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Everything posted by IronFilm

  1. 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. Hope so! But might be a long wait? Or it might not be. Let's see what happens with the Zoom F10
  2. There are a few different post tools which people can do during the edit for noise reduction. The main two "industry standards" for years have been CEDAR and iZotope. (I've got a Cedar DNS-2 myself)
  3. 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: https://www.provideocoalition.com/unreal-engine-5-photorealism-on-par-with-movie-cg-and-real-life/
  4. His last update was "Part 6" from last year: 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!
  5. Yes. I've got some mixed feelings about this. My Cedar DNS-2 might have just dropped in half with its resale value! Hmmm...... Of course. That still applies! Noise Reduction is never totally perfect, even in the examples Sound Devices gave you can hear issues with artifacts. 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???? Yes, their other products don't have the raw power (3x FPGAs) to do this.
  6. 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!
  7. IronFilm

    RED Komodo

    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!!)
  8. 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.
  9. I thought this was an insightful look into what one of the YouTubers I follow earns: https://www.cnbc.com/2019/11/21/how-graham-stephan-lives-in-los-angeles-on-1point6-million-a-year.html
  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). 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! http://www.rokkorfiles.com/60-120mm.htm It is a pity that the flagship GH series no longer costs $700, instead it was released at 3x that price! Yes, please spend more on audio than on new camera bodies 😉
  11. Yeah I'm buying stuff on eBay all the time, the bulk of my filmmaking gear comes from eBay! My most recent purchases from eBay was a Lectrosonics LT and LMb
  12. https://medium.com/swlh/prepare-for-the-death-rebirth-of-hollywood-f3853aacbee0 Good point that for the near future the opportunity is for the sub $500K Features
  13. IronFilm

    Fuji X-T4

    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!
  14. 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. https://www.sportsvideo.org/2020/05/12/shure-and-q5x-join-forces-for-a-wireless-transmitter-that-goes-anywhere/
  15. 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?
  16. Can you post a sample please?
  17. 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.
  18. 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!
  19. Don't think I've ever recently seen a product for the sound department get leaked so much before the manufacturer even says anything officially about it, there has been lots of chatter already about the Wisycom MCR54 on social media! As this a major new announcement, the first time ever that four channels of wireless has been squeezed into a SuperSlot receiver. (true diversity too, that's eight receiver boards crammed into there!! And all that only uses at max 2.5W) The pricing is cheaper than expected: https://www.raycom.co.uk/product/wisycom-mcr54-four-channel-slot-in-receiver/ £2,880.00 inc VAT (£2,400.00 exc VAT) Maaaybe this means it will come in just slightly under US$3K in the USA? https://www.raycom.co.uk/product/wisycom-mcr54-quad-4-channel-rx-with-4-x-tx-and-base/ £6,360.00 inc VAT (£5,300.00 exc VAT) for a kit.
  20. The D5200 isn't that bad for making pretty pictures, the D5200 (and successors) would be one of the best 1080 Super35 DSLRs? (note my precise specifics... narrowing the niche down) Andrew Reid has spoken about the D5200 a few times, was a big factor as to why I purchased one myself: https://www.eoshd.com/review/nikon-d5200-review/ https://www.eoshd.com/news/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ https://www.eoshd.com/news/nikon-d5200-vs-canon-5d-mark-iii/ Tell them to clap twice at the start of each take. Then autosync by waveforms in post. They're bad. They're both underpowered anaemic 2.4GHz systems. (although this would be sufficient for some purposes, such as vloggers who are never more than an arm length's away from their cameras) And that's just for starters, the Wireless GO for instance lacks a locking connector for the lav! A major negative. It is all relative though, compared to the new prices for the usual run of the mill professional wireless in usage then the prosumer Sony wireless is a screaming good deal at a mere fraction of their price.
  21. It doesn't just have a TC input, it has a TC output too! (unlike many other cameras which have a toggle switch for in/out, and one BNC connector is shared for all TC) Has Genlock too!
  22. The one that is closest to the speaker's mouth
  23. I wouldn't settle for anything less than a secondhand Sony UWP-D11 (or a Sennheiser G3, which is the same price pretty much secondhand, although in my opinion Sony is superior). There is also their newer models: Sony UWP-D21 and Sennheiser G4 (although, in my opinion the G4 isn't worth the extra value over the older cheaper G3 because the G4 isn't an update of note at all for their entry level). There is also the Deity Connect Wireless to consider, which provides better value on a per channel basis. From memory, didn't the D5200 have a somewhat hissy mic preamp? You might want to pick up a Tascam DR60Dmk2 as well. (or even better, a MixPre3mk2 if you can)
  24. They've got a few other things going on than just DSLRs: https://www.nikon.com/about/corporate/businesses/
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