Color. We have to work since "0" in the first color grading version. I'm working on a Documentary TV series (13 episodes) and I opened the project graded two weeks ago to export it to a TV review and most of the shoots are just impossible to recover. I'm having the same problem since the last update (I suppose). ![]()
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