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Posts posted by IronFilm

  1. 16 hours ago, BTM_Pix said:

    The beauty of this though is that because this combo is £12K you can lust all you want over the next combo but you'll be too skint to afford it ;)

    A sub 3x zoom doesn't bother me though to be honest.

    None of the high end zooms I used for work (14-24,24-70,70-200,120-300,200-400 and 300-800) are 3x or above and I could live with this as I did with them as a "this lens plus one prime" kit with the additional one being a wide or long some distance focal length wise from the range that the zoom covered.

    Its obviously not going to cut it range wise as an ENG lens of course but then, to be fair, neither is the camera its going to be mounted to.

    True, although 24-70 and 70-200 are very close to 3x!
    (and there are lenses which are basically kinda the equivalent, and do match that 3x zoom exactly: such as the newly announced Tokina 25-75mm, or the Tamron 70-210mm)

    Short zoom ranges are less of a problem for photographers, it isn't unusual to see a news/wedding/event photographer with two camera bodies slung from their body, each body with a different lens on it. 

    Yet to see anybody running around carrying 2x EVA1/FS7/C300/whatever bodies at once!

    I went to go look up what dream "all purpose" zoom lens would I get instead of a Fujifilm GF 45-100mm f/4, but wow... I had to look up its price first! (so I'd pick a lens with a matching price)

    For a brand new medium format lens, $2.3K is surprisingly "cheap"! :-o Wasn't expecting it to be that "affordable". (as that is the other problem with medium format, not only are their bodies expensive, but so is their glass! Body prices are coming down, wonder how long until digital medium format is cheap enough for Sigma or one of the chinese third parties to jump in and make 3rd Party AF medium format lenses on the cheap?)

    Guess that rules out me mentioning even the "cheap" Canon 18-80mm T4.4 instead as my desirable lens! Even the cheap Fujinon MK18-55mm T2.9 is a bit out of range. There is a dearth of choices of 3x+ cinema zooms cheaper than that Fujifilm GF lens! The DZOFilm DZO 20-70mm T2.9 I suppose. 

  2. Quote

    The 25-75 cinema lens matched the mechanical and optical properties of the popular Tokina Cinema 50-135mm T2.9 MKII and 11- 20mm T2.9 zoom lenses. The quality matching throughout the zoom lens line-up includes a parfocal design to maintain focus while zooming, limited focus breathing, and low distortion.

    The addition of the 25-75mm completes a 3-lens set of cinema zooms covering 11mm super-wide angles to 135mm telephoto at a price of less than $12,000 for all three lenses which is incredibly competitive for a cinema lens line-up

    The suggested retail price for the 25-75mm T2.9 is $5799 and will ship in Spring 2021. All lenses in the series feature an interchangeable mount between PL, EF, Sony E, MFT, and Nikon F mounts.



    A nice setup with the 11-20 / 25-75 / 50-135 all T2.9, you could shoot almost anything with this. 

    It is a pity the 25-75 is "S35+", as I'd rather they dropped the "+" and made an 18-75 S35 lens. Would be nice to have that small overlap with the 11-20 instead of leaving a gap. Or have made the 25-75 have FF coverage. 


  3. 1 hour ago, Kisaha said:

    Also, they will loose loyal older customers - but die hard professionals, that spend the big money, I can see people to move to Zaxcom and Sonosax and the such..You know these older sound mixers like some kind of exclusivity on their brands.

    Sonosax is super niche, they're the 4th ranked player, even if they doubled their sales they wouldn't be making much of an impact on Sound Devices. 

    What seems to be happening is a fair sized chunk of the market (let's call them the "633 / ENG Mixers") are going for Zaxcom Nova over the 833. 

    While those at the higher end are leaking to the Aaton Cantar X3, rather than a Sound Devices Scorpio (I wonder if the Sound Devices CL-16 will reverse the trend?).

    Anyway, that's just the general gut feeling I get for the trend based on the chatter I see online from what people are using and are interested in. 

    1 hour ago, Kisaha said:

    I hope the next step is Zoom offering something similar for free, like they did with their Automix function!

    Hope so! But might be a long wait? Or it might not be. Let's see what happens with the Zoom F10

  4. StudioFest is having a series "Demystified" where they're going to do a deep dive into the whole filmmaking process for a feature film, including such areas as financing/distribution/casting "name actors"/etc:



    And while on the topic of indie films, I reckon the new Unreal Engine 5 is going to be a game changer for Indie Films on a shoestring budget:



  5. His last update was "Part 6" from last year:


    On 9/15/2019 at 4:41 PM, barefoot_dp said:

    I don't see what's interesting about it? I mean, good on him for chasing his dreams but It's just the same as any of the countless independent studios in every city.

