Sony Alpha One (A1) [Ep178]

Podcast

Feb 1

There's a lot of hype behind Sony's latest announcement the new Sony Alpha One, aka the A1 Sauce. Dave Maze from Indy Mogul joins us as we try to figure out who this camera is for.
Is this the "perfect camera"? Are the features worth the $6500 price tag? We're discussing all this and more.

Follow Dave on Instagram - https://www.instagram.com/davemaze_

Ariel Martinez (00:00:00):
On this episode of the ifilmmaker podcast, we're talking about the new Sony, a one with Dave maze.
Ariel Martinez (00:00:13):
Welcome back to another episode of the ifilmmaker podcast. My name's Ariel Martinez. This is an
exciting one. Sony has announced a new, new alpha one camera, which ISS kind of confusing came out
bluff field in my opinion. So I invited my friend, Dave maze to come on the show. Dave maze is host is
one of the host of the indie mogul YouTube channel. He knows a lot about cameras knows a lot about
tech. So we're going to discuss what, what this camera is all about. The price point, who it's targeted for.
We're going to discover all of that on this episode. Thank you guys for joining us. Don't forget to like
subscribe. If you're watching on YouTube or iTunes, listening or Spotify, wherever you're listening to
your podcast. I appreciate you guys tuning in. Let's go ahead and invite Dave maze on the show and
we're gonna discuss this together. Dave maze. Welcome back to the I filmmaker podcast. How are you,
buddy?
Dave Maze (00:01:14):
Dude. Thank you so much for having me here. I am in the indie Mo set, as you can see behind me. So
Ariel Martinez (00:01:19):
I love it. I love it. Your audio always sounds so good. I love having guests. That audio sounds so good.
Dave Maze (00:01:27):
Although, uh, for our listeners, uh, probably sounds like garbage right now. Cuz I am actually talking to
you on my iPhone. You didn't have to recording separate it's magic. I'm re I'm revealing the magic trick
behind the curtain. The Trick.
Ariel Martinez (00:01:43):
Yeah. Oh man. So dude, Crazy day.
Dave Maze (00:01:48):
I know
Ariel Martinez (00:01:49):
Crazy day thoughts and emotions all over the place. Of course we're talking about the newly announced
Sony,
Dave Maze (00:01:58):
A one president of United States. Oh, uh,
Ariel Martinez (00:02:06):
We
Dave Maze (00:02:06):
Can't the brand.
Ariel Martinez (00:02:08):
We can't tug on that one.
Dave Maze (00:02:10):
Yeah. Yeah. The, the fairly elected, uh, president of the United States. Um, okay. No, no, say that all
again. I'm sorry.
Speaker 3 (00:02:21):
Oh man. I'm gonna leave that in there. That good?
Ariel Martinez (00:02:25):
Oh,
Dave Maze (00:02:25):
That's
Ariel Martinez (00:02:25):
Good. That's good. All right. Uh, this, hold on. Let me gather myself.
Dave Maze (00:02:30):
I'm sorry I threw you off.
Ariel Martinez (00:02:32):
No, you're good. The Sony alpha one.
Dave Maze (00:02:34):
Yes.
Ariel Martinez (00:02:35):
Out of left field
Dave Maze (00:02:37):
Out. Totally. I like, I, they had rumors about this, like on alpha rumors, like two days ago. I didn't even
know about it. No, nothing about the camera, but there was, you know, at least some sort of tease
about, you know, the one or whatever, but I didn't know what to expect. This was real exciting. I don't
Ariel Martinez (00:02:54):
Think, I don't think anybody did because when people kept asking me, I thought it was gonna be the
next a seven R yeah. Personally or something a a, uh, AC the, the Sony alpha C I forgot which one that
one was, but the
Dave Maze (00:03:12):
A seven C
Ariel Martinez (00:03:13):
A seven C I'm sorry. So I thought it was an upgraded, a seven C or a seven R uh, a, oh my goodness. I'm
having such a,
Dave Maze (00:03:23):
Well, the, so the, what is it the far right now? The, yeah, there's the a seven, the a seven, the a seven R
the a nine, the a seven C. And of course the a seven S line. I think this camera, the, a one I've been
calling it a one sauce all day. Anding memes about that. I know
Ariel Martinez (00:03:44):
That's funny,
Dave Maze (00:03:45):
But I do think that this, they're not saying this, but I think it's replacing the a nine line because previously
the a nine and the a nine mark two were kind of the one D X competitor, um, a flagship, if you will, for
photographers. And I guess they changed the name to be a one, uh, to kind of be similar to cannon, you
know, like the one D series of cameras. This is the one, you know, from Sony, uh, and this camera has
the crazy high earth straight for photography. The crazy good auto focus. It's got the ethernet port for,
um, you know, tethering. It's got a lot of the features that those high end sports journalists,
photographers are always wanting, but it's a large megapixel count, which has never really been done in
these high speed cameras before. Usually the one D series has like a 20, 30 megapixel sensor.
Dave Maze (00:04:45):
Like it's, it's usually kind of, uh, in between sensor because a lot of sports shooters don't want massive
megapixel count. So, um, I don't know. It's, it's interesting. It seems like it is like the perfect kind of
camera for somebody who were to shoot in NFL or the Olympics, but it's also got eight K recording and a
Cton color profile. So is it like a better camera than the a seven S and like, they didn't even mention
anything about low light. I'm sure it'll be good, but obviously the a seven S is gonna be better, but yeah.
Um, there's a lot to talk about. I'll
Ariel Martinez (00:05:19):
There is so much, yeah, there's so much to unpack here with this camera. Um, so off the bat, I mean, AK
recording up to 30 frames per second, you got the 4k one 20 at 10 bit, just like the, a seven S uh, just
incredible amounts of megapixel for this. Now 50
Dave Maze (00:05:44):
Megapixels, 50.1
Ariel Martinez (00:05:47):
50.1 megapixels. Uh, I was looking and the, it seems like the ISO range goes up to 120, 104,000,
something like that. Wow. So not quite as much as the,
Dave Maze (00:06:02):
Well, oh, my chair. Just sing. You're gonna to put that in the video there. I'm trying to adjust my seat. It
it's like rocking back and forth and I just drop the whole thing.
Ariel Martinez (00:06:13):
I'm totally adding that blooper.
Dave Maze (00:06:15):
Okay. I'm here. I'm here. I,
Ariel Martinez (00:06:16):
If that, if that looks funny, I'm gonna add it. Um, so, uh, about 104,000, roughly ISO, that it goes up to,
and I don't even know if that's the extended ISO, but that's what they had on BNH. Um, that's about a
quarter as much as the a seven S three has.
Dave Maze (00:06:36):
Oh, that's plenty. I mean, mean the a seven S three goes higher than most ever need, honestly.
