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Everything posted by IronFilm

  1. Watch a few video tutorials to learn more. Get the mic in closer, how far away are you? Is the mic on axis? Are there other ambient noises in the room? etc etc (if you can, see if you can get a friend with another DR60Dmk2, or even say an H5/H6, to see if yours sounds similar of it is broken or perhaps you just got a setting wrong) Have you got the Rode WS6? That really is the bare minimum for wind protection, and if the winds are a bit heavier you really do have to get a blimp if you're working a lot outdoors. Cheers for adding your 2c, seems you've got overall the same general opinion as myself. (that modern tech has leaped forward far enough it is debatable if it is worth the hassle to swap to a much older but "better" recorder, as there are other factors to consider too. And also that the Zoom F4, and the F/MixPre series in general, is a really big leap forward for what we can get for low cost) I think it is easy enough to find your way around the menus, but also note that the low cut isn't something you should necessarily need to be fiddling around changing on a regular frequent basis.
  2. Wow! That's a game changer for ultra low priced PL lenses, and about time. Now it might finally make sense to buy one of those crazy cheaply priced URSA Mini PL bodies, or a C500/C300 PL mount body.
  3. If you go back and read my original comment, you can see I wasn't hating upon the Fostex, in fact I even started out by giving it a complement that it was good value piece of kit for its time. But my point I was making was for the OP in particular, specifically that it wasn't worth them going through the effort to swap out their DR60Dmk2 for a FR2LE: "today in 2020, I don't think you can make a solid argument it is worthwhile swapping a DR60Dmk2 for a Fostex FR2LE instead" That doesn't even mean I don't think someone should buy a FR2LE themselves, if they're looking for a cheap sub $100 recorder. (just like I also think the R44 / DR680 / etc still have their place too, although they need to be very well priced to beat out a DR60Dmk2/DR70D, as otherwise it just makes more sense to go for the next step up to a F4/MixPre3) Remember the question is not "should @josdr buy a Fostex FR2LE?" but the question is "should he swap his DR60Dmk2 for a FR2LE?" (and my answer was "I don't think it is worth the hassle", and even answer the same about others such as a DR680/R44/etc which I do respect even more, why sell and rebuy for a marginal gain if that? And especially not if a much better choice is not that much further way: MixPre3 / Zoom F4) People tend to often get narrowly focused on just a single spec measurement, and lose track of the bigger picture. Such as "which has the best limiters" or "which has the quietest preamps", when a few dB here or here won't be a deal breaker for the context of what the OP needs to do. We see the same when discussing cameras too, with sometimes people being obsessed with only just the resolution, or the best AF, or which has the best lowlight etc... to the exclusion of everything else, forgetting the bigger picture. This is like those discussion where people go on and on arguing for why the Sony a7S is so so so much better than a Panasonic GH5 purely on the basis of it being not as noisy, and being better at lowlight. Completely missing the point of why there are all the many reasons why a person would want a Panasonic GH5 in the first place. I didn't want to go into a detailed discussion of the FR2LE, as I didn't think it was worth the time, but here we go. Negatives vs a Tascam DR60Dmk2: 1) can't be camera mounted underneath the camera body, not purpose built for that 2) half the number of audio channels that can be recorded 3) can't be easily powered via any USB powerbank you happen to have at hand 4) uses CF cards (and with the Fostek's very old age, you're limited to smaller sized cards too) 5) you'll run a greater risk of failure by choosing the FR2LE due to its very old age vs a new (or at least "young") DR60Dmk2 (I do admit, perhaps my opinion of the FR2LE is slightly colored due to the only time I came across a FR2LE was a few years ago when it died on set!!! Luckily there was a Zoom H6 available someone had happened to bring along. Side note: this wasn't me! I wouldn't have brought a FR2LE to set, I was instead the AC on this short film, the last time I was ever a 1st AC! As I'm too focused on sound now) 6) no dual recording feature for safety with the FR2LE (quite a major negative in my eyes, as this is a very handy feature on the DR60Dmk2 for any newbie recordist) Can you see why for the OP's specific situation I don't think the FR2LE is worth the hassle to change over from a DR60Dmk2? From where I'm sitting it looks like one step forward, two steps back, if I'm being generous. Perhaps from another vantage point you could very generously say it is instead two steps forward, one step back??? Still, not exactly a highly compelling argument to go through the hassle of swapping out from his existing DR60Dmk2???
  4. From my perspective as a production sound mixer (note: my perspective isn't the same as everyone else! For instance in my eyes the F4 is clearly massively preferable to the MixPre3mk1, while for a solo OMB videographer they'd want the MixPre instead): No. Wind should be almost next to meaningless for your recorder itself. So the issue is your mic, so get proper wind protection. Do you have a blimp? What exactly is the setup you're recording usually?