    Only a few are showing the behind the scenes though of the process getting up and running (Alex Proyas isn't a total random no name indie director, but has a track record behind him).  Kinda wish he'd done more BTS YT videos!

  6. 1 hour ago, Kisaha said:

    Interesting. You also have Cedar though.

    Yes. I've got some mixed feelings about this. 

    My Cedar DNS-2 might have just dropped in half with its resale value! Hmmm......

    1 hour ago, Kisaha said:

    even though in real life I would be just turn off anything that makes noise.

    Of course. That still applies! 
    Noise Reduction is never totally perfect, even in the examples Sound Devices gave you can hear issues with artifacts. 

    1 hour ago, Kisaha said:

    Are you going to buy it?

    Not right now. At US$600 (for its "introductory price" too!!) this is waaaaaaay overpriced. 

    They're setting a record here in charging for a firmware update / plugin / whatchamacallit. (yes, even beating out Aaton by a nose)

    Which I feel is worthwhile highlighting, as it signals a radical change in business strategy by Sound Devices. (although, like I said, perhaps not a total surprise after all, as their MixPre series could've been a clue)

    As in the past you'd buy a recorder (such as say a Sound Devices 688) and over the years of its life cycle, Sound Devices would keep their product relevant and keep the sales up (and also build up a loyal fanbase of their existing customers, who thus serve as great marketing tool to promote the product) by releasing new cool updates / bonuses / accessories to it.

    Other companies would approach it with a different business strategy, for instance Tascam would go with the strategy of slashing the price of its products later on their life cycle. (look at how much cheaper the Tascam HS-P82 was at launch vs at the end when they discontinued it, or at the opposite extreme the Tascam DR60D at launch vs on sale)

    So it seems Sound Devices has shifted to a new strategy, in which they sell us hardware as the gateway drug to then keep on upselling us with new software purchases being offered.

    With hindsight, if I'd known that a Sound Devices 833 is buying into an ecosystem with a series of $600 paid firmware updates, then I'm not sure if an 833 would've made as much sense at all.

    Something to be aware of if anybody is considering buying into Sound Devices, it seems the Sound Devices of the future is no longer the Sound Devices of the past.

    As one other sound mixer said in response to this news: "I just feel like they've opened pandora's box. I'm disappointed"

    Where will it end, are we going to get charged for 32bits? Charged for ambisonics? Charged to unlock all the features with the new SL-2? Did we dodge a bullet that the EQ firmware update wasn't instead a paid plugin?? Etc etc etc.... heck, by the end of its 5 year life cycle are we going to have ended up spending more on firmware upgrades than on the recorder itself????


    1 hour ago, Kisaha said:

    Is it only for the 8 series?

    Yes, their other products don't have the raw power (3x FPGAs) to do this. 

  7. 4 hours ago, Emanuel said:

    I'd rather know who we're talking to. In the reality, anonymous IDs have no place there. Why here? Especially with a frequent and valuable user like you? Without mention the lack of reciprocity I invariably tend to avoid as much as possible.

    I don't mind if @Kisaha posts somewhat kinda anonymously, not everyone wants all their info to always be publically online.

    However.....  if he starts putting up for sale a SLR Magic Rangefinder, then I'll become very suspicious about his level of anonymity and demand he reveals himself! 

  8. 2 hours ago, majoraxis said:

    I am more of a 3k for $3k guy anyway... So the future for me is probably 6k for $2k, if and when there is a m4/3 mount version or higher end version with swappable lens mount.

    I don't understand why people keep on being so short sighted in offering EF Mount cinema cameras without options for other (shallower!) mounts...  Blackmagic, and even Panasonic!! (who have their own MFT Mount that they should be pushing and promoting!!)

  9. 1 hour ago, OliKMIA said:

    Plus Autel has always been very "influenced" by DJI designed (Phantom vs Xstar) and DJI may also start an IP / Patent / copyright war against Autel.

    That is another big reason why companies get patents, so they can hopefully get the "mutually assured destruction" defense against any patent attacks from their competitors. Because they know if they attack, they'll get attacked right back themselves, and their vampire lawyers would destroy them both if they were to launch court cases at each other back and forth. Thus, peace is instead preferable. 

  10. That camera shoot out was one of the factors which pushed me towards buying the Panasonic GH1 (because I was too broke as a film school student to buy the new GH2). 