Ariel Martinez (00:06:40):
Yeah, no, absolutely. I don't think I even go higher than 20,000 ISO, but regardless it's an, you know, it's,
it's really, really good and low light. Yeah. Um,
Dave Maze (00:06:54):
I'm excited. This happened. I, I feel like it's definitely people are, are gonna complain about certain
things. And of course the price is a big issue with people, I guess you could say, but I love the idea of
Sony. Just Sony is so advanced. They have so much technology that they were like, let's just forget about
what this is gonna cost and just put everything that we can possibly put in camera. And like, we'll put a
price tag on it that will justify all of the technology that we're putting into it. And if you think it's too
expensive than buy an a seven R uh, if you, if it doesn't have the video features you want, then the a
seven S is obviously a better video camera for most people. You know, me personally, if somebody said
one, a one or two, a seven S three S I know the price, isn't exactly the same, but of course I would pick 2
7, 2 a seven S three S over the one, a one, however, as a dad who has kids that like run around like
crazy, got two toddlers, I would love to have blazing fast auto focus and to like, shoot 30 frames per
second, with blackout, that'd be sick for like, taking pictures of my kids with high resolution stills.
Dave Maze (00:08:04):
But like, I'm not gonna spend that kind of money. What is it? 6,500 us dollars for the camera,
Ariel Martinez (00:08:11):
$6,500.
Dave Maze (00:08:12):
Is that right? Yeah. That's, that's more than the C 70 that I'm shooting on right now for this video.
Ariel Martinez (00:08:18):
For those of you that I'm not watching in video, Dave Mays is on the C 70.
Dave Maze (00:08:24):
Yes, sir. I just got it last week. I love it. That's another topic, but we'll talk about that
Ariel Martinez (00:08:29):
Is another topic we'll, we'll get, we'll squeeze that one there for sure.
Dave Maze (00:08:32):
But I mean, what, what are your thoughts on that? Like Sony, just kind of throwing everything. They
have technology wise into one body and, you know, you know, I do you like that they did that.
Ariel Martinez (00:08:41):
Uh, I've been kind of torn. I mean, it's obviously not a camera that I would get on the price tag alone, but
that's only because of what I need for my work. Like you, like you said, I would rather get another, a
seven S three to have as a B cam dude.
Dave Maze (00:08:59):
Is it like, let's slow clap for the a seven S three. It's been, you know, a couple months now, six months,
what, uh, workhorse this camera is I,
Ariel Martinez (00:09:09):
That camera I'm shooting on right now, the a seven S three is one of the most incredible cameras I have
ever encountered Thousand ever, ever, ever. It's really hard to beat it. Uh, it's just an incredible,
incredible workhorse. I use it way more than I use my FX nine. Um, wow. And
Dave Maze (00:09:34):
That's saying a lot.
Ariel Martinez (00:09:34):
Yeah, that is no, absolutely is saying a lot. Uh, and it's just an incredible camera, so, and it easily matches
up as a, B cam for the FX nine super, super easy. Uh,
Dave Maze (00:09:48):
But now this a one has a Sino tone. What do you think of that? Like, and what does that even mean? Is
that a higher end color? Purple? Not really. I used the, I used the Venice six K and I was able to match it
to the, a sevens, uh, with my ind mobile video. And I know that has S C obviously, but is it just more
dynamic range, better color science? What is it?
Ariel Martinez (00:10:09):
So the S C tone profile, as much as people rave about it. I'm not a fan of it. The colors are beautiful, but I
do not like losing that much dynamic range. Um,
Dave Maze (00:10:22):
What do you mean mean you lose dynamic range?
Ariel Martinez (00:10:24):
Oh, a ton a ton because you you're baking in the contrast. You're baking in that exposure. So if I'm
shooting through a window, but I, I need to keep my subject exposed. That's indoor that window's
gonna be blown out. So my camera does not change from slog three. I'd rather just throw on a LUT and
adjust accordingly, but
Dave Maze (00:10:49):
I didn't realize it was like a, a profile, like a baked in profile. I thought it was just kind of a, oh no cinema
version. Slog.
Ariel Martinez (00:10:57):
SCE tone is essentially you're shooting a standard mode on the camera. It's just better skin tones. Like,
it's, it's much, much better,
Dave Maze (00:11:06):
But you can just color grade that in, right. Like,
Ariel Martinez (00:11:09):
Right, exactly. So you're better off just shooting slog three don't SCE tone is not the 14, 15 stops of a
range that a camera would give you. It's, copy's bringing that dynamic range down to about nine. You're
losing an incredible amount of dynamic range. Um, and that's not recoverable S semitone is meant to
deliver footage if your client just needs everything in, in camera. And even then I would prefer like when
I'm shooting, I mean, I don't have acetone on the a seven S three, but even then I would prefer to just
bring it down to slog two and just bring up the, the, you know, turn up the contrast a little bit, turn up
the saturation a little bit. I don't like to bake things in and lose dynamic range. I, I, I personally don't like
that. I rather have the entirety of what the camera has to offer, and I decide how much contrast
saturation Dyna and you know, all that that I need in post. I just rather have,
Dave Maze (00:12:07):
Well, hopefully you're not mad at me. I'm I'm shooting baked in right now on the C seven, so,
Ariel Martinez (00:12:11):
Well, I try your judgment, Your videos always look good. So, so you should be fine on
Dave Maze (00:12:18):
That. I bake every, uh, see I bake everything in cuz I'm a, a YouTuber and I hate right. Color grading. So
listen,
Ariel Martinez (00:12:25):
No,
Dave Maze (00:12:26):
I would love to have a C tone on it. I, I wish they had it on the a seven S even as just an option, you
Ariel Martinez (00:12:32):
Know, I feel, feel like that's something that they can add in a firmware update maybe. Yeah. Um, that's
something that have the option to do.
Dave Maze (00:12:40):
So who's this camera actually for, and do we wanna actually go over all the specs? I feel like we've kind
of been going around the horse here. Yeah. Do you wanna just read 'em off maybe, and then we could
talk more about it or
Ariel Martinez (00:12:50):
Yeah. Do you have it pulled up in front of you?
Dave Maze (00:12:52):
Yeah, I,
Ariel Martinez (00:12:53):
Yeah. Can you, can you go ahead and let's go over those, those specs.
Dave Maze (00:12:57):
Cool. Um, so like we said earlier, it's a 50.1 megapixel sensor. And by the way, what is the, um, what is,
what are the specs of the new a seven R camera?
Ariel Martinez (00:13:12):
The a seven R camera? I didn't even know that that was even announced.
Dave Maze (00:13:14):
Isn't that? No, no. I mean the a, what is it the most recent one is the a seven R four, right? Like that's
been out for a while. Okay. So the specs, uh, for the, the a seven R four, I think it's like 60 megapixels. So
it's not as good as the, as this one. Technically
Ariel Martinez (00:13:32):
Wait, wait, wait, wait, wait, wait, wait. The a seven R or 60 megapixel. That's better than the, a one.
Dave Maze (00:13:38):
Exactly. Yeah, but this, but the a one has, that's what I'm saying is it's not the a one isn't as good as the,
oh,
Ariel Martinez (00:13:44):
Sorry. Sorry. I thought the R
Dave Maze (00:13:47):
But, but here's the thing. So I'm just gonna go over the specs. 50 megapixel, full frame, BSI CMO sensor,
up to 30 frames per second at shooting. And that's referring to pictures stills so that you're, you're
taking raw stills at 30 frames per second. I wonder what the buffer is on that.
