IronFilm

Curtis Judd is giving away an Aputure Deity shotgun!

6 minutes ago, webrunner5 said:

I just don't think there is going to be to much improvement in the low end sector of Camcorders anymore.

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.

5 hours ago, aldolega said:

-tilting EVF with an optional big eyecup

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

2 minutes ago, webrunner5 said:

Yeah but is a Panasonic Varicam LT that much different than a EVA1 for the average person now?? I just don't see the advantage to go twice the price especially when the Raw comes out for the EVA1.

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. 

18 minutes ago, webrunner5 said:

Ehh other people beside Panasonic make cameras LoL. You can buy a A7r mk II now for what a GH5s cost. Not a better camera specs wise but a pretty damn good camera. A6500 is about as good as it gets for 4k. 1080p well... I think I would take a Nikon D750 over the mid-low. Low has to include a BMPCC. Heck a BMCC has to be in there someplace. Used Ursa Mini 4k. We really have a lot of choices now. I would take a 1DC for the cost of a GH5 for 4k. I like the GH5 1080p better than the 1DC I think.

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.

9 hours ago, Asmundma said:

Hi, bought the Sigma 18-35 for use on C200. My lense make a hell of a noise when video AF, so I do not understand it is quiet at all. I find that native Sony FE lenses are the quiets. 

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. 

8 hours ago, Asmundma said:

They must have tested for photos, not Video

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.

9 hours ago, JordanWright said:

2 skews? Gh6 Gh6s

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. 

4 hours ago, Cinegain said:

Next up: JVC GY-LS500 predictions...

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:
 

5 hours ago, aldolega said:

-ability to record four audio tracks, two from the XLR box and two from the 3.5mm jack.

Yes! As it is sad when you use the Panasonic DMW-XLR1 that you lose the stereo 3.5mm input. 

5 hours ago, aldolega said:

-internal NDs

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.

4 hours ago, Jacek said:

Yes (there is also related law of artistic performance if he is not the composer),  completely free (in so called "public domain").

But it is very complex with lot of nuances and you never know if somebody will not accuse you (co-author, text author, different publisher...), unless you buy (with personal license) and record a music directly from an artist.

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

5 minutes ago, webrunner5 said:

I still think we are short changing the Panny GH5s on here. I don't see why a person can't make a heck of a short with it. Hell why not a movie with 3 of them.

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!

5 hours ago, DaveAltizer said:

I have used the tascam one before and it has failed me multiple times. Not sure if its just the unit I was using...but we have had files totally corrupt..could be SD card too...but our Zoom H1's have always been tanks. I would choose this F1 over the tascam just on a brand perspective. I trust Zoom more. 

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.

3 minutes ago, webrunner5 said:

I would agree with the EVA1. Probably the camera I would go with right now, but man the Sony FS7 MK II is tempting also.

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

1 hour ago, webrunner5 said:

Here is a another breakdown on cameras.

https://nofilmschool.com/2018/01/Canon-C300-ALEXA-Sundance-Cameras-Lenses

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. 

3 minutes ago, webrunner5 said:

Oh come on I spent years handling 22 to 25 pound ENG cameras, weight is not a big problem.

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. 

8 minutes ago, webrunner5 said:

There ain't one damn more thing on a Arri Alexa than there was on ENG cameras I used years ago. I didn't have a Crew to help me.

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.

7 hours ago, webrunner5 said:

Speaking of cameras. Well this tells a tale of what people used. Arri Alexa used is the way to go I would say over about anything if a person is Really serious.

https://nofilmschool.com/2018/01/infographic-sundance-2018-cameras-and-lenses

 

With the MASSIVE caveat of *if* you have:
1) the crew / schedule to support it
2) a spine to cope with the weight

5 minutes ago, Raafi Rivero said:

Kinefinity and BlackMagic are doing the same thing RED did for the industry a generation ago - putting cinema-capable tools in the hands of filmmakers at a fraction of the mainstream industry's price structure. Would Panasonic, Sony, or Canon be offering Raw recording in their sub-$10k cameras without those two brands pushing the envelope? Heck, would Red have even released the Scarlet package without the downward price pressure of those two brands? 

Bet there is no chance the Raven would ever have been announced by RED if not for Blackmagic and Kinefinity. 

Quote

And there are other surprises. "I'm shocked at just how insanely dominant ARRI is over even RED," says No Film School's tech writer Charles Haine.

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. 

Quote

 

This is one of the worst and least informative info graphics I've seen in recent memory. I am no more informed after seeing this then I was before I clicked on this page...stupid.

 

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.

22 minutes ago, thefactory said:

It would make it bigger and more expensive, but I assume you could use the xlr capsule adaptor that’s available for the h6

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
 

13 hours ago, Dustin said:

Anyone see the Nikon rumors article about it having two af motors and they showed a patent Nikon filed.

 

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

4 hours ago, Kisaha said:

Nikon, on the other hand, they need some fresh air. They are not as big as Canon is

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

11 minutes ago, EthanAlexander said:

I ordered an open-box P4Pro yesterday

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. 

1 hour ago, kaylee said:

"a Mavic Pro drone which is great in low light!"

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.