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Posts posted by IronFilm

  1. 18 hours ago, docmoore said:

    So I am considering the Maxx ... 633 ... or up to the 833.

    Well the 833 is the "best" there is in the world when it comes to small field recorders. 

    "Best" of course needs a note:

    1) "Best" if you don't want to be locked/invested into the Zaxcom system. As an 833 would likely work better if you want to work with a wider range of brands.

    2) "Best" if you're looking for a small field recorder which can effortlessly jump between bag work or a small sound cart, while if you want an exclusively bag recorder (Nova) or exclusively sound cart small field recorder (Aaton Cantar Mini) then you could choose better than an 833. (as while a Nova/Mini can crossover, but not as efficiently as an 833 could). 

  2. 18 hours ago, docmoore said:

    One week and no report?

    Seriously ... how is the new 833?

    Too busy! Haven't even had a day off yet, plus I won't use the 833 on any old job (as we're kinda beta testing it after all....  an early adopter), so need to match it up with the right first project before I go beyond just playing around together with it in my bedroom. 


    18 hours ago, docmoore said:

    And is it that significant of a step up in audio quality from the Maxx

    You don't choose a recorder purely on basis of audio quality, they're all very very good. 
    Otherwise I'd still be using a Sound Devices 552 (or perhaps Zoom F4), why bother changing to anything else?

    18 hours ago, docmoore said:

    My Mixpre 6 II went back this week .... frustration mainly with TC in Resolve 16.1 ... just unable to sync files that I could manually read as same TC. And even though video

    That is unfortunate. Have you reported this to Sound Devices? (& BMD)
    My gut impression is that the MixPre series was kinda a lot more buggy than the Zoom F series, I'd hoped MixPre Gen2 turned that around?

    18 hours ago, docmoore said:

    it was when you turned it off ... it reset to base record settings every time so that you had to go into menus to set something other than 44.1Khz.

    Ah! I think I've heard of this bug on the MixPre series, were you using your MixPre as a USB audio interface?

  3. On 10/5/2019 at 8:16 PM, barefoot_dp said:

    I often wonder if this is why so many advertising/media agencies seem to have names that are either so obscure or so mundane. They know they're going to be involved in a lot of varied projects in a lot of regions so they want to make sure there's no situations where copyright infringement could be involved.

    Weird unusual obscure names are also great for SEO, you're sure to be top of the search results when anybody searches for you!

    On 10/5/2019 at 9:14 PM, barefoot_dp said:

    Niche videographer/small production company: Puns or cultural references relevant to your niche. Eg: Wet Lens Films (surfing, or porn), Pumped Productions (fitness, or porn) Dirt Road Films (travel, or porn), Headbanger Productions (live music, or porn), Pole Position (motorsports, or porn), etc.

    So basically ANY NAME works for Porn? 
    (if your mind is dodgy enough)

  4. On 10/7/2019 at 11:26 AM, newfoundmass said:

    It's not GREAT. But I'm tired of hearing the same claims that Panasonic's auto focus (specifically the GH5) is "awful." Here

    I agree. The AF is very underrated
    Probably because AF is the only minor area left to criticize about the GH5/GH5S! There is nothing else left?


    On 10/7/2019 at 11:26 AM, newfoundmass said:

    I just figured I would share this to show what the GH5 is capable of in a real world, practical situation.

    Love the realism of the acting!

    On 10/7/2019 at 7:15 PM, Vision said:

    Well in my experience with GH5 its not Sony or Canon level of autofocus but! If u dont jump infront of lens like twat it should work perfect i hate seen people comparing Sony to Pana autofocus on youtube they dont talk about 8bit 100mb codec or lack anamorphic  features or waveform scopes or real Cinema 24p mode 

    I agree, people go hard in acting Panasonic's AF but gives all the other brands a free pass it seems on the many features they miss out on vs GH5

  5. On 9/29/2019 at 12:11 AM, kye said:

    At the risk of taking the thread in an unexpected direction, here's my two set-ups from earlier today, pictured in their natural habitat, on a beach towel on my lap in a tour bus, with people around me wondering WTF I was doing taking a photo of two cameras with a third camera (my phone).

    For better context of your full setup, I think you need someone else to take a photo of you taking a photo with your 3rd camera of your other two cameras. 

  6. On 8/6/2019 at 11:41 PM, JurijTurnsek said:

    I am really disappointed that Sony still hasn't produced an RX smartphone like the CM1. Customers are on a longer upgrade cycle, so they could have it as a flagship for a longer period nowadays. Photography enthusiasts basically have no options but to argue about the same few tiny Sony sensors in an ocean of different bodies and different post processing.

    I'd have loved a Sony RX with a 1" sensor and a prime lens such as the CM1 has. 