Ariel Martinez (00:14:04):
Yeah, that's what I was gonna say. I wonder how long it could keep that up,
Dave Maze (00:14:07):
But you got ISO 50 to 100, 2,400. Uh, here's our, our little video spec here, eight K at 30 frames per it
and 4k at one 20, which you mentioned in 10 bit. So this is great. Uh, 4.3 K 16 bit raw video output. I
didn't realize it was more than 4k. You get a little extra room there. That's nice.
Ariel Martinez (00:14:29):
Yeah. Well, it's an AK sensor apparently.
Dave Maze (00:14:31):
Yeah. Uh, S C tone. Obviously, like we just said, right. Nine point 40 or million EVF with 240 FPSs refresh
rate. I think that's the same one as the a seven
Ariel Martinez (00:14:42):
S a seven S three, which is yep.
Dave Maze (00:14:44):
Yeah. Which is really good. I love that EVF. Beautiful, Um, 759 point fast hybrid auto focus, real time I
five access steady shot image stab, uh, dual drive mechanical shutter up to one, 400th, second sync five
Giger MIMO, MIMO wifi. Oh, it has 5g in it. In the camera.
Ariel Martinez (00:15:07):
Yeah. So check this out. That is probably believe their highlight feature for this camera. Uh, so now
they're catering to a little bit of broadcasting also. Uh,
Dave Maze (00:15:18):
Interesting. I've been waiting for this to happen. I think 5g can change the game with cameras.
Ariel Martinez (00:15:24):
So they release this along with their phone. Yep. I complete I'm blanking on the, but
Dave Maze (00:15:32):
Experi a pro something or rather, right,
Ariel Martinez (00:15:34):
Right. So the phone is $2,500 though. That's an additional, in addition to the, so now you have a $9,000
set
Dave Maze (00:15:46):
Without a lens, by the way.
Ariel Martinez (00:15:49):
Yeah. Without a lens. Um, so now you have a $9,000 setup without a lens, um, that it's fully capable of
broadcasting live directly from the camera, with the attachment of this phone, that would go onto the
camera.
Dave Maze (00:16:04):
Okay.
Ariel Martinez (00:16:04):
It has an ethernet cable. It has an ethernet Jack that connects directly to that phone. And it has this new
software where you can literally broadcast 4k, everything that you're streaming, broadcast it through
YouTube, whatever it is.
Dave Maze (00:16:20):
I like that.
Ariel Martinez (00:16:21):
It's awesome. It sounds amazing. I would,
Dave Maze (00:16:24):
But, but you and me do that already with El Gado and uh, oh yeah. Oh yeah. But oh yeah. This makes it
mobile. So like you could be in the field reporting something, but aren't there other doesn't like, um,
terradeck, aren't there comp yeah. Terradeck does
Ariel Martinez (00:16:38):
This all. Yeah. So Eck has it. They have this basically a box that's like $400 that you can get attach it
through H DMI to your camera and you have a mobile life streaming, uh, camera right there. And you
can connect that to any camera. So
Dave Maze (00:16:54):
You're, so what you're saying is you could buy five of those and still be less than just the phone.
Ariel Martinez (00:17:00):
Oh yeah. Oh yeah. You can get that. So if you already have a couple of cameras connected to the
cameras and you control that with the app,
Dave Maze (00:17:07):
And then it's a, by the way to finish up the specs, it's a dual C F express type a SD card, which was see in
the a seven S exactly. So that's it for the main specs. Right. So why, why is this camera so expensive
then?
Ariel Martinez (00:17:21):
That's so I think, I believe that man, it's getting the best of every world, the, the best of the a seven S
three minus the incredible low light. I think the a seven S three, just have a, has slight edge on the low
light
Dave Maze (00:17:35):
And minus the flip screen.
Ariel Martinez (00:17:37):
Oh, that's a big thing. Minus the flip screen. That's a big downer for a lot of people, so, yeah. Um, so it's
taking the, the best of the a seven S three minus oh, two things. The, the best of the a seven R minus,
uh, 10 megapixels apparently. Uh
Dave Maze (00:17:59):
That's it's okay. That's ne negligible. Nobody's gonna care.
Ariel Martinez (00:18:01):
Right. Right. And it's adding the capability of broadcasting live to sending a live feed to a mixer, to a, a
video switcher for somebody that's doing live via that ethernet port.
Dave Maze (00:18:15):
And it's got AK
Ariel Martinez (00:18:17):
And it's got AK capabilities. So if you really need to get that extra, uh, that extra resolution for product
photography, whatever you need, it has it it's
Dave Maze (00:18:28):
Closed. So the RFA, the Canon R five is 38 99. And that has a lot of similar features, high megapixel, good
burst rate. Great for photography. Yeah, it does eight K uh, apparently the Sony is overheating at 30
minutes on the eight K is what I saw on Twitter. So it's also having overheating issues.
Ariel Martinez (00:18:49):
It really, I haven't even heard of that. Is
Dave Maze (00:18:52):
It? I would imagine that
Ariel Martinez (00:18:53):
A one.
Dave Maze (00:18:54):
That's what I saw on Twitter. I don't know if that was a meme. It might be a meme we need, nobody has
any time with it,
Ariel Martinez (00:19:01):
But it's not like, of course,
Dave Maze (00:19:03):
I'm sure that'll be, I'm
Ariel Martinez (00:19:04):
Surprised. I'm actually surprised that I haven't,
Dave Maze (00:19:08):
I'm sure they learned from cannon.
Ariel Martinez (00:19:12):
Well, they have a completely different system is why they're not overheating. Even on 120 frames per
second and 4k, they have a different type of sensor, a different kind of cooling system. It's a dual sensor,
dual processor, I'm sorry, Dual processor inside the camera, which is able to keep it cool. Uh, which is
what they released with the a seven S three. I believe they have the same sort of type of processor in
this body, which is why I don't think it's gonna overheat.
Dave Maze (00:19:45):
I hope not.
Ariel Martinez (00:19:46):
I hope not too, but so regardless, I'm not getting it, so I don't care. Uh, but you know, I don't expect you
put it that way.
Dave Maze (00:19:55):
So again, if we're gonna compare it, so this is the eye filmmaker podcast. So, but let's just get this outta
the way. It's a great photography camera. I could totally see like, yeah. Sports and journalists getting this
cuz the high burst rate and the really good auto focus and the high megapixels. Right. Um, but as
filmmakers, it's interesting because now it goes up against the, uh, the R five, which is capable of doing
eight K raw. I know it overheats, but the R five does do raw, not just standard eight K Um, and a month
Vista division eight K costs, $54,500 from red. So if we're talking about apples to apples or apples to
oranges, to pairs, technically the R five, the a seven or the I'm sorry, the a one the R five and then the
red Mons Vista division. These are the eight K cameras on the market. I guess you could throw the black
magic 12 K in there, if you want to throw that in the mix. Um, that's kind of like in between the red yeah.
Black magic,
Ariel Martinez (00:21:07):
10,000
Dave Maze (00:21:07):
Has the 12 K. So if you're a filmmaker, does this make sense to buy this camera? It does eight K video
with slog three, 10 bit internal in a hybrid body. Do you think filmmakers should be at all considering this
camera?