    8 hours ago, noone said:

    Great idea but I just spent my last "spare*" money on a new flash and an old 60-120 2.8 lens a few hours before.

    Is that the Tokina? Interesting, I hadn't heard of it before, the 60-120mm focal range is an unusual one for a f2.8 zoom!



    22 hours ago, Andrew Reid said:

     Passion, hunger, creativity and a $700 camera.

    It is a pity that the flagship GH series no longer costs $700, instead it was released at 3x that price!

    4 hours ago, MurtlandPhoto said:

    Thus emphasizing that the other aspects of filmmaking like lighting, audio, blocking, and story are things to focus on.

    Yes, please spend more on audio than on new camera bodies 😉

  11. Quote

    "The biggest is insurance. When you are spending hundreds of thousands a day, you can’t afford to have actors, directors, and heads of departments get sick. Forget dying, a virus that spreads quickly among a group of people working closely together can cause millions of dollars worth of damage in delays. Filmmakers (indie or studios) can’t afford that. And now that insurance companies can put a Coronavirus type situation into their model, they are going to want to exclude it from payouts wherever possible. Movies under $500,000 with actors who are willing to take the risk to bolster their career will be the most produced content over the next few months. That’s providing, of course, that these often independently financed movies can find backers who haven’t closed up their purse strings to speculative investments in fear of a lasting recession. The problem with these movies is that nobody earns any money on them — but the hope is that it gives rise to interesting voices and new ways of filming that can be adopted by the broader industry. And for those that do get made, streamers, networks, and distributors, will snatch them up due to a lack of supply."


    Good point that for the near future the opportunity is for the sub $500K Features

  12. 21 hours ago, BTM_Pix said:

    They could probably just send someone they know and trust over on a bike to get it.

    It is not unheard of for guys on bicycles to be carrying around a check for tens or even hundreds of thousands of dollars / pounds (or heck, even millions!).

    That's the beauty of modern day money, it can be practically weightless!

  13. Bit different topic to Wisycom, but still stay relevant to the general topic of "professional wireless" so thought I'd post it here rather than making a new thread. 

    As WOW! This seems like an unprecedented move for two wireless companies to collaborate, each using their own strengths to bring us something great.

    This is it. Like Microsoft entering in after years of Sega, Nintendo, and Sony going at it.



  14. On 5/9/2020 at 2:34 PM, newfoundmass said:

    Honestly if they're going to be inside and won't be any further than say 100 feet from the camera something like the Sokani Tiny/FotoWelt Air will be fine.

    I personally would be extremely skeptical about them being able to consistently get 100ft indoors, what if there is a wall or two between the actor and the receiver? What if there are multiple actors/extras between the TX and RX? What about other RF pollution on set from the camera/lighting departments?

  15. 11 hours ago, Snowfun said:

    I have the choice of:

    Rode lav (XLR - mini XLR - P4K)

    Rode Videomic Pro+ (3.5mm into P4k with +20 gain on)

    Rode NT1 (XLR) (Got this with Rode AI1 usb box)

    When I plug the videomic into the ATEM I get a lot of hiss. The videomic into P4k (and then into ATEM) seems to work (no one has reported otherwise but everyone I am involved with is using laptop built-in mics and accepting what they have so not the most discerning audience!)
    Ideas appreciated! 

    Would the lav into the P4k be a better solution than the Videomic?  

    What are you shooting? Just a simple straight to camera talking head, a single person? With switching to say a 2nd camera angle and an overhead product shot?

    If it is ok to have a mic in frame, then use the NT1 into the P4K (if it is cleaner than the ATEM? Which sounds like is maybe the case? You'll have to test).

    Next best option is the Rode VideoMic Pro+ just an half inch above the edge of frame (if your shot is too wide, you might be able to cut out the mic even though you're live streaming?).

    Otherwise, if your shot is wiiiiiiiiide (and the mic can't be removed out of shot) and/or your speaker sways around too much in his set rather than being still, use the lav.

  16. 1 hour ago, newfoundmass said:

    What will they be used for? And how often? 

    Iron Film will kill me but if it's for really basic use look into something like the Sokani Tiny/FotoWelt Air (they're the same.) It doesn't make a ton of sense to spend hundreds on a wireless system that will not be used very often / will only be used in a small area.

    It's ok, I won't kill you :-)

    As how/why you'll use anything is an important question to ask. 

    Back in my first comment I said:
    "(although this would be sufficient for some purposes, such as vloggers who are never more than an arm length's away from their cameras)"

    Yes, even Rode Wireless GO etc have their place!

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