  5. I refuse to acknowledge that the so called Zoom "F1" is part of the excellently awesome Zoom F Series. Doesn't. Exist. To. Me. Perhaps the Shure VP83F LensHopper fits your purpose better for a "camera mounted recorder/mic combo"? https://www.bhphotovideo.com/c/product/966010-REG/shure_vp83f_condenser_shotgun_mic.html The main "big" changes with Gen1 vs Gen2 of the MixPre recorders are: 1) internal timecode 2) Gen2 got a price drop 3) backs up to a USB thumbdrive (but this isn't true redundancy) 4) 32bit recording (which is overhyped in my opinion) The Fostex FR2LE falls into the same category as for instance the Roland R44 I mentioned earlier. In that, for its time (which was well over a decade ago!!) the Fostex FR2LE was an attractive kit for someone on a tight budget, because it could hold up to prosumer standards and thus for the low price of roughly around about £400inc it proved good value for money. But today in 2020, I don't think you can make a solid argument it is worthwhile swapping a DR60Dmk2 for a Fostex FR2LE instead, even though they sell for similar prices eBay.
  6. Yes, unless you can get lucky and score a MixPre3 for cheap. (and don't mind dropping down your number of max channels from four with the DR60D to three with the MixPre3)
  7. Your NTG2 isn't exactly a quiet microphone. Plus usually it is a person's technique more than their gear which makes the result unbearably noisy. For an example of awful technique, I experienced that first hand yesterday! Was cycling around town, and got interviewed by an agency crew out doing voxpops for their client's campaign. Was a very small "crew" of 3: The person doing the interviewing A person handholding a Sony a7 series camera (with a rodelink on it, I assume the interviewer was wearing the transmitter) A 3rd person, who was holding a Zoom H6 *(and NOTHING ELSE! Yes, just the H6 by itself! wtf) So was interviewed by them, and I couldn't but help ask him "would you like me to hold that for you?" Because he was holding it soooooo faaaaaaaar AWAY If you're not going to swing a boom, or use a stick mic, at least hold the H6 in closer! I really had to restrain myself yesterday Like when he was saying "it's very directional, works great!" BUT IT IS A HANDHELD ZOOM!! With an XY capsule on it!!!! arrrggghhh Not to mention, HOW. FAR. AWAY. he was standing from me It wasn't even like he was trying to reach out with his arm to get closer or anything, he was just holding the Zoom H6 by his side For half a second I was tempted to take pity on them, go back home to grab a length of XLR cable and a shotgun or a reporter's mic so they could use that today instead. But meh, I was running behind on some deliveries yesterday so had to go do those asap It wasn't like we were standing next to a water fountain while interviewing me or anything like that Oh hang on THAT WAS EXACTLY WHAT WE WERE DOING (next to the waterfountain/waterfall in the park behind the Cathedral downtown)
  8. IronFilm


    "Mike Russell" 😉 Or "Justin Frame"
  9. Zoom F4 I think it is a bit pointless getting anything else below that, especially when you already have the Tascam DR60Dmk2. As the Zoom F series (and the MixPre series too) offers so so so much value for money, they're leaps and bounds above anything else. (to give a camera analogy, would you bother with a GH5/a7S/5Dmk4 if an EVA1/FS7/UMP cost only a couple of hundred of bucks extra? Most commercial shooters would say "nope!" That's the case with the Zoom F series, they've brought features/specs/quality that used to be far more expensive, down to very very low and affordable prices. Why settle for anything less?) The other issue, is that when you look in the world of non-F/MixPre series recorders and exclude them from consideration for a moment, then the Tascam DR60Dmk2 is damn good value itself in the "no budget" category. Sure, you could look around for something like a secondhand Tascam DR70D / Tascam DR680mk1 / Roland R44 / etc that could be found for only a little bit more money than a DR60Dmk2 but less than a Zoom F4 costs. However all of those other options merely give you extra channels over the DR60D, plus perhaps an extra little tweak or two, here or there, of benefits. But nothing at all which is a real step forward in features/specs/quality over your DR60Dmk2. So unless you DESPERATELY need "more channels" but can't afford a Zoom F4 (hint: you don't need more channels, not at this budget level), then I don't see why you should do anything else but stick with your Tascam DR60Dmk2 for longer into the future until you can afford a Zoom F series (or a MixPre series).
  10. I'd say in the past, back in the pre-DSLR decades (say in the 1970's), that if you could simply get consistently a well exposed, and in focus image, then you could make a living from that. As that wasn't so easy to do. But in 2020 that alone isn't sufficient.
  11. Same feeling here. Often it can be quite "relative", depending on the context. If I'm doing a no-budget short film with a couple of mates, then sure I can call myself on that set a "DoP" if that is what role I'm doing. But if I'm on a professional set, being paid my full day rate for what I usually do as a sound mixer, then I'd be mad to refer to myself there also as a "DoP" when around actually properly seriously experienced people!! As I'd be way out of my depth. (however, it isn't too much of a stretch to call myself a "sound mixer" though! As that I can justify) Depends on what you mean by "easier". For example, back in the pre-DSLR world, if someone simply owned a broadcast camera (such as a new Sony HDW-750) then they could get a fairly steady stream of work due to simply owning that camera. As you'd be a rarity! These days owning a Panasonic GH5 (or even a Sony FS7) is pretty meaningless, as dozens other people also have the same gear too. So in one sense of the word, it was easier to "buy your way into the industry" than it is today? That's true too. Back in day it took a certain level of minimal technical competency to get a good image with a analogue camera, so if you had that skill that often might be sufficient to get your work (might be just basic run of the mill, bread & butter, work. But, it was still work!). Of course that isn't applicable now, a higher standard is expected! Bingo! Is annoying enough just having a boom op under you who isn't living up to your expectation as a Mixer for what you want from him! But being a director, and being disappointed by the entire crew (and cast!) because they're not living up to the high expectations you've got in your mind? That's a stressful day! Deciding to focus on the Sound Department and specialize, was one of my best decisions ever.