Ariel Martinez (00:21:24):
I think that it, it all, obviously it depends on necessities. If you need a camera that does absolutely
everything you need it to do. Sure. Consider it. Uh, if you're like me that just needs to freelance on video
work, I don't need the F photography features, you know, I don't, I, that really doesn't kind of compel
me. So
Dave Maze (00:21:54):
I would, what about AK? Is that interesting to you for interviews to have the ability to crop and keep 4k
resolution the whole time?
Ariel Martinez (00:22:00):
I, most of the time, most of the time I'm getting asked for 10 80 P delivery. So even even the four
Dave Maze (00:22:09):
4k
Ariel Martinez (00:22:10):
Is good for you. It's perfect.
Dave Maze (00:22:12):
If, so, if I, I guess the answer then is really, if you're a video person, if you're a filmmaker and eight K isn't
necessary for you at all. Yeah. Then by the a seven S three.
Ariel Martinez (00:22:24):
Yeah. So
Dave Maze (00:22:25):
It's pretty simple really.
Ariel Martinez (00:22:27):
Right, right. Eight K in my opinion, I don't, I don't think it's necessary for just about most people, most
people, uh, there are some instances where AK would look really nice for certain shots, but those shots
are few and far between if you're doing stuff that requires, you know, a lot of via effects and more
resolution in VFX. If, if I'm not mistaken is a good thing then yeah. Then yeah,
Dave Maze (00:22:57):
This, yeah. But if you're doing that, if you're doing that at that scale, you're talking about Hollywood,
you're talking about multimillion dollar productions. They're not gonna buy this camera. They're gonna
use a red.
Ariel Martinez (00:23:06):
Well, yeah. But the point is that I can get that in my little indie film, you know, I don't need to get the
red to get the higher resolution. I can get this in the small package. So that's
Dave Maze (00:23:19):
Okay. Well then yeah. Well then if, if we're playing that game, then, then why not get the R five, which is
cheaper and does raw eight K
Ariel Martinez (00:23:26):
Because I want to re I want a reliable camera. So yeah. That's one of things
Dave Maze (00:23:33):
Where, I mean, to be honest, that remains to be seen. We don't know really
Ariel Martinez (00:23:37):
Abs you're absolutely. I agree. Absolutely. I agree. Um, but one thing I did notice though, is that they
didn't put so much emphasis, like cannon did on their AK you're it's they just it's softed, it's soft, AK,
right. They mentioned it and it might have a record limit. That's listen, I'm fine with that. But you know,
cannon was all about the AK it's their, their headline on the R five come to show. It's only good for a few
minutes and you're done. And then the more you use it, the longer that wait time is before you can
record again. So those are the limitations. So my whole thing is know the limitations. I'm not, I'm not
against cam you know, manufacturers coming out with limited record times and over he, you know, but
just be straightforward about it. Is it usable or is it not?
Ariel Martinez (00:24:31):
Cuz I need to make a decision whether to buy this camera or not. Is it gonna get in my way, if I know
that I can only record for 20 minutes, then after that I have to wait 10 minutes before I can hit record
again. And then it's only gonna court for 15 minutes next time, but then I have to wait another 30
minutes before I can record another 10 minutes. That's not gonna cut it for me. You know? And no, and
no press release the cannon, never say any of that. And this time Sony simply mentioned the eight K, but
that was not their highlight feature. Their highlights feature was still, it's a so solid camera that would
give you solid image, amazing auto focus, all the auto focus points, the view finder, the recording
formats, all that stuff was what it really catered to also the 5g, the live streaming.
Ariel Martinez (00:25:20):
Like those are the features that were, they were really, uh, focusing on as opposed to AKA AK AK. So it's,
it's a different type of delivery. This is probably what can, would've stuck to, if they would've not
emphasized the AK and maybe even said, this is a solid photography camera, which is also, I didn't
mention that. Sony mentioned that as well. They said they stuck on how amazing the 50.1 megapixels is,
look in your image, look how you can crop into this image. And that's what they were really focusing on.
And I think that, yeah, that is what may or may not make this because the price tag is just hard to
overlook. That's a lot of fricking money for a key camera.
Dave Maze (00:26:01):
Well, that's, I, I, I do think the, again, the, the market is those one D uh, users, the people that I think,
you know, the one D series has always been in the $5,000 price bracket. So I don't think it'll make those
high end, like photographers, flinch. You know, if you're a portrait photographer, you want that high
megapixel, that reliability, if you're tethered in a studio, you know, you're shooting the Olympics. I don't
think the price will, but, but then it seems as though, you
Ariel Martinez (00:26:37):
Know, you're, you're paying more because it has that X, the added features of the 4k one 20 and the li
the, the live broadcasting, if that's not important to you, then just go for the a seven R yeah. You know,
because that's already included in the a seven. So, so that's my thing. Like this is catered towards
somebody that wants to offer all of that stuff without compromise, right? Yeah. Or at least with minimal
compromise.
Dave Maze (00:27:05):
So, uh, how would you compare this in a car? Uh, if you were to compare it to a car lineup, what kind of
manufacturer would this car be compared to the R and the, the as seven S
Ariel Martinez (00:27:18):
Well, I Don
Dave Maze (00:27:18):
Just the rolls Royce of Sony's products.
Ariel Martinez (00:27:21):
No, it's, it's because roll Royce is not catering to people that love that love SUVs. You know what I
mean? That's true.
Dave Maze (00:27:28):
Yeah. The roll Royce for cameras would be alike or a holo right.
Ariel Martinez (00:27:33):
Roll kind of. Yes, exactly. So roll Royce is a very niche market. You know, this they're really going for that
perfect camera. Right. And this might very, let's say this is the perfect cat, but the thing is that price tag
is it's hard to overlook. So
Dave Maze (00:27:49):
Unless it'll, it'll go down in a year or two, probably,
Ariel Martinez (00:27:53):
Yeah. Maybe by $500. I think that this camera would be at a reasonable price. If they left it at 5,000,
that's perfectly reasonable for everything that off first
Dave Maze (00:28:06):
4, 9 99. Right.
Ariel Martinez (00:28:07):
Exactly. That would look good. 9 98, get it right. Yeah,
Dave Maze (00:28:10):
Exactly.
Ariel Martinez (00:28:12):
So in,
Dave Maze (00:28:13):
So it's a, that makes sense, cuz it's a, that would be a thousand more than the R five. And I think it's, it
seems like this is worth an extra grand on top of what the R five is giving you
Ariel Martinez (00:28:24):
And, and, and think about it to, to even take advantage of the live streaming features. You have to get
that $2,500 phone that you need. I need yeah. To sort of broadcast it. You know, at the same time you
could get I'm sure. If Terra deck comes out with the 5g capable kind of ether, I don't know how that kind
of connects, but you could still get a Terra deck with this camera. So, you know, it's, you're not only
ready, uh, um, stuck with that phone. So if you wanna,
Dave Maze (00:28:52):
Here's my here's. So I'm a, I'm a YouTuber. I make a lot of videos on YouTube and one of the dreams for
me would be to have 5g in your camera, to where I could be out with a shooter doing a review and I
could have a full time editor who's at the office. And as I'm shooting those files, maybe even a proxy file
to make it faster would be uploading to Dropbox or like to the cloud somehow for an editor to literally
begin editing as I'm shootings. So as my shooter's hitting record and cut, when he hits cut, it's just
instantly going to the cloud. That would be so cool, right. To like, yeah. Have
Ariel Martinez (00:29:35):
Somebody thousand dollars. And you got that.
