IronFilm

Curtis Judd is giving away an Aputure Deity shotgun!

Agreed that I feel the sub $2K market won't see much of an improvement. Just like how point and shoot stills cameras have mostly died out, and are seeing no improvement on the low end (only 1" sensor P&S are seeing some progress forward, but at the high end of the P&S market). But the $4K market for camcorders still has a place for some self shooting journalists and such. It is not dead, yet.

Panasonic GX8 has a tiltable EVF. Would nice if the next GH got this as well.

Yes, the Varicam LT is in a different league to the EVA1. But I would agree with you if the prospective buyer is say a solo shooter or does lower budget shoots, then yup it would be very hard for them to justify the extra cost of a Varicam LT. It is just my perspective. To a certain extent all of this is just subjective. But the a7r mk2 costs new more than a new GH5S, and significantly more than a GH5. But is it a better camera? Well you said yourself it is a not a better camera for the specs. And value for money is a significant factor in my ratings, as if it is a poor value then you might as well just move up/down instead on price. The a6500 price creeps it up close to the High-low bracket, at which the a6500 doesn't stand a decent chance at all. Should I start splitting again my split hairs and have made a High-Mid-Low Price Bracket? Haha! Maybe? :-P Kidding. Nikon D750 is an interesting oddball, as if stills is a high priority to a person then Nikon can make a compelling case for any of the Low-low / Mid-Low / High-low categories with their D5x00 / D7500 / D750 / D500 / D850 cameras. But stills capabilities in my ranking was one of the lowest factors for ranking. Likewise BMD is an interesting oddball too. In my mind I was just ranking the hybrid cameras. As BMD is so very much different, better some ways, worse other ways. Thus is trickier to make an apples to apples comparison. Then do you rank the secondhand price of the BMPCC or the new price? As I think at the new price a BMPCC can't even compete against BMD's own offerings, when the Micro gives you 60fps and an even smaller form factor which makes it even more suited for the kind of things the BMPCC fills a niche for (such as car mounts, or hidden action cameras). Plus if considering BMD now, we should even consider say the URSA Mini 4K for High-low King, as it is so cheap (especially if found secondhand). But it is so much worse than GH5S/GH5 in some ways, but also better in others. Not a straightforward match up at all.

I've noticed this a few times from people, that although DPAF is great it can sometimes be noisy. Which would annoy the hell out of me as a sound recordist if I came across this. haha, yeah "noiseless" is totally different for photographers than video folk!! A small bit of noise is ok for a stills guy shooting in a church for a wedding, but would drive me nuts.

I reckon there is a good 50/50 chance that the new GHxS series of cameras is such a small specialised niche that Panasonic won't make a new GHxS camera every time there is a new GHx line up. Instead a generation might get skipped now and then. Please please! Got to have 4K 10bit, riiiiight?? Please. Maaaybe 4K 60fps too. Of course from my perspective I very much hope they will bring timecode input to the new JVC cinema camera as well. (as hell, even the GH5S has it! Let's get with the times people) Seems there is one under development, "something": We've discussed this before: Yes! As it is sad when you use the Panasonic DMW-XLR1 that you lose the stereo 3.5mm input. The old AF100 had it, I reckon would have been nice if the GH5S should have had it too. Even if it meant you'd lose the mechanical shutter, as it is rare a photographer would buy a GH5S anyway.

This is one reason why people will buy E&O Insurance.

Not short changing it, just hasn't been mentioned as they're a different category to the others discussed earlier in this thread. If I want to find myself guilty of splitting hairs again, I'd say the "best" are: Low-low: secondhand Panasonic GH1 / GH2 / G6 / G7 Mid-low: Panasonic G80/G85 High-low: Panasonic GH5 / GH5S

If you want to stick with an camcorder with an integrated lens then I say stick with your AX100 for now. As you're not going to get a leap forward within that category, unless you move to S35 interchangeable lenses cameras such as a Panasonic EVA1. If you needed some specific feature such as timecode or SDI output, then it is worthwhile spending money to upgrade your AX100. But for general image quality? You could do a little better, but not massively better with your current budget. I'd say wait out another generation of cameras, and then you'll see a leap forward that is big enough to justify spending money to upgrade your AX100. For instance maybe the upgrade to the Panasonic DVX200 might use the new sensor in the GH5S? And maybe it will add 4K 10bit internal? That could be a nice camcorder to have!

Each to their own, we've all got our own preferences. I know personally that I've loved all the Tascams I've used and owned (wish Tascam would update their Tascam HS-P82 to make it lighter and with more features. If Zoom hadn't entered the market with their F series then I'd likely have stuck with my Sound Devices 552 / Tascam DR680 combo even now. Or maybe got a secondhand Tascam HS-P82). While I have had a Zoom H1 break on me :-/ But that wouldn't put me off Zoom, it is their awful quality of the H4n and dreadful ergonomics of the H series in general that drives me away. However Zoom F series has totally changed all that! Great job done by Zoom. Just is a pity the F1 lacks TC or detailed metadata control, not having any of that means I feel it shouldn't be in the F series at all.

