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    The largest online community devoted to anamorphic filmmaking.
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    • The Zoom F4 is indeed much better than the H4n (I have both and both are for sale! (also have a DR100 MKII for sale)). The noise floor is now usable on the F4, though still not as good as Sound Devices. If that's all that matters, then sure, they are close on noise, even more so with highly compressed online streaming listening. When it comes to sound quality, especially with decent speakers/headphones, any Sound Devices is in another class compared to the Zoom F4/F8! If you can't hear the difference, what headphones or monitors are you using?  I'm using the amazing-deal Focal Listens (closed back) and the best-bang-for-buck Stax SRS-3100 w/ Ultra mod (Socas adapter plates and Brainwavz Hybrid Memory Foam pads (also have thick ZMF Lambskin angled pads, though currently prefer the thinner Brainwavz)). Headphone amp is Sound Devices USBPre2 (excellent). These are pretty good demos which illustrate the sound quality differences:  It's not always about price, sometimes is preference. I always found the RME Fireface 800's mic preamps a bit sterile and digital sounding (harsh). I replaced it with the comparatively cheap Focusrite Scarlett 2i2 (over 10x cheaper) which has nicer preamps- smoother, more natural, and more analog like. While the Scarlett has sufficiently quiet and smooth mic preamps, the Sound Devices USBPre2 micpreamps are much fuller and more detailed across the spectrum. Finally, a professional life-saver feature of the Sound Devices products is the analog limiter- it's basically unclippable. Even if you're very careful and set levels safely (e.g. -12 dB), sh*t happens and you're going to get clipping, especially for live/location/doc work. Using a safety track can help but that's more work in post and still not as good as SD (or higher end) analog limiters. For the price difference between the F4 and MixPre6, there's no way I'd recommend the F4, even if I was a brand ambassador for Zoom. If one needs more channels and doesn't have the budget for equivalent Sound Devices or similar gear, the Zoom F8 makes sense. For indie/hobby work, digital limiters (or no limiter) recorders work fine, as it can be no big deal to go back and re-record once you have reviewed the recordings and find you've got some problems. If time is important or one is paid by someone else, analog limiters are really helpful. Regarding Brand Ambassadoring for Aputure: it's cool to promote products one is compensated for, however as others have noted there are some issues with the current Deity: noise floor and off-axis rejection. While it does sound similar to a 416, it's much noisier, and side & rear rejection is much worse than the 416 and NTG-2. I've only listened on YouTube, however this review says the Deity is noisier than a $249 NTG-2. It appears Aputure tuned the Deity with high gain (hotter, more sensitive) and the budget ran out to keep costs and noise low at the same time. It's a fair compromise, and in noisy environments the noise won't really matter, or noise can be removed in post (FFT/spectral or simple expander/noise gate). Regarding mic placement and usage: there are NO RULES! There are guidelines, however what matters is how the mic and placement actually sound for the conditions- that's it. Mic on camera? Absolutely for run&gun and it can sound great. It's totally fine to use a shotgun indoors in a non-reverberant room. The 416 is also an amazing VO/indoor mic. As long as the room's reflections aren't causing the shotgun to 'phase out' (sh*tty sounding phase effects), they can work great. It only took one time after many years of using the NTG-2 as my main mic to finally pick up a hypercardiod. I picked up both the Audix SCX1-HC ($500) and the Schoeps CMC641 (a lot more). If I 'squint my ears'  maybe I can hear a difference between these two mics. I ended up keeping both to do stereo recordings. Even though they aren't matched, they work pretty well together (all the indoor Cosmic Flow shoots use both these mics as a stereo recording (on booms above talent). Can you hear the difference?). At that time I also finally upgraded to the CMIT5U, which works well indoors and on camera too! Over the years I started out with the best low-cost gear I could find (Rode, Audio Technica, Zoom, Tascam) and slowly upgraded to better gear (Sound Devices, Sennheiser, and Schoeps). You really appreciate the quality of the higher end gear after learning on the budget gear. The Audix SCX1-HC is a special gem- fantastic quality for the price. For internet streaming and listening on a cellphone (where most people consume low-budget/indie/free content), the budget Rode and Audio Technica gear is plenty good!
    • I only read about the regular SLR Magic 17mm T1.6, a regular M43 lens, covering m43 sensor. Didnt know there was a special one for the BMPCC. This is the lens I read about: http://www.thephoblographer.com/2014/02/03/review-slrmagic-17mm-t1-6-micro-four-thirds/   An interesting lens for shooting letterboxed 1:2.35 with the BMPCC is the Mir 11m:  
    • Does anyone know how much the SLR Magic 17mm lens for the BMPCC will vignette on regular 2X crop M4/3 cameras? If not much, will a 2:35 letterbox cover the vignette?
    • Yes, yes, yaw. Thanks to Seb Farges and his awesome videos I got myself an awesome SLR Magic 12mm T1.6 now! Yeeehaw!  @jonpais, now we can do a battle of the 12mills. Oly 12mm 2.0 anyone?:) I am so happy, my first native lens in two years. My list now: classic 14-45mm, Panny 20mm 1.7, Oly 45 1.8 and soon in my hands SLR Magic. Magic! Nice vibe, really! One of the nice vibes masters is Seb Farges.
    • I've never had any problems using the 28-70 on Fotodiox Pro Nik-EF one, which is around 1000grams. But it might not be ideal if you change lenses a lot, as I've read the pin that holds it in place can break during lens transfers (personally never had this issue).