Dave Maze (00:29:37):
Is that what it is capable of doing or is, it's kind of like a livestream it's not necessarily like uploading your
files from
Ariel Martinez (00:29:43):
What I understand. So from what I understand and what I saw on the, uh, their press, the video, um, it's
meant for live streaming, however, I can totally see, maybe I missed the part where you can upload
video clips like that. I feel like I may have, but I'm not sure
Dave Maze (00:30:01):
That'd be cool.
Ariel Martinez (00:30:03):
That would be a great feature to have in the same way. Um, so I do believe they, they had a part there in
the video where you can literally view your, the videos uploading that you just took on the app that they
have and transfer it to your phone. Um, so there should be a way to do that. If not, I'm sure they're
working on it, but I can see that as a very good possibility that that could happen.
Dave Maze (00:30:33):
So I, um, I have also have a podcast and you were on it. It's called the golden hour podcast, golden hour
podcast.
Dave Maze (00:30:39):
I interviewed recently Hayden hill Smith. Who's the editor for Logan Paul and nice. I could, I could see on
a high end scale with these YouTubers, like him who like are doing content just so quickly, having
something like that, where the editor could be, you know, for Logan, Paul, there's only an editor and a
shooter and then Logan, that's it, there's only three people. And I could see this type of thing being such
a useful tool for them because he could literally be shooting. And like we just said, when he is done
shooting, it's being uploaded and then the editor can just start right away with the footage. I mean, that
really would open up the door for Hollywood, even to rush out dailies, to have an editor or a colorist
working on a LUT, how you're shooting. Like if 5g becomes a thing for filmmaking, it could really
seriously be a powerful tool for filmmakers, uh, in terms of workflow.
Ariel Martinez (00:31:33):
Yeah, definitely. So yeah, the, the technology itself, I think, is, has potential for sure. Um, I actually didn't
even think about it that way in, as you hit, as you're hitting record, you know, and, and you're stopping
that record, that recording that clip could be automatically getting uploaded onto a server where
somebody, someone else in the, on the other end is now getting that clip and adding it to the library of
clips at the,
Dave Maze (00:32:04):
Could you imagine, how could you imagine how Hollywood could use that, you know, for reality TV, for
all sorts of things in terms of organization, in terms of just efficiency? It would, I mean, it's just like when
we went from tape to SD cards, like, do you remember capturing tape, uh, from camcorders, never plug
it into your, you never did it. No,
Ariel Martinez (00:32:26):
I, uh,
Dave Maze (00:32:26):
I started, I was right on the tail end of that in my career, but
Ariel Martinez (00:32:30):
No, no. I started when I started, I, my church was starting, was getting upgraded to new cameras and I
see their old cameras that required tape. So I didn't, I didn't get to you're the privilege
Dave Maze (00:32:49):
Basically. You would have to sit through, if you, if you had a advanced system, you could do like two X
speed, but you would have to actually sit through the, everything you shot. So say you shot an hour's
worth of content. It would take an hour to transfer it because it would just real time capture the footage
onto your computer. So when SD cards came out and CF cards, it was like amazing that I could take four
hours of content and transfer it to my computer in like 10 minutes, you know, USB. Um, it would, it
would be that type of shift in technology. I mean, I guess for film, it's like developing film, right. And
then scanning the film, that's such a long process, uh, being able to literally upload your clips as you're
shooting them to your editor would be game changing.
Ariel Martinez (00:33:37):
I mean, that, that could also explain why the price tag is so high, um, to have that kind of technology in
the camera that it's, you know, 5g ready. I think that that could probably add to the price tag cuz it's
relatively new technology. So I can, I can see that being, being a thing, being the reason why. Um, but
even then, like I think that, you know, I think a lot of people are still going to pass on this camera, in my
opinion. I, I I'm predicting that that's what's gonna happen. Um, because I don't like,
Dave Maze (00:34:11):
Go ahead. Sorry. I'm cutting you off too much. Go
Ariel Martinez (00:34:13):
Ahead. No, no, you're good. Uh, no, it's just my own, my own prediction, uh, for this camera. I agree. I
think a lot of people are gonna forward. The flip out screen is a big thing.
Dave Maze (00:34:23):
Yeah. We're back to back to the old, uh, mirror or the Joshua, uh, break your camera thing where it flips
down. Did you ever see that? Where he broke his, uh, Sony camera so that it would, he could actually
flip down?
Ariel Martinez (00:34:36):
Yes, that's right. He, he took it off the hinge
Dave Maze (00:34:38):
And uh, you're not gonna want to, you're not gonna want to F void your warranty on a $6,500 Sony
camera. Yeah,
Ariel Martinez (00:34:44):
No,
Dave Maze (00:34:44):
Nope, Nope. I also, I saw Jesse driftwood on Twitter. He was like, why, why is Sony still using this body?
Like, I know that they've designed it and it's a pretty good body, but I feel like Sony could still work on
their ergonomics on their, on their camera bodies. And it was a shame to see that, like they're just using
the same frame that they've used for everything. I mean, again, I don't wanna bash it too much cuz I
love how the ACE of an S3 feels in the hand, but I, I do think they could work on the ergonomics and
continue to advance that they're just kind of recycling the same body they already have.
Ariel Martinez (00:35:19):
Yeah. It seems like that. Uh, but I'm, that's a good point. Probably something that I never notice just
because um, every now like I need cameras to work for me and I've never found that to be an issue with
the way that I kind of shoot. I've never kind of even thought of the ergonomics. I will say this though
with the cage on my a seven S three hitting that record button sucks and just the placement of it. I have
to get around the, the cage and kind of find it there in the front. Um, I wish that it was programmable to
any, to a different, but I, you
Dave Maze (00:35:57):
Can, you can put on the shutter button.
Ariel Martinez (00:36:00):
Can you do that?
Dave Maze (00:36:02):
Yeah, it's a menu.
Ariel Martinez (00:36:03):
I didn't know that. Yeah. You're welcome.
Dave Maze (00:36:08):
Um, yeah,
Ariel Martinez (00:36:08):
I would recommend a lot on those podcast.
Dave Maze (00:36:12):
Uh, what was I gonna say too? Um, I on uh, just on the price point conversation again. Yeah. I think Sony
is aware that the people who need this camera can afford it because the people who need this camera
are, are high end customers. And if you have the money, all the, everything we've just said, if you have
the money and you're in this demographic, this is the perfect camera. Uh, I, I don't want to go glaze over
the fact that this camera is fantastic. Like it's mind blowingly, good. Everything that we're saying is just
us having commentary about some of the issues we're having, but let's just like absorb the fact that this
camera is pumping out specs that are, would be astronomically, uh, mind blowing just five years ago,
just two years ago. I mean, this is really exciting, uh, for sure. And you know, that this technology will
trickle down.
