gh2sound

http://apps.avid.com/ProToolsFirst/ Actually no idea if it supports video - knowing Avid probably not lol Ardour looks interesting : https://ardour.org/ Its basically Waves Tracks Live with more editing and other open source stuff. If you're thinking of doing sound to picture you may need to consider a DAW with AAF/OMF import facility to ingest the audio from the edit.

Glad you said sound It baffles me still why people buy cameras and lenses - aside from Tax and company profit reasons - cameras especially, are monthly usurped, unlike audio, which relies solely on the operator, so why buy? Hey ho ! Sure the usual suspect companies are most happy people do !

As Rudolph said nice cinematography, and let's never forget no-one leaves a cinema whistling a two shot

I can also provide Pro Tools templates for generating all your deliverables if anyone mixes on that - could knock other variations up too for Logic / Cubase / Nuendo et al too. I'll look at Premiere this weekend and see what's possible on that - I know stuff like TOWIE etc is mixed in AVID by the onliner, so can help there too, as is same engine and plugins as Pro Tools essentially. There are great plugins such as lmcorrect by Nugen (lovely chaps) that will take you mix and legalise it essentially to meet loudness requirements for all the formats - take a peek. http://www.nugenaudio.com/lm-correct-loudness-correction-automatic-quick-fix-plugin-aax-au-vst_19 Also Izotope are releasing a similar solution, AFIAK it's not quite out yet. Another handy tool, if time is of the essence, or you need a quick balance done is Waverider - essentially mixes for you to give you a starting point to reach your required loudness requirements. http://quietart.co.nz/ Handy for providing a nice leveled dialogue premix or smoothing music cues etc. and far less intrusive than compression and limiting. Loudness cheat sheet is in progress with all the links to metering etc. but for now I need a beer!

Sorry chaps - hectic at the moment - compiling a list for all territories and links to all the info you'll need about levels and delivery of audio for picture - won't be long.

Hi - sorry just trying to hit Jazz with some direct info, was stuck in a mix - can put together a full guide if you want outlining TV, film and online delivery methods and requirements if that's of any help to anyone.

Sent you a mail mate outlining the madness Sadly still no fully unified delivery method for territories and TV/Film/Online etc. I will send you the specs and talk you through the process when you find out where the piece is going to be delivered. Even in this age of file delivery I'm just about to pop a mix onto SR for the BBC this afternoon, so I still have to check every project in case they've moved the goalposts yet again, so it can be confusing!

PM Me JazzBox I can talk you through it.

Intruiged and hats off how you can buy Cooke LOMO A7R etc as an independant blogger - don't want to ask about your rich Aunty status ofc wish had one! , compared to your ex Sky cameraman Nemesis - doffing my cap to your blog survival minus any free cameras and gear.

Drunk edit :)

10 Mins 21 Gig - lol sadly no way this will eek its way into any PM's budget. Home use - amazing - real world not yet .

As no-ones seen RAW from the pocket cam - are we not presuming? :)

@Blanche what ep are you referring to - I'll give you a breakdown of the processing used. As the chaps are saying above reverb is often used to imply reminiscing - if you give me a precise example I can probably give you more help!

Loving the fleeting footage so far, but searching to find a use for it in real world situations (non home brew) -  beers this evening with several leading production managers points to their active avoidance of RAW capture due to budgetary restrictions (RED even) - real world - the camera  super even has no say in what he shoots on (TV),  hell I mix daily on multi million viewer channel topping progs that are 50% GoPro (2!) If we had a say accross the board from acquisition to post, everything would be lovely, sadly it's not and it's cheaply made - and budgets will only shrink as productions try and allow editors to deliver audio (a la TOWIE) to "save" £ I was a music mixer for years and went to the dark side of broadcast many years ago, but seeing the creeping devaluation of what happened there happening in broadcast in editing and shooting. As cameras and quality rises - progs are shot by 20 year old PD's with 2 days training more and more - interesting times.

Pretty much every type of lens coverage flange distance etc covered here: http://www.filmcentre.co.uk/faq_lens_m.htm

It's almost negative equity buying severely overpriced lenses when you could actually buy the 4k cam for the same expenditure allowing a greater choice of lens options?

All 16 mil lenses sadly - lovely but don't cover s16 the 12-120 and 10-xxx Zeiss copies will cover but not at the lower end as per the Zeiss non Optex converted zooms.

Just got drunk with (whats a gathering of projectionists?) with a load of old De Lane Lea projection and film legends, who've seen it all more than once on the xmas do - verdict from the old chaps - video couldnt have been mentioned more - it is what it is

And how lovely and exciting - let's all embrace it - They're only boxes - I've sat with me little plinky plonky push button bleep bloopd boxes - like me old 60s strats worth a gazillion - fk knows why lol No disrespect but me n you were there lol love it's - funny In the end client is king - whatever you amazing guys do shooting - the PM always says "How much" we educate em .... amateur producers killed the budgets sadly for all of us -  but hey its only telly!

For example a friend of mine controlling prob 20 million output per prod and comes from film world and respected - when invited to see the new Canon, and when bearing in mind cost of post which he controls- and very well IMHO after many years - and in his words what do we benefit - said no why ,  there's the target market for me, that day, and is the day to day  broadcast market - and fk me it's open if you ask the directors/producers -they're that are young and funky they're clued and theres a up generation who love's it

I edited my reply as as a partner of a lady that's been around the block since before most of us were even filmng  - lets be real all levels C300 down are seen as shit in reality and it's seen as a camcorder -  if you're trying to compete with the big lads who've edited mixed onlined everything you've seen for 20 years - learn from your peers! We're talking OScars Superbowl Adele blah etc etc all of em wouldn't even entertain C300 canon 5d 7d etc seen as shit - from the front line - aside from pixel pokers etc when the man with the $$ makes the deal - not considered sorry that's the front line - I was part of the team that did with Walter Murch Cold Mountain when he cut it (with his Polaroids) in his kitchen - love him, but this community is what he's about - young new exciting people making great stuff - go out and make shit! DP4/6 Voigtlander/Nikkor blah won't make you better - believe me there's no chin rubbing it's all pub ordering -get out and do it -time is now .

Blah no point lol

Lovely stuff Andrew :) Would you buy this cam over the current GH2 ? I.e. Hobbyist as I know 3 major UK Prod companies who were  invited to buy and use the new C300 cam, who aren't going to include it in their workflow.

edit

And the film was utterly flawed and destroyed post Mr Scotts "release" and the recording of the infamous VO by Mr Ford - however still epic whichever version we all caught first :) Again story and content > how many pixels for me - always!