I'm probably guilty of splitting hairs here, but I'd say the best at each price point are: Low-mid: Panasonic EVA1 Mid-mid: Sony FS7mk2 High-mid: Panasonic Varicam LT

Another key point to remember about these listings of cameras used at film festivals, is they're always backwards looking. Never looking forward to the future. As films can takes years to make. So naturally the choices they made in pre production years ago shouldn't necessarily be the same you make in 2018. For instance I reckon the Panasonic EVA1 is clearly the best general purpose low-mid end cinema camera today. But you would never see it on that list, as it is too new. Likewise Canon 5Dmk3 is going to be overrepresented because a film might have started being made 5yrs ago yet only reached release last year. Also, people often use what they have at hand rather than what is technically the "best". Because what you have at hand is the best option! Thus often that is a 5Dmk3 for many people. That doesn't mean however you the keen new filmmaker should buy a 5Dmk3! Anyway, the lists can still be informative for the broad picture they paint. Such as the sheer dominance of Arri on the higher end. And the reports I read from old timer ENG guys of health issues decades down the road is scary. Just because they went through that, doesn't mean we have to. My mate with the RED ONE would pop a few painkillers over the course of the feature film. And he is a young guy! Younger than me. A Sony PMW-F3 is near the max of what I'd want to do for a whole feature if in a one or two person camera department. If I'm going ahead with the feature film this year as DoP with a RED ONE then I'm absolutely buying an easyrig and having a good 1st AC to assist. Hopefully that will make it bearable. Although I'm fine with the idea of using a RED ONE (or Arri Alexa Classic, similar ish size) with a teeny crew for single day shoots. Or even two / three days. But if it is a multi day long shoot then the grind will get to you. And I care about my long term future prospects. ENG shoots have totally different expectations and standards when it comes to camera movement and lighting, just to name two aspects. Of course, when doing ultra ultra ultra low budget features then they do have much more in common with an ENG shoot than a hundreds of millions of dollar hollywood production.

With the MASSIVE caveat of *if* you have: 1) the crew / schedule to support it 2) a spine to cope with the weight Bet there is no chance the Raven would ever have been announced by RED if not for Blackmagic and Kinefinity. I'm shocked he is surprised. Well, no. I'm not. As I've long ago felt that No Film School writers are not necessarily that clued in. This commentator nailed it. Back when I was starting out, and No Film School was new, I almost religiously read their website. These days I never check up on No Film School.

Doesn't provide phantom power. But then again neither does the Tascam DR10X. If you want that, then you'll have to get the Saramonic SR-VRM1: http://ironfilm.co.nz/saramonic-sr-vrm1-new-xlr-sound-recorder-coming-soon/ https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html But I haven't had the greatest of experiences with Saramonic, I'd probably prefer to instead go the path of a Tascam DR10X paired with my Sound Devices MP-1 if for some reason I needed this set up.

*forum glitch*

Well you could use the Zoom EXH-6 but that lacks phantom power.

Quite a few small local suburban newspapers still have a jobs column

That was my thought too. Bigger and more expensive. And I was hoping all F series would have TC... but not the F1 :-/

Key Features: Two-channel audio recorder Includes LMF-1 omnidirectional lavalier microphone Lightweight and low-profile design—attaches to belts and waistbands, or fits inside pockets without being seen Compatible with all Zoom microphone capsules Supports up to 24-bit/96 kHz audio Broadcast WAV format (BWF)—files are automatically time-stamped 1.25" monochromatic LCD display can be read under bright light Stereo 1/8" mic/line input jack with plug-in power (2.5V) Stereo 1/8" phone/line output jack with dedicated volume control Built-in limiter and auto level control to avoid clipping Low-cut filter Pre-Record function Tone generator for calibrating audio levels between the F1 and a camera Sound marker function outputs quick tone for syncing audio and video Micro-USB port for data exchange to and from computer Use as an audio interface to record directly to your computer or iOS device Runs on two standard AAA alkaline, Lithium, or NiMH rechargeable batteries, or AD-17 AC adapter (available separately) Up to 10 hours of operation with alkaline batteries (when using lavalier) Includes windscreen, belt clip, mic clip Available for US$199: https://www.bhphotovideo.com/c/product/1385361-REG/zoom_zf1lp_zoom_f1_field_recorder.html Or for US$249 with shotgun module: https://www.bhphotovideo.com/c/product/1385362-REG/zoom_zf1sp_f1_field_recorder_with.html Manual and Quick Guide: https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_F1.pdf https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_F1_QuickGuide.pdf

Interesting: https://nikonrumors.com/2018/01/22/nikons-upcoming-mirrorless-camera-is-rumored-to-have-two-electric-af-motors.aspx/ Was thinking they might have both an old kind and a new kind to keep backwards compatibility. (which seems quite important to Nikon)

Stumbled across there two articles which I felt are interesting enough to share, as Art Adams goes into amazing detail in his break down of the demo reels. Fascinating how much info he can draw out of a video! http://www.dvinfo.net/article/acquisition/a-critical-look-at-cions-new-demo-reel.html http://www.dvinfo.net/article/acquisition/panasonicp2hd/a-critical-look-at-varicams-latest-demo-reel.html

Nikon still managed to sell more full frame cameras in the USA than Canon! ;-) Or Sony.

Nice! How much of a discount did you get it at?

The new Mavic has a pro video which shows part of it at night: Of course it won't be as good as a better drone, but if it works with the budget and works with what you need then no harm trying.

LOL But hey... if he is offering to do it for free, take it! If shot at early dusk and graded with care, you might be able to pull it off.