Dave Maze (00:37:06):
And when you look at tech companies, uh, like apple, for example, you can see sometimes they'll, they'll
charge more for some of their higher end products because they know the only people buying say the
iPad, a pro for example, are people who need the power and want, you know, the speed and the
performance. And then over time they trickle that down to their lower end models. So now you can buy
the iPad air, which is using the same apple pencil. It's using the same keyboard as the iPad pro and it's
like half the price now. Um, same for the, uh, was it the iPhone se two came out last year, they're using
the same processor in that phone that is in the top end phone from last year. So like there was a period
of time where I had an iPhone se two, I paid $300 for it and it had the exact same processor and it as the
thousand dollars iPhone 11 pro.
Dave Maze (00:38:00):
And so w they're able to kind of diversify their, their lineup, uh, and they're able to use the funds that
they're making from the expensive cameras to go into research and, and development to also ramp up
production, to put those processors and put that technology in the cheaper, more affordable kind of
everyday care cameras. Uh, so this, the fact that this camera exists is great. And I think moving forward,
the a one mark two, the, a one mark three, like if they continue this line, it's always gonna be the
expensive flagship that does the, the tech that is almost too out of reach for you. Like this camera is a
little is definitely future proof. If you buy it now, it's gonna last you five years easy. But by the time that
comes, you know, a lot of this technology might be sift down to the cheaper end cameras, but that's
what you pay. You pay the, that price point to get the cutting edge tech that isn't in any of the kind of
budget friendly options. So that's why it's so expensive is you're paying for that access to technology
that just like this is future tech that we're getting, this is stuff that we should see in two years, but we're
getting it now for $6,500.
Ariel Martinez (00:39:16):
Yeah. That's a really good point that you're making. Um, but when I, when I think of this and actual
professionals, from what I understand the pros in our industry and other industries, they specialize. So I
specialize in video. I don't offer for photography nor do I advertise it. Photographers, specialize in
photos. They don't offer video nor do they advertise it. People that are in broadcasting, they stick to
broadcasting. This is a camera that checks off all those boxes. But somebody that is doing broadcasting
is not gonna wanna pay the extra money that you would get, because it also has great megapixels and
great video features. You know, they, they want a camera that's dedicated to that people that are doing
photography, they're not gonna wanna pay the extra money to get a camera that is also really good for
broadcasting, cuz that they don't care about broadcasting. So that is probably you get what I'm saying.
So my point is the professionals that, that are professionals on all three industries. They need a camera
that really dedicates to their own industry. So where does that leave? So I'm just thinking about it as, as
a, and
Dave Maze (00:40:30):
There's no flip screen, so I'm not gonna buy one cause there's no flip screen on it.
Ariel Martinez (00:40:34):
So a vlogger or a YouTuber is not gonna get it.
Dave Maze (00:40:37):
Well, I was gonna say like a high end YouTuber. It does have all the features that high end, like internet
personality needs. Like I want a high resolution photography camera for
Ariel Martinez (00:40:47):
Thumbnails and Instagram. How many of those are there? You know what I mean? So
Dave Maze (00:40:52):
It's
Ariel Martinez (00:40:52):
Not many, it's not for the average professional and I mean you're right. Yeah. Even YouTuber is not for
the average YouTuber. Um, it's, it has to specialize to somebody, but just again, this is why I'm predicting
that this camera's not gonna do very well. Well, because it's trying to cater to every single market.
Dave Maze (00:41:15):
Did you do a poll on your Instagram yet on
Ariel Martinez (00:41:18):
Filmmaker? No, but I saw yours and I saw that I saw the percentage.
Dave Maze (00:41:23):
Yep. I saw Jason VG. It gave me the idea cuz I saw Jason do it. And he obviously has a huge Sony
following. Right. And he had the same skew where it was like 80% of people are not interested in this
camera. Right. Um, and I, I also saw on Sony alpha rumors, he had a poll on the website saying, are you
gonna buy this camera? And it was like 90% said no. So
Ariel Martinez (00:41:46):
Yeah. Cause not like I cannot justify the camera if I need to pay that much money. I
Dave Maze (00:41:52):
It's also COVID so
Ariel Martinez (00:41:55):
No, but I, I that's, that's not because this has been the well, 2020 was the year of new cameras, cameras
being purchased, like for some reason despite COVID so that's not the reason. Yeah, that's true. Um, so
I, I, I just don't think again and you know, the polls say it as well. It's not catering to one like man, that's
well, there's
Dave Maze (00:42:20):
A reason maybe that's why it's so expensive. Cuz it's, it's a niche camera. It's a true hybrid camera. This
camera is the perfect on paper hybrid tool. It does re really high end video. And it does really high end
photography with no compromises. Yeah. So what, this really is the
Ariel Martinez (00:42:41):
Ultimate hybrid. I feel like I've been bashing the camera a lot. I'm I phenomenal camera. I don't want
take anything away from this camera. Um, just giving my predictions, however, for those that, you
know, people that are getting into this industry, right. And they don't know whether to get a camera
that's good for video or cuz it's been the a seven S a seven R right. Uh, Canon also has their back and
forth and Panasonic has their back and forth as well. A good video camera. Good stills camera. This
camera does good. Both. You don't have to compromise. It's not
Dave Maze (00:43:14):
Getting great. It does great. Both like it's
Ariel Martinez (00:43:17):
It does great. Both
Dave Maze (00:43:19):
50 megapixel stills at 30 frames per second with no dropouts. That's
Ariel Martinez (00:43:23):
Incredible. That's unheard of. That's incredible. I haven't been highlighting that cause I'm not a
photographer, but yeah. Just thinking about it, 30 frames per second stills, that's unheard of that really
is. There's no blackout in raw. The blackout thing is something I never kind of experienced.
Dave Maze (00:43:37):
So blackout, blackout. It's basically, it feels like you're just looking through the view finder and you're
holding the shutter down and it it'll just look like you're just looking at video and you know, Sony's auto
focus system is so good that it'll just detect the eye and just stay on it. And so the, I I've been seeing a lot
of sports examples in all the promotions for this camera. Right. And they're ha they're not gonna just
make this camera with no research. Like they obviously sure. They're not just spending all this time
creating this camera without any type of R and D and like research on who this is for. Yep. So my guess is
that there was a hole in the market for a high megapixel sports camera for people who also need the
ability to shoot high quality video. And I think because they needed such powerful processors to do 30
FPSs raw photo with no blackout at 50 megapixels, because you have to have such beefy processors just
to do that for stills. It's like, eh, might as well throw eight K in there because we can,
Ariel Martinez (00:44:40):
You know, I, I agree that is their market for sure. Uh, and you're absolutely right because I have shot
professional, um, sports I've shot, NFL games have shot NBA games and that stuff, that media room in
the back they're getting that stuff fast as fast as possible so that they can post it fast. And,
Dave Maze (00:45:02):
And the five real would be perfect for that too, for those types of users. Wouldn't
Ariel Martinez (00:45:06):
They? Exactly, exactly. You'll you'll notice at, at when, when an NBA game or an NFL game is going into a
commercial break, they always have a highlight of the very last play that just happened. Like how do
they get that so fast and cut up so fast. So this can streamline that work.
Dave Maze (00:45:23):
You know, I, I think I just said it, but I I'm realizing, I, I think that was my aha. This is a sports camera.
