IronFilm

There is a wide range of opinion as to what "DP" or "director" means, to some if you've shot a film then you can call yourself that, to others no less than winning an Oscar is sufficient justification! ha I do generally agree with you though, when a FS5/EVA1/etc are so affordable and so good, even very low budget shoots can do that instead of a DSLR. Heck, I'm doing an ultra low budget student project (everyone aside from myself, plus maybe an actor or two, are undergraduate students) this coming week, yet we're using an EVA1!! If they can, any one can! ha

Is my way! :-D One tiny BP-U30 is plenty for a day's shooting.

Odd.... I had a play around with it today, and it doesn't tell you when it loses connection with the TC box. Neither does it have any method to explicitly jam TC, it just "does it". (Sooo errr... yeah, wish there was a way to feel more certain about this. )

Have a week long film shoot with the EVA1 coming up, and have the gear test day tomorrow. If any one has any particular questions about it? I'm just the soundie, but I'll report back what I can.

If you're doing this professionally, then the price difference is small enough in the grand scheme of things to just get a mic that "people trust" (the 416). But if people don't care about the specifics of your sound gear (or you already own an even better mic in your kit, like I do with a Sanken CS3e), and you're not doing full rate sound jobs, then is perfectly ok to save your pennies and get an Aputure Deity or Rode NTG3 instead.

Just be careful you're not too close without a pop guard, as then you might get busts of wind while speaking. Which is what happened during the video OP shared. And was thus very annoying while I was listening to it, each time it happened.

I really should do a side by side test, for myself and to share. But I expect so?

I'll additionally note, his microphone is only a few inches away from his lips! Closer is better!

A distant dream :-(

Or you're just in your early years of your career. Or you're not a specialist / owner op in the camera department (maybe shooting is just a side thing, and you're usually a director/producer/whatever, then having a mirrorless camera to shoot with is a lot of sense).

This. This. This. This. This. This.

Sounds like the smart man's approach would be to buy those $800 iMacs instead of buying new! ;-)

I agree, a secondhand a7S mk1 would be a tempting choice for your line of work. Not even 600mm is enough?!

Fun fact: Lectrosonics UM250b are legal here in NZ, but illegal in Australia! :-o (because it is 250mW. Compare that to say the very popular Sennheiser G3, which is 30mW!) So yeah, I can't promise it will be illegal in your country (as it might be legal like it is for me in NZ), but hey, throw caution to the wind and get yourself one anyway! https://www.youtube.com/watch?v=tkzK46cqU80

But without any audio whatsoever. That in my books hardly even counts as any sort of video.

Yes, I think he just made a small error, yet it doesn't change the rightness of his conclusions for himself.

From having observed others in the real estate industry (as photographers, or videographers), my suggestion is in the long run to earn more and move up to focus on getting architectural / lifestyle shoots, plus coporate videos (or stils/portraits) for building related business (such as construction companies, or cabinet makers, etc). As they'll pay more than picks for just yet another real estate listing. Agreed, from what I've heard you really need to nail your workflow down. As it is about doing a high volume (which is why real estate agents mucking you around can be a big problem! As it might muck with the rest of the day's schedule). hahaha Boggles the mind why a person would go for a 5Dmk4 over a D850 if they're already in the Nikon ecosystem :-/ Yes! Each gear purchase I make I try to think about what % is "for business" and what % is "hobby plaything for my own pleasure".

Matt's blog is worth a read: http://mattscottvisuals.com/blog/2016/7/14/bmpcc-optical-low-pass-filter-swap-no-more-ir-contamination http://mattscottvisuals.com/blog/2017/8/17/red-vs-everything-else http://mattscottvisuals.com/blog/2016/1/28/bmpcclifechanger

Has any one here used the Panasonic EVA1 with a pro soundie on set running TC, camera hop, & genlock as well? Just wondering if it went smoothly, or if there are any "gotchas" I should know about. As later this month I'm doing a week long shoot with an EVA1.

I wouldn't say there is that much of a dealbreaker for me personally with a Nikon D5200/D5300/D5500 vs a Sony a6000, and sticking with the Nikon brand has benefits for now.

For all but a tiny tiny tiny niche of readers here, the 1D X mk2 would indeed be a luxury item. And I bet a not insignificant portion of 1D X mk2 sales go to rich dentists/accountants/lawyers/doctors/etc Ha! "Just buy both" is not that simple at all for most people.

The friend I know who does the highest volume real estate (as in at times dozens and dozens of houses per week!) was up until a few months ago shooting them on 2x Nikon D700 bodies, also 12 megapixels.

Meh. I think Panasonic simply decided it was more sensible to let people choose their own viewfinder, rather than ship one which might not work for everyone (but everyone would need to pay for, via a higher price).

Also, for the vast majority of us, they're purely luxury status items. A better buy for a videographer would be a Sony FS5, or heck you're almost getting into territory of a Panasonic EVA1 or secondhand FS7 (which would be a real workhorse).

Ages and ages ago (last year), I wrote up this draft for a blog post about the Nikon D750 (partially because I was considering buying one myself):