  12. IronFilm

    RED Komodo

    I bet RED could sell a camera with nothing but a price tag! Without a single spec released, and they'd still find RED fanboys who want the honor to be first in line to buy one Waiting for the RED Scarlet MX bodies to be given away for free on eBay. We're almost there.
  13. Please don't say that to the President.
  14. 2012 was 4yrs after the first HDSLR was launched. So by then the concept of "DSLR filmmaking" was already firmly entrenched in the indie mindset. Imagine if the BMCC had launched well before the Nikon D90! Plus the BMCC EF was just the first generation of cheap cinema alternatives to HDSLRs. Currently the BMPCC / Z Cam E1 / Terra 4K are not the latest we have now, but they're still much more evolved than the BMCC EF was at launch and are cheaper and/or better than the BMCC EF was when announced. I think the path of indie/corporate/wedding filmmakers would have taken a very different route if we'd had access to what is currently the BMPCC / Z Cam E1 / Terra 4K (let alone the more advanced models we've got in 2020!) prior to even the Nikon D90 / Panasonic GH1 / Canon T2i / 5Dmk2 arriving.
  15. Wedding videographers are not just underpaid for the work they do, but there is less demand for them too! For every wedding with a photographer, only some will have a wedding videographer too. Yet how many weddings with a videographer don't have a photographer? Practically none would ever dream of doing it the other way round!
  16. I think the entire reason why people got into using Canon DSLRs (and Panasonic GH series, and Sony NEX, etc) for low budget filmmaking is because they were extremely affordable. Not because they could do stills too. If we'd had even just merely an OG BMPCC / Z Cam E1 / Terra 4K back in 2008/2009 then I expect very few people would have purchased the likes of a GH1/T2i/NEX-5/etc specifically to film with. Of course now we're spoiled with many more advancements: P6K / E2 series / Mavo / etc
  17. Could use a price limit as the definition to be included or not? Instead of if it is or isn't a hybrid camera. Could even have two categories, such as: sub $5K (so would include the likes of a Z Cam E2-F6 alongside the Panasonic S1H) and sub $2K (E2 M4 vs P4K vs GH5 vs S1 vs Z6 etc)
  18. Kinefinity does seem to be an outlier now, of course compared to the "big boys" (ARRI / RED / etc) then Kinefinity is priced very competitively! But against Blackmagic? (and now, Z Cam too) Then Kinefinity feels kinda "overpriced" In the past, I felt Kinefinity meshed in well "in between cycles" vs Blackmagic. In that they'd trade blows back and forth. Each time Blackmagic or Kinefinity released a camera, they'd seem to be offering a much more appealing option than the competition. Until the next round of cameras came out.... and they'd swap places again. Exactly. The multitude of options Z Cam offers is a good thing, you can choose whatever codec matches your needs best.
  19. Go dual system! You could skip the cage, and just use your own phone as a screen. (or a cheap sub $200 monitor. Many people use an external monitor with their BMPCC4K anyway) They are going hard in making sure there are lots of accessories too!
  20. I guess technically not completely 100% price drops across the board, E2C seems to be excluded and is remaining the same.
  21. LT & LMb is this, it is Lectrosonics' newest "affordable" wideband options for transmitters: https://www.bhphotovideo.com/c/product/1048161-REG/lectrosonics_lt_b1_belt_pack_transmitter_b1.html https://www.bhphotovideo.com/c/product/1048158-REG/lectrosonics_lmb_b1_lmb_belt_pack_transmit.html (although I got them in band C1, which is now illegal in the USA but still great for NZ!) I just today happened to break my two month long drought of NOT buying any new gear from overseas (as with COVID-19 turning the economy upside down, I'm trying to be more careful). Got myself a Lectrosonics UCR411 blk25 for a great price on eBay! https://www.bhphotovideo.com/c/product/326898-REG/Lectrosonics_UCR411A_21_UCR411A_Wireless_Receiver.html Yeah, they're getting kinda "old" now, but they're still the best narrow band single channel receiver that Lectrosonics ever made.
  22. ha! Of course, I probably read it here on EOSHD: (quite likely I read it elsewhere too, others have also said they share the same sensor)
  23. Just rating it differently I think? I'm pretty sure they're all using the "same" sensor (Sony IMX294), along with the Terra 4K too. Trying to dig up now where I read that.
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