Yeah. And because to do stills at that level, it requires such processing. That's why eight K is there cuz
they just can do it. Right. So I don't th and because it doesn't have a flip screen on it, that makes me
think that it, it was never, it does have S C tone, but, and maybe because like you said, as Cton is a great
big profile photographers don't know how to shoot video. So it's like, oh, I'll just, I'll just switch on to this
CE tone profile from my video shots. And then a, a photographer can actually get a really good quality
video without any experience in color grading.
Ariel Martinez (00:46:06):
Right. So, yeah. I, I, I, I think we figured it out. I think that that's why it's catered to the them because it's
not catered to vloggers is cuz most vloggers are not gonna buy this.
Dave Maze (00:46:17):
Um, they've already made a bunch of cameras for vloggers. The a seven C is the perfect like budget, you
know, YouTuber cameras got a flip screen. It's small, it's compact, it's full frame. Auto focus is great.
Color science is improved. Yeah. There you go. There's your vlog camera. Your high I end video camera is
the a seven S it's perfect. Like I have no complaints with that camera. Yep. This camera is the one D
version for them. Uh, you know, right. This is their flagship photography camera.
Ariel Martinez (00:46:45):
Yeah, no, I, I, I, I agree. I think we, we found the niche that they were going for, which it made all of us
confused really? Cuz we, are we not in that niche? Uh, no, but I think that this was a
Dave Maze (00:46:57):
Good, I buddy back
Ariel Martinez (00:46:58):
Forth to figure
Dave Maze (00:46:58):
That out. I should, uh, I should connect you to my friend, Jamie, he's a professional, uh, car
photographer. He goes to like, um, he'll go to motocros events, he'll go to, uh, a NASCAR events. He'll go
to the, you know, Indy 500. Um, and he does car like high action car photography. And you know, he's a,
uh, I think he's a Nikon guy. I think he shoots on the D four or whatever the it's like their flagship. And so
there's just, there's lots of people out there who need this. And again, like I said, at the beginning of this
podcast, the, the high end sports cameras are always a lower megapixel count. So this really is filling a
void in the lineup of like higher and higher megapixels are, are being needed more now. Right. So, and,
and the one D series is only, I think it's only 24 megapixels. So I think that's really where this is gonna
just stand out and it's outperforming the R five in photography features. So again, I think I'm done. I
think I figured it out. It's a photography camera.
Ariel Martinez (00:48:06):
I think we figured it out. I think, uh, that was you're right. That was a really good, uh, back and forth
there. Um, talk to me about your C 70, how are you liking that?
Dave Maze (00:48:17):
I'm loving it. I, uh, here, I'm gonna, I'll go up close to the lens here so you can see the auto focus is so
great. It's perfect. It works great. Um, color science is great. I go it because, uh, we're a cannon place. So,
you know, I'm working with people who are only shooting on cannon cameras. We have a ton of EF
lenses. Um, the, my biggest beef with this camera is it's not full frame. It's a super 35 sensor, which, you
know, no big deal. It's only been the industry Andrew for like a hundred years. That's true for video.
Yeah. So there's nothing wrong with that, but I wish that it was a full frame sensor because it uses a full
frame Mount. It uses the new Canon R RF Mount, which is obviously designed for the R uh, mirrorless
bodies. So if I'm gonna use camera natively with like the best lenses that Canon makes the R lenses I'm
cropping in on 'em, uh, and I would love to get the full use of that lens.
Dave Maze (00:49:20):
Right? The great thing is you can buy a speed booster, uh, either through me, bones or Canon has one.
Now that I'm actually using right now, it's a 0.71 X booster that goes from R F to EF. Nice. So I'm
shooting right now on a 24 to 70 E F F 2.8 lens. Um, and it's close to full frame. I think it's a 1.2 or 1.3 X
crop. It's not a true one X, but that, that certainly helps. And you gain an extra stop of light, but I don't
wanna shoot EF EF is old and EF is, uh, continued. And like Cannon's not making and developing EF
lenses anymore. Obviously EF lenses are widely available. It's one of the most available lens mounts out
there ever, but I want RF. RF is the new future. So if I want RF, then I'm cropping on my lens and, you
know, Canon doesn't make crop sensored lenses for RF. So it's kind of a dilemma, but whatever, I just
kind of forget about it. And I love the color science. I love the ease of use with it. I'm able to shoot proxy
on one card and full 10 bit 4k 42 on the other card.
Ariel Martinez (00:50:28):
That's awesome. Uh,
Dave Maze (00:50:30):
And so that's been, my workflow is I shoot 10 bit on one and, uh, C log two, which is their flattest profile.
It's like 13, 14 stops at Dr.
Ariel Martinez (00:50:40):
So I just found out that my FX nine is capable of doing that and it kind of blew my mind. Yeah. I didn't
know that I could and do that. I'm like you should. That's awesome. So
Dave Maze (00:50:49):
It's so easy and finally cuts just relink your proxies. Right.
Ariel Martinez (00:50:53):
You know, do, do you know if the a seven S three I have does that?
Dave Maze (00:50:56):
I have. It does. It does. Yeah. Just go in there, turn on proxy mode. It'll record it in a separate folder and
yeah, I've, I've told all my friends to do it cuz like you're killing your computer if you don't do that.
Ariel Martinez (00:51:07):
Does it record, could it record both at the same time though? Yeah. Both full quality and proxy. And
does it record
Dave Maze (00:51:16):
That would, that would suck if it only recorded proxy,
Ariel Martinez (00:51:19):
You don't want that?
Dave Maze (00:51:20):
No. Yeah. So it puts it in a folder. I think you could, I don't know if you can put one on one card and one
or the other, I think on the a seven S it's all on the same card really, but it doesn't matter. Uh, it matches
the file name and everything. And do you use final cut or premier?
Ariel Martinez (00:51:35):
Premier
Dave Maze (00:51:36):
Pro? I forget the, okay. So yeah, premier
Ariel Martinez (00:51:38):
Is real editors use.
Dave Maze (00:51:40):
Oh, shut up. Um, so, uh, it doesn't matter, both of them do it, but you can, you load in your, your raw
footage and then you can just re link the proxy and you don't have to make it cuz it's already been made
for you.
Ariel Martinez (00:51:52):
It's fantastic.
Dave Maze (00:51:53):
Saves a ton of time.
Ariel Martinez (00:51:54):
I've never, you'd be surprised. I don't, I've never used proxies. Uh, but I've had a couple of clients that
have they've requested me to send them proxies through Dropbox while the real footage is in the mail.
Nice. So they can send anything. So that's awesome that I have that option now
Dave Maze (00:52:12):
You should absolutely do it. I think you can even bacon, uh, I think on your FX nine, you can actually
bacon, uh, a color profile as well. If you wanted to, if you're working with a client
Ariel Martinez (00:52:22):
On a proxy,
Dave Maze (00:52:24):
I believe so,
Ariel Martinez (00:52:25):
But not on, not on the original.
Dave Maze (00:52:28):
Yeah, exactly. You, you keep your S law original, but then you can do like a rec 7 0 9 on the proxy so that
clients can got it. Not just be like, why is it all gray?
