IronFilm

Nikon still has their Nikon D850 out of stock, EIGHT MONTHS later after release! https://nikonrumors.com/2018/04/02/nikon-d850-filmmakers-kit-now-in-stock-in-the-us.aspx/ Looks like the D850 is getting a lot of love!! At least from the photographers. Likely will go down as another classic, just like the D800 was.

On the F3 topic, any one know of any feature films shot with an F3 within the last couple of years? Just curious

Thank you for sharing, was really interesting hearing about your experiences in the early era of digital photography. I can see where you're having a very high turn over of photos but only for B&W 8x10 then it makes a hell of lot of logic to have got that camera. Smart. Sorry to hear about your wife though :-/ That is me! Debt free (wellllll... aside from student loan debt, but here in NZ that is interest free so it really doesn't matter) Although now and then I get tempted to lease-buy a Sonosax SX-R4+..... but that would be dumb. Even for those who are working in the industry should be careful before they jump on that endless cycle of upgrades, many people can do that upgrade cycle slower and get better value out of what they have now. CR1 rating, so we can basically ignore this 100% if we so wish. They could make the integration so smooth that some people might not even realise there is a new Nikon mirrorless mount underneath! Like say with the Sony FZ mount, you could glance at a set up F3 / F5 / F55 camera and never even realize there is a FZ mount underneath!

They should have waited another day before publishing it!

Is there really that many high quality ones? I think the Digital Bolex together with the BMPCC has already seen those sucked off the market and a spike in prices.

Ballsy to buy from a brand new user!

Indeed, BMPC4K = next to no AF, but GH5 = somewhat more AF

You can change your angles, and even locations. Heck, sometimes you might even have control over your timings too. Exactly!

Been a while since I used a BMCC (which is an identical body to a BMPC4K), and only had a very limited experience with the FS5, but I would hazard a guess that a typical minimal rig of a FS5 is lighter than a typical minimal rig of a BMCC. And I would say however you *can* use the BMPC4K/BMCC on the cowboy shoulder rig, it is not something I'd recommend doing in the long term.

if a director/producer told me to shoot with any one of a Pocket/Micro/GH5/GH5S then I wouldn't mind in the slightest, I feel they're all "equal but different" to each other. I reckon your color grader and lighting technique goes further in determining "cinematic" than picking a GH5S or a Pocket. But a perfect comparison/analogy, but I like it! Exactly, don't mix up the 4.6K sensor (which is in the URSA Mini 4.6K and URSA Mini Pro) with the 4K sensor! (note that BMD doesn't even bother to offer the 4K sensor in the URSA Mini Pro, as BMD has realised it is time to drop that 4K sensor from their line up) As those two sensors are living on two different planets.

Like TwoScoops said, it is not a cinema camera it is a studio camera which gives you the hint it is not for us. It uses a completely different sensor that doesn't have the same dynamic range capabilities at release. Although lately there has been a significant firmware update, which gives for instance a 4K raw output (it never had any internal recording capabilities). Heh, you got me wondering now about which would be "less worse" the BMPC4K or the Micro Studio with a recorder? As I have quite a low opinion of both set ups. Or a Panasonic G7 for practically almost free secondhand! Or a Panasonic G85 for brand new at a cost similar to a secondhand GH4, and you'd get with the G85 an arguably better camera. Oh I dunno.... depends on how you count / evaluate it. Remember the Kinefinity Terra 4K goes for sub $5K as well!

But the BMCC EF makes it almost impossible to shoot ultra wide and fast. I have literally HUNDREDS of saved eBay searches! :-o But they pay off eventually, even if sometimes it takes literally a couple of years for that to happen, like when I finally found these headphones:

https://www.mirrorlessrumors.com/canon-manager-confirms-shifts-focus-slr-mirrorless-cameras/ http://www.canonrumors.com/the-state-of-the-canon-full-frame-mirrorless-development/ It would be a good use of all that space to put an ND filter inside. However.... even E mount (FS7/FS700/FS5/Venice), FZ mount (F3/F5/F55), and MFT mount (AF100/LS300) can fit ND filters within their mount.

I wonder if these mounts will be swappable at all, and if they'll be swappable by the user in the field? Price for now is is US$11K for a set of five lenses: http://www.kinefinity.com/shop/mavo_prime_lens/?lang=en Also, Pro AV TV just put out this new video, they're the distributors for Kinefinity in the UK:

Beyond the points early I made of dynamic range and low light, the GH5 also benefits from: IBIS Smaller form factor Mirrorless mount Any one of those could be a very big factor for a person towards purchasing the GH5 instead.

According to B&H it has been discontinued: https://www.bhphotovideo.com/c/product/1285811-REG/atomos_atomnjs001_64_ninja_star_recorder_with.html

BMPC4K = poor dynamic range, and very poor low light, poor ergonomics. URSA Mini 4K (which goes secondhand for around the same price sometimes!) = all of the above, except not so much the last point Neither interests me at all, not unless offered at a SCREAMING DEAL (say $1K?!). Those first two deficiencies are just too big to overlook! I'll take that Panasonic GH5S (or GH5) instead thanks. (heck, I'd probably even prefer the BMPCC over the BMPC4K!)

Sony kinda has the same problem too (such as using the Sony 18-105mm f4 on the FS700 in 4K), but that hasn't stopped them!

And sadly they don't have quite as many features as the competition, such as very importantly they don't handle any flavors of raw?! But not to surprisingly they do handle sound better than most! I wouldn't mind if a few more companies took a crack at 3.5" or 4" monitors as well!

Thanks! I have a YouTube channel too: https://www.youtube.com/c/SoundSpeeding Only now its price has dropped. The C100mk1 is indeed quite low, so too is the C100mk2 as it is near EOL, but once the C100mk3 hits it will be priced nearer to a FS5/EVA1 instead. And will be just as relatively unaffordable as the original C100 was back at launch (which was US$7,999 at launch!!! How on earth is that just as affordable as a 5D series camera????).

What kind of audio work do you do? As that is my line of work too: http://ironfilm.co.nz/sound/ Nice, I also started out on the GH1 :-D I think the message from the 5Dmk2 is that people wanted affordable ILC video cameras, which the C300mk1 wasn't. Yet the GH3/GH4/etc & NEX5N/a7S/etc is! Yup, the C300mk1 was the hottest camera of its era! Like the FS7 is today.

Damn! You should have bought one for me :-P

Impossible. (not without wildly unacceptable compromises) The physics of the universe prevents it. It didn't sell as well as other cameras because it is a JVC.... the brand name is why. Any sales success which the JVC LS300 did have, would be thanks a lot to because it has a MFT mount on the LS300. Looks niiiiice!

Possibly a Tascam DR10L or similar. (or the Tascam DR10CS as they're in the UK!) What do you mean? EF lenses to MFT mount already exist? Or if you mean MFT lenses to to EF mount..... ??? Then that is completely impossible (not with completely unacceptable compromises, such as being limited to macro shots), and in no way relevant to the JVC LS300.

Thankfully my F3 is a FHD camera and plenty of 5" recoders exist for FHD! I'd happily even use a 3.5" FHD recorder with it, if the screen is good enough (sadly the Atomos Ninja 2 doesn't have SDI, and has a truly awful screen). Not sure if 5" means less overheating issues..... as a smaller size means less space for a heat sink and less surface area for heat dissipation.