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      Welcome to the EOSHD forum. The knowledge-base for all mirrorless, DSLR and pro video cameras.

EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide

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    • The Ira Glass team use some decent but not too pricey gear to make pretty compelling radio documentaries. Here, Ira describes using the Marantz PDM661 recorder and AT8035 (and similar) shotguns for this very long running and wide-ranging show. One could quibble over audio quality at times, but there is the law of diminishing returns at play here: for a reasonably modest price you can achieve good, and often very good audio in a wide range of settings, including indoors. For a lot more money, and with a wider array of microphones you can get some incremental, and occasionally significantly better sound. But since it isn't Hollywood, does the expense-for-limited gains make sense? With a documentary, it's about the story, and some slightly imperfect sound is usually well tolerated as long as the story is good. The H4N would seem good enough for the task. For a microphone, I'd probably stick with a battery-operated shotgun like the Audio Technica AT897 or Rode equivalent. If you are likely to be in a very reverberant indoor setting, simply go somewhere else with curtains, carpets, etc. If you can't do that, spring for something like the AT4053b (hypercardioid). I'd probably go for second-sound into the recorder, rather than straight into the camera, since if the camera switches off you might miss some important audio that could otherwise be included in the final documentary albeit covered by cutaways. Use the camera's audio for sync.
    • Well, was just looking for the best case scenario to be frank. The c300 footage hold up if you're going for a natural look, but as I've mentioned I felt 8 bit was not quite enough when I was trying to do a very stylized grading. 10 bit 422 will probably work in my case as well.
    • You will still get the best HD/2K delivery quality from a 4K camera even if you never deliver in 4K. A Sony FS700 + Odyssey 7Q goes for $3-4k nowadays and can shoot great 4K 12-bit raw. And it can also do high fps for slow-mo, which may be appealing for your music video/slow movement scenes.
    • You probably won't get any cheaper than an Ursa, & theres also the new C200 which falls in a similar price range. Maybe a used, old RED? Is there a reason why you need 444 12 bit? The new Panasonic EVA1 will be (supposedly) released in a week or two but with 4:2:2 10 bit, which imo is more than enough.  You can get a couple of red heads for cheap if you opt for the Ursa, or for any camera for that matter. Aputure has some pretty cheap lights too if you wanna go LED. Personally I find that the C300 holds up really well as long as you've done some lighting, it doesn't need much grading at all - but personally I wouldn't get a C300 in this day of age. I think we've also gotten to a point where you might aswell just get 4K in your camera even if you don't intend to use it.