IronFilm

Classic Canon!

Oh for sure, if sound wasn't my #1 focus then certainly I'd still be rocking the DR680! It is pretty decent. Heck, I'd probably *STILL* be using it if the F series (or MixPre) didn't exist. What do you do for powering with the DR680? After the F8n comes out I don't expect we'll see anything exciting at the $1K ish price point for a while. (SD won't do it, Zaxcom/Aaton/Sonosax I expect won't do anything. And probably Roland/Tascam will stay MIA, and likely we won't get any brand new players such as BMD or AJA or something completely random) I really need to get some hands on experience myself with a 633, as my owning of a 552 and the reviews I see of the 633 make me doubt if the upgrade to the 633 from a F4 is really worth the ROI and if perhaps I should just wait it out for the next big release of a over $2K+ recorder.

NEVER!! Not until they enable HEVC in the BMPCC4K

Errr.... you're bringing this up in a discussion about the Rode NT-SF1??? That isn't what this mic is primarily about. (although the NFS video could be a bit deceptive about that) The entire purpose of this mic is to capture sounds in ALL DIRECTIONS

On a personal level, this (or the F8n) might be the most exciting development! (the first sub $1K ambisonic mic) A few more videos: https://www.newsshooter.com/2018/04/11/first-look-at-the-rode-soundfield-nt-sf1/

https://www.newsshooter.com/2018/04/12/lectrosonics-updates-the-sm-wideband-transmitters-smqv-and-smv-with-on-board-recording-capability/

If you give half a sh*t about the footage I'd usually do at least ProRes LT, and I do that quite often when I know it is just for social media and the "editor" won't be doing much editing at all with it and yet would appreciate the smaller file sizes.

I reckon the D750 is the continuation of the D6xx line. And that camera is from September 2014 announcement, so not that many more months away until it is 4 years old. While the D5600 is from late 2016 which is much more recent, but their entry level models tend to be updated on a quicker cycle. (although might see the D3500 before the D5700)

https://nikonrumors.com/2018/04/09/nikon-d7500-and-d850-the-only-two-cameras-nikon-announced-in-the-last-18-months-win-the-red-dot-product-design-award.aspx/#ixzz5CQXeHRHZ Been a bit slow on the Nikon front lately, one can only hope it is because they've been busy working on their new FX and DX mirrorless models! But if they are going to release a couple of DSLR models this yeah, I'd bet (hope?) it is a D5700 (with 4K!) and a D750mk2. As that makes sense for their next consumer and pro models to upgrade this year.

https://www.facebook.com/groups/358423864366622/permalink/794169167458754/ Wonder how many K's would the BMD 4.6K S35 sensor be if it got scaled up to FF35 like Arri did with the LF? Guessing around 6.5K Of course this is borderline "fake news" category, just to base these thoughts on a flimsy FB post, but it is an interesting thought to ponder.

Ah, so you haven't had a solid week+ with the F4/F8? I'd highly recommend that, especially coming from a DR680 (like I did as well). And just not convinced on the MixPre series being an overall forwards improvement. The MixPre3 has too few channels, even the MixPre6 has too few channels. Once you subtract two to do timecode (plus remember the MixPre3/6 are each a lot more than the F4! And once you add on a few hundred more for a dedicated timecode box which the F4 doesn't need, then that further increase the price gap with the F4 even more): So that leaves only the MixPre10T as a realistic option (unless you're talking about niche usages or as a secondary recorder rather than your main one, in those cases I'd quite like to have a MixPre3 or MixPre6!). But the MixPre10T is over triple the price of the F4! Unless I'm doing very high channel count I don't think it is. Plus the MixPre10T doesn't seem to be designed perfectly either, with its own flaws such as awkward powering and awkward menu knob / headphone volume and a very very tiny touchscreen (I reckon that makes an iPad or similar with it an almost essential accessory? Even just for easy clear monitoring of levels).

Ditto (as the DR680 and HS-P82 are looking rather outdated/overpriced now, but at least their DR60D/DR70D are still solid market leaders for their price points). And I'm sad that Roland is also M.I.A. (R88 is looking just as outdated as say the HS-P82 is)

By the time the BMPCC4K ships it will be closer to two years than one year since the GH5 announcement. I like this explanation a lot. Maybe you should use the a6300 as a toaster. Am glad at least one person gets what I'm saying! Don't believe half of the actual pre orders placed will be cancelled. But I would believe if half of the people considering a possible order of the BMPCC4K changes their mind by the time it ships.

Or for location scouting it could be absolutely perfect. Also the same as their BMD VA 5" monitor/recorder. Can rig out the Micro too, seen many nice ones. Arguably the Micro has the potential to be better, as you can use an external hand grip control with the Micro interface port on its side, much better than trying to blindly reach for the GH4 controls. I bet 100% that BMD doesn't see a penny of that, instead CVP is holding onto all of that themselves.

He says it is only a half millisecond delay, so practically speaking nobody will notice it. But will help further improve the existing hybrid limiters by adding another layer of clip protection.

Nice, FujiFilm is step by step making themselves a more competitive alternate option to Panasonic/Sony/BMD. They're now the clear choice at least ahead of Canikon for the average hybrid shooter, and that isn't something you could have easily said a few years ago.

Yup, exactly my point, the situation is MUCH better for H.265 than when the NX1 was released. But it still doesn't have widespread acceptance. However if you're doing all post in house then the Z Cam E2 having H.265 might be a massive feature for some folks over the GH5S/BMPCC4K.

I'd argue it is bigger than that! They're like the 5Dmk2 of sound. Actually, I'd argue it is even bigger than even that, it is like if a 5Dmk3/GH3 was the first HDSLR released! Imagine that world happening (rather than the GH1/5Dmk2/T2i/D90/etc instead that we got!).

I feel even ignoring the BMPCC4K release we're still creeping near to the "beginning of the end", with cameras such as the Panasonic GH5S. (arguably some people could even say that happened years ago with the GH2/5Dmk3/etc) Just like in the stills world, if you've got a D800 then you really can't fault the sensor performance. Instead it is all about usability/ergonomics/wifi/AF/IBIS/etc.. improvements that have came in since then, but the days of peering at test charts for of say a D300 vs D700 vs 5Dmk2 vs 50D vs etc are "over". The sensor performance from any affordable stills ILC released today in 2018 is going to be good enough, and you're better off worrying about "everything else" that it implements. My point is I think that day is not too far off for the video world with these affordable cameras as well, and likes of a GH5S/BMPCC4K are hinting at that day is nearing closer. I imagine for people trying to shoot with 4K on the BMPCC4K with an ultra frugal budget, that their shooting style will have a lot of similarities to the way RED ONE folks shoot (for those who don't have the SSD module, or only have a limited number of gigs on it). At least until CFast prices fall further. What they'll do is for the tripod shots they'll use their USB-C (just like RED ONEs using their RED-DRIVE for tripod shots) but then switch over to using their CFast card when handheld (again, just like how RED ONE owners would then switch over to CF or SSD when then going handheld).

So long as the delay is only a few milliseconds and is consistent across all inputs, then it might not be a dealbreaker (although I could understand if it is for some people, for instance if you're using the AVX wireless which itself already has a substantial delay you might not want to add even further more on top of that). Anyway, let's wait and see how it is implemented. It is still early days and we know barely anything about the details of the new Zoom F8n.

What I mean is although many NLEs (but not all) accept H.265, you still have most post houses who haven't dealt with it. So it is still early days. (but greatly improved since when the NX1 was released) Well, not at sub $1K price points per lens. I think in that regard Rokinons are quite unique.

Have you used an F4/F8? Remind me again what you're using currently?