Ariel Martinez (00:52:40):
That's awesome. I gotta, I gotta, I gotta look more into that, cuz that is a really awesome feature to
have,
Dave Maze (00:52:46):
But I definitely think the C 70, I think the, the FX nine isn't really the competitor do it. It's more like the
FX six, I think the new, uh, the new Sony cinema. But, um, even with that though, I do think the C 70 is a
little bit more in that a seven S three category, cuz it it's a small body and it's got a really nice just built in
flip screen that makes it feel a lot like just kind of a DSLR. Right. And it's got the builtin ND the auto focus
is just perfect. Um,
Ariel Martinez (00:53:20):
Yeah. It's
Dave Maze (00:53:20):
Battery life is great.
Ariel Martinez (00:53:21):
It's like in between, it's like in between
Dave Maze (00:53:24):
It's so I've really enjoyed it. It it's a shame that it doesn't do any photo. I would love if it even just took a
eight megapixel raw still. Um, and then it'd be, that'd be the perfect camera for me cuz all I ever need is
just to take a thumbnail picture. Um, yeah. So I do carry around my Olympus camera for photography.
So,
Ariel Martinez (00:53:44):
So you do own the a seven S three?
Dave Maze (00:53:47):
No, I don't
Ariel Martinez (00:53:48):
Own it. Oh, okay. Okay.
Dave Maze (00:53:49):
I've shot a lot with it. We've rented it for indie mogul. I've done reviews. Uh, a lot of my friends have it. I
was considering buying one, but now I have this camera and it's better for, for my use case. Um, got
Ariel Martinez (00:54:01):
It,
Dave Maze (00:54:02):
Got it. Somewhat. I still jealously want the a seven S but then I'd have to get all new lenses and I'm just,
I'm taking the more reasonable like adult decision with this camera, but
Ariel Martinez (00:54:13):
Yeah, that was the best decision I ever made, man. Cause originally I bought the a seven S three, but at
the time I had an Fs seven and the Fs five and the a 6,600 all crop sensor cameras. I had maybe one full
frame lens and that was a 24 to 70, 24, 24 to 1 0 5. At the time I had no full frame glass when I got the a
seven S three, I'm like, okay, I kind of wanna take and I want to use fulling glass. I want to use native
glass. And, and that's the FX nine had already been out. And then I forgot who it was that told me, I
think it was just one of my followers that just randomly said, man, if you sell the Fs seven, the Fs five are
your lenses. You could have enough money to get the a seven S three, the FX nine and several full frame
native Sony glass. And that, I don't know why. I didn't think about that before. So is that what you did?
That's exactly what I did. I sold, I put everything on the market, sold it all and I sure enough, I had
enough money, more than enough money to get the FX nine, the a seven S three and several full frame,
Sony native glass. That's
Dave Maze (00:55:34):
Amazing. I'm glad you got the FX nine cuz I, I have been hearing mixed reviews of the FX six, even
though it's a great camera. I feel like the a seven S three is just such a good performing camera as is that
you don't necessarily need the FX six.
Ariel Martinez (00:55:51):
You don't. Um, if you, if the, the thing is the FX six it's like Philip bloom said it's a, it's a strange camera
because it fulfills everything that the a seven S three has, but where it lacks is, you know, if, if you're
going cinema up, man, I can't go from the FX nine to the FX six. I don't know how Philip Bloom's doing it,
but the custom buttons is so essential because there's so many features on the auto focus that you can
really use and assign to custom buttons that it's almost absolutely necessary, cuz to be able to change
that, that with the push of a button to go to the dual native ISO, to go to the, uh, the kind of auto focus
zones and go from, I auto focus to, uh, to different auto focus modes and um, to be able to move that
the whole, uh, thing around it's, it's almost absolutely necessary.
Ariel Martinez (00:56:54):
And then the FX six has like maybe two or three custom buttons from 10 it's it's it's a huge downgrade.
And then, you know, the, the, the thing with the top handle that a lot of people complain about that the
X to RS are only on the top handle. There's not one on the body, you know, it's with the a seven S three,
like with, with the FX nine, a seven S three. I have everything I need. If I need the 4, 1 20, the FX nine,
doesn't give it to me. It's fine. The a seven S three gives it to me. Um, so I have everything I need. I'm not
lacking anything, which is why I, I love the six K sensor when I'm editing. I can see the difference in, in, in
resolution down.
Dave Maze (00:57:38):
No you're missing, you're missing an, a one. That's all you're missing AK.
Ariel Martinez (00:57:42):
I'm not getting the a one. I am not, I am not going that route, man. That's just, I just think what I could
do with that money, man. Uh, oh yeah, yeah. I would, I would just get an a seven R like yeah. Uh, a, a, a
seven R yeah, a seven R. Um, but man, that it is just a lot of money. And like you said, it's, it's a very
camera for a certain industry and looks like it's that, that sports photo that live sports, uh, photo video
really,
Dave Maze (00:58:14):
Um, and YouTubers who are gonna review it, like crazy over the next couple months. And it'll probably
be a big topic. I
Ariel Martinez (00:58:20):
I'm surprised. I'm, I'm surprised that no YouTuber has already come out with a review on it. Have, have
Dave Maze (00:58:26):
They? Yeah, they, no. I mean, Jason VG was featured in one of the promotional videos, but, um, they
didn't send it out to anybody. Yeah.
Ariel Martinez (00:58:35):
But usually when a camera drops, you'll see like 20 YouTubers at the same day. Yeah. With them, I views
already made.
Dave Maze (00:58:43):
I know that they're interviewing other, like, I know Sony is interviewing with some creators today, so I'll
probably be seeing some, some news about it, but I don't know when it's shipping. I don't know when
people are getting them in hand to review it. I'm sure they've obviously planned it out. Sony's good at all
this. And you know, we'll be seeing a bunch of influencers with it soon.
Ariel Martinez (00:59:04):
Um, thank you so much for comment on the showman. It's awesome. Having you, can you remind
everybody where they can have, where they can find you? Uh
Dave Maze (00:59:12):
I'm on Twitter, Instagram, YouTube, Dave MAs, just search Dave MAs, D a V E M a Z E. And you all, you'll
see me there, uh, be on the lookout on my personal channel, Dave maze. It's, uh, going to be, uh,
brought back to life. There's about 5,000 subscribers on there and I haven't posted anything in like a
year. Um, but I'm gonna be active there soon. So it'll be on the lookout for that.
Ariel Martinez (00:59:36):
So. Awesome. Thanks a lot for coming on the show, buddy. I'll see you next time. My
Dave Maze (00:59:39):
Pleasure. Thanks a lot.
Ariel Martinez (00:59:41):
So there you have it. That is my conversation with Dave maze. It was a tricky one. We were back and
forth. As you saw, we were trying to figure out what this camera was for who it's for. Why is it priced so
much? If you guys have questions, comments, concerns about this episode. Some things that maybe we
discussed and we probably got out wrong, let us know. Uh, we can reach out to us over on Instagram.
We're very reactive there at eye filmmaker podcast and Dave was able to plug in a lot of his stuff. So
make sure I'm putting links to all of that in the show notes for this episode, whether you're on YouTube,
iTunes, Spotify, wherever you listen to your podcasting, don't forget to like subscribe. We appreciate
you guys tuning in on this episode. And I'm very eager to know what you guys think about this camera.
Let us know in the comments. Thank you for watching this episode of the iPhone maker podcast. My
name's Ariel Martinez. We'll see you on the next one.