    (I don't even mind if it was a smartphone or not)

    Would have made for an even more compact and more robust camera than the already small RX100 by putting a prime lens on it. 


  7. 1 hour ago, newfoundmass said:

    Think of it as what you do after you've set your audio gain / levels. 


    1 hour ago, newfoundmass said:

    Autogain and Automix aren't ideal. I'd only recommend using either as a last resort.

    Agreed again. 


    1 hour ago, newfoundmass said:

    When I'm a one man crew and am absolutely unable to monitor multiple audio recorders I'll use autogain unless I know the person knows to speak at a consistent level. 

    This sentence is probably the only point I disagree with you in your entire post. 

    Even if a person's volume is going to be all over the place, it is better to conservatively set your gain (ideally set to dual levels, like can be done in the Zoom F series and most Tascams) and only end up having a small part of your audio ruined than to use AG and get it mostly ruined anyway. 

    The only time I ever ever use AG is when I'm rushed and I just want to quickly set up the scratch mic on a camera, and I know this (the on camera audio) is audio which will never ever ever be used in the final edit. 

  8. 22 hours ago, Martin Matěj said:

    Should I also use auto gain

    Don't ever use auto gain. And like I said, that isn't at all the same as automixing!


    22 hours ago, Martin Matěj said:

    and be ready to change the gain manually for questions from audience because their volume will probably differ a lot.

    Subtitles? ha!

    Or get a handheld mic to pass around the audience. Or have people queue up to ask the questions in front of a mic. 


  9. On 9/28/2019 at 1:57 AM, Martin Matěj said:

    going into Zoom F4 and with it's automix feature just let it change the gain automatically for each speaker

    That's not how automix works, it's not the same as autogain. 

    The fader values are being changed for the mix, but not the trim gain.

    On 9/28/2019 at 1:02 PM, newfoundmass said:

    but I think it's better to let the RODE do the "heavy lifting."

    Depends on the wireless, some are designed to be run at full blast, others are not. 
    Test for yourself and find out! 

  10. 11 hours ago, thebrothersthre3 said:

    Maybe when Arri releases an 8k camera I'll believe that.

    In 2040?

    5 hours ago, kye said:

    8K will be mainstream, just wait long enough.  and after that it will be vintage, then it will be positively pre-historic.

    It will slow down eventually the resolution wars. 

    Just like with audio capture. 

  11. 6 hours ago, mercer said:

    or believe that something as obvious as compressed raw video shouldn't be patentable. I don't know enough about patent law, especially regarding software and how it is integrated into hardware, to say one way or the other.


    Software patents should NOT be patentable, it is one of the core ways the current IP legal framework is completely broken. 






    EFF came around to the idea that, at the least, Congress should commission a study to determine if software patents should exist to begin with. That is not as crazy as it may seem. As the report notes, New Zealand—albeit a country with a comparatively tiny tech community—recently amended its laws to prevent patenting software. And Kamdar adds that patents haven't always been such an integral part of the software world. Microsoft, for one, acquired just five patents in its first 15 years, during which it became a $1 billion company. Today, Microsoft applies for 2,000 to 2,500 patents annually.

    "It's a peer pressure, all-the-cool-kids-are-doing-it system right now," say Kamdar. "As soon as one company starts acquiring patents everyone else thinks they need to for defensive purposes. That puts pressure on the whole system."

    The problem is, unlike with other types of patents, software patents often cover every solution to a certain problem, rather than a specific solution, with a specific implementation. That leads to an abundance of vague, broad patents, so that even when smaller companies do acquire patents, they're unlikely to do them any good against a patent troll. And so, Kamdar says, many of the startups EFF talked to over the course of its research are operating as if patents can't protect them anyway, and forgo them altogether.

    And so, if software patents were to disappear, Kamdar believes not much would change, except that patent trolls would lose their power, and large companies like Apple wouldn't have to keep paying them hundreds of millions of dollars for infringing on decades-old, overly broad patents.


  12. 1 hour ago, newfoundmass said:

    Ultimately one of the things that kinda bums me out about all of this is, RED really did do incredible things. When you take away all the allegations, the premium charged for off the shelf tech, etc. you still have a series of cameras that helped democratize cinema cameras, moving the tech forward while also opening it up to a whole different class of people. Until Blackmagic got into the game RED was the only cinema camera people like my friends and me could afford to work with. And it was awesome!  It's disappointing that it's legacy has changed in many ways. Regardless of the outcome it didn't need to be like this. 

    The Sony PMW-F3/F55/F5/FS700/FS100/AF100/etc and Canon C300/C500 (plus more recent cameras like FS7! And Varicam LT / EVA1 etc) were all affordable cinema cameras people could and did work with. 

    It wasn't all just ARRI ALEXAs exclusively. 

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