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I'm curious about how those new limiters sound compared to Sound Devices limiters.

Check out the size of that chip on his shoulder. What is that 88 megapixel?

The backyard test (paling fence in full shade, blue sky, fluffy clouds) sorts the actual from the aspirational dynamic range. BM marketed the BMMCC as 13 stops. I tested the BMMCC raw against the 5D Mk3 raw (11.7 stops) and the 5D had more latitude in the grade. Good write up on dynamic range vs latitude: http://www.xdcam-user.com/2013/11/whats-the-difference-between-latitude-and-dynamic-range/

I've been thinking it may be good for recording ambience for surround encoding. Pretty much Sound Devices probably wasn't expecting Zoom to catch up to them. The headphone control knob I can live with. The 3.5mm jack bothers me, they're not robust.

Yeah. I'm shooting a short in August so I might go the Mixpre-6 with the NT-SF1 coming out soon. The F4 is cheaper but it's twice the weight and about 50% bigger. I tend to write scripts that call for a lot of remote filming so size matters. If I was going to get a Zoom it would definitely be the F8n. TBH I'm not really loving any of the current smallish options. The 1/8" headphone jack and side volume control on the Mixpre3/6 sux. A big step backwards from the MixPre-D. Does the F4 have a better headphone amp than the F8?

I've been thinking about it and I've decided to go with a Mixpre-3 for my solo missions. Anytime I want to record more than 3 channels is when I'm going be paying a sound recordist to do it me thinks. Besides being the right tool for my narrative work, I may have a few overseas gigs on soon and I like to travel super light. Selling my Mixpre-D and Juicedlink will cover the cost of the Mixpre-3, always good when you're a starving artist. I'm keeping the PCM D50 for ambient recording. Eventually I'll get an NT-FS1 and a suitable recorder. I imagine Zoom have an F4n in the pipeline, but it's likely to be too big and heavy for my needs.

@IronFilm Loose knobs are of an issue for me than girth. And I concur: don't grab your knobs during a take boys, it can be very embarrassing. I've been planning on upgrading to a Mixpre6, I've got a MixpreD/Sony PCM D50 combo ATM. 4 balanced inputs is OK, but 5 would be ideal for me. I'm gonna have a closer look at the F8n, look-ahead limiters sound cool.

LOL. Well if it sux, just send $1200 to Western Union in Cairo.

I'm selling my barely used smallHD 501 if you're interested. My eyesight isn't what it used to be so I've gone back to using my AC7.

Gareth Edwards http://filmlondon.org.uk/news/2011/april/gareth_edwards_on_sci-fi_london https://www.mangauk.com/gareth-edwards-from-factory-farm-to-godzilla/

LOL

The D90 was my first V-DSLR. It has a very cool lo-fi look, the heavily compressed M-JPEG makes the colors bleed and creates an interesting look. The rolling shutter is hideous, but I soon discovered you can use a tripod with a center post to get a pseudo steadicam effect by opening the legs and holding it by the center post.

D750, pfft. The D90 is the shizzit.

@Andrew Reid I think you're missing the point. The key issue isn't whether or not your tools are any good, it's: "It is designed to fix common audio issues with internal stereo mics on DSLR and mirrorless cameras". Filmmakers and videographers should NEVER EVER record sound with internal mics. Decent external mics are very affordable these days. An easy hack (when you don't have the budget to boom) is to hang a mic off the end of your rig, I got a few lengths of aluminum underwater lighting arms for this. Alternatively solo operators can hire/buy radio mics.

You have to understand there's sound pros with 20+ years experience on here. Listening to a noisy intro video spruiking (among others) a denoising preset doesn't inspire much confidence. If you have confidence in your product you should A) put the engineer's name to it, and B) get a film sound professional to review it.

Just a bit too subtle me thinks. If you have a look at a similarly lit scene in a film on your imac, you might get an idea of how much the calibration is off and then you can compensate for it a bit. When you don't have access to a calibrated screen it's best to view it on as many screens as possible to make sure it's going to look ok. I tried to grade a short on one of those glossy screen imacs and it ended up too low contrasty and undersaturated. Remember if it ends up playing at festivals it's gonna be projected, and you wanna be sure the audience can see something.

The Keeping Room

If Canon just plays catch up (as I suspect they will) they're not going to win back any Sony, Panasonic or Blackmagic shooters. DPAF is good, but it's not everything. I haven't shot anything with an 8bit codec in years, and nothing else Canon puts in a camera would make me wanna go back to 2012. If Canon goes with Canon raw or ProRes raw, then it could be interesting, but they won't.

I'm looking at them on a properly calibrated screen, the top shot is very dark and low contrast. The 2nd exposure is better, but it could do with some tweaking. @kaylee there doesn't seem to be too much noise there. You can send me a DNG of each if you like and I'll have a play around with them. Here's a good example of a night interior, it's dark, but there's a lot of detail there.

#1 The 5D MkIII can record until the card fills up as long as the data rate doesn't exceed the maximum write speed of the card. It tops out at around 90MB/s, fast enough for 1080p 24p 14bit uncompressed. #2 Resolutions above 1080p are cropped and have a higher data rate making compression or lower than 14bit recording necessary. #3 The 70D ML firmware is in development, I haven't been following the development closely so I can't say how usable it is. There's a 70D thread on the ML forum you can check out.

Either get your exposure dead on or overexpose a bit. If you're shooting in bright light at 100 ISO you can get away with a bit of underexposure but at 3200 ISO I wouldn't recommend it.

Fixed pattern noise.

Thanks. Yeah, bottom one is the Leica-R 35/2 and the top one is either the 135/2.8 or the 90/2. Practicals are great, I modded those Tilley lamps myself with 4000k LED strip lights and 12v batteries concealed in the oil tanks. Most important thing with cameras is knowing their limitations and how to work around them, with the 5D it's underexposure and FPN. With only around 10 stops to play with at high ISOs, some blown highlights are better than unusable noisy footage. I've tested a bunch of other cameras like the A7s and the BMMCC, but I always come back to Magic Lantern because matched with the 5D MK3 sensor, it's killer. Thanks. I had to bust my arse to get that shit right. And they're just tests, I've still gotta go back and shoot the damn scene.

ETTR? LOL That was pre raw bro, It's all H264. I lit that room with a single overhead 20w LED. I can't remember the ISO but it was high (for H264) probably 1250, maybe even a bit higher. I shot it as hot as I could to keep the noise down, so yeah I did ETTR. There was some overexposure on the skin, but it graded really well. There's no denoising, but I did add some grain and crushed the blacks as hard as I could. I shot it with my Leica-Rs, mostly the 35mm f/2 Shooting raw, shadow noise isn't usually a problem when you ETTR up to 3200 ISO. For example: