IronFilm

I think the way NZ manages to luckily make this "work" (our government spending as a % of the economy is worse than the USA, creeping close to Greek levels) is: 1) we're a pretty lucky country! Remotely located away from the troubles of the rest of the world (no wars to worry about, or illegal immigrants flooding over our boarders). We're not known for being "the country of milk and honey" for nothing! We have a great climate and country for agriculture. 2) we had massive reforms in the 1980's / early 1990's which helped turn us around (we used to be known as "Fortress New Zealand", as we had such stringent controls. Possibly the worst of any country outside the Soviet Block!) 3) we live "Outside the Asylum" (for now! Though is getting worse): https://offsettingbehaviour.blogspot.com/search/label/fun https://offsettingbehaviour.blogspot.com/2017/09/the-outside-of-asylum.html

They're 30mW (not mV!). Which isn't so bad.... you should make it very workable with care. Unless you're trying to send it to a sound cart a couple of rooms away?! But for bag usage, in the same room, should be no biggie. btw, I have Lectrosonics UM450, which has 250mW!! :-o But in the end, size isn't what matters, it is how you use it ;-) As range is determined by both the transmitter (not just power matters, but other factors such as placement) and the receiver (such as having diversity, or using shark fins, etc).

You're in Greece? I guess with their whole economy going down the drain, it will be a struggle to get a good income no matter what area it is you're working in. As for my rates, they're a little on the lower end for professionals in my city. (which is lower than say Americans get!) But also, the volume of full rate jobs I get is still relatively low :-/ I do a heck of a lot of lower budget jobs instead. I also struggle with ever getting a decent gear rental rate for what I'm bringing to a job, sigh (which has to make you wonder if it is wise all the money I spend on new gear..... !). So still got a lot of work to do yet with lifting my earnings! But I'm feeling positive about the direction they're going in :-) I certainly feel ok about missing out on or turning down work if their rates are too pathetically low. (like recently a web series which was going to only pay every crew member $150/day! Flat. All in. & all crew members the same. Seriously) Sadly, we're not actually as different as you think! :-o I looked it up, in Greece government spending is 52% of the economy. In New Zealand it is 48%

I've made this point a few times now elsewhere in other threads/forums, and basically if you're not making money from your camera than you shouldn't get a 4K cinema camera. You should get yourself a 1080 cinema camera, or a 4K stills camera (or heck... even a 1080 one, no shame in shooting with a G6/D750/a7Smk1!). EXCEPTION: if you're a rich hobbyist. Go ahead and buy an URSA Mini Pro! Or whatever. As then things don't have to make any more financial sense to you than the $20K road bike you purchased but only ride down to the coffee shops once a fortnight, or the $20K set of golf clubs you haven't used for the last year. Yeah, Safety Not Guaranteed being shot pre-Slog days kinda squashes many complaints about its internal quality. Sure, it is not as good as the external recordings with slog, but what really matters is the operator/lighting/director/editor/etc!

Everything is very relative, & is tricky to make broad statements across all countries. For example, for the last few elections in America, Obama/Clinton were regarded as the most left wing candidates ever. Yet by my country's standards, even our most "far right" party in Parliament is in many ways to the *left* of Hillary/Barrack!

Really sounds like the F3 is the right choice for you. Or maybe perhaps a Sony FS700. Or maaaaaybe if feeling really super adventurous and up for it, try to get lucky with a cheap Sony F35. However, if a you never did much while owning a BMMCC then I highly doubt buying an even more expensive camera will radically change that.

Yeah, whatever is your budget for a camera body, go ahead and double it immediately, then double it again! Once you add in accessories + lenses + lights + audio + tripod + etc.... it is very easy to blow waaaaaay past that!

http://www.43rumors.com/datavideo-shows-new-nighthawk-mft-camcorder-409600-iso/ Kind of an odd ball camera here! Don't think it is worth US$3,000-$3,500?! But who knows, I might be surprised! Probably makes a lot more sense for its niche it is aimed at, than a general purpose filming camera. But hey... another one with a Micro Four Thirds mount!! Why the hell Panasonic could you not support your own mount with the EVA1??? Dumb dumb to give bolster a competitor (Canon) instead.

You don't have to record 444 if you don't want/need to. But you can if you wish!

Nah, but I think that arguably the difference between the two is not that great. Especially if you want to save on the data storage and the extra cost for a recorder. Heck, with my BMPCC I almost never recorder raw, and ProRes444 doesn't even exist as an option, so ProResHQ is my usual choice (or even ProResLT! :-P If it is just to be uploaded immediately to my vlog). So in a way, I'm approaching my BMPCC and F3 in the same way here.

Office politics apparently. From what I've heard the leader of the pro division is mad at the GH developers for what he thinks is "stealing" from him.

What specifically is he saying? If he is just vaguely say "it is not good" then call him out on his bullsh*t Get an Atomos Samurai Blade like I did (or get a BMD VA), you can find it secondhand for just $300ish. Or buy new for $500 SSDs are dirt dirt cheap these days! We are not still living in the days of the BMCC when it was first released, and you had to spend a minor small fortune on recording media. A full Kinemini package for $4K would be good too, did you know they just recently announced a Terra 4K as well? US$4K for the brain. They shot a bunch of other things with their KiniMINI as well: Basically we live in a fantastic time, any of FS700/F3/Kinemini/Terra/BMMCC/BMPCC would be a excellent choice that great things can be made with!

Had a friend have something a bit odd happen with his GH5, he has two identical Lexar cards, but one does, and the other doesn't work in his GH5!

Because Panasonic does it much much less so (arguably to a reasonable extent), while Canon doesn't.

I'd see how many more iterations you can have of the script, going over the script to tighten it down, if you can make it be say 5x 4 minute episodes instead for instance. Not only will that make it easier to produce, but I believe a faster snappier web series will be more appealing to the audience than a slack drawn out one is (not at all saying yours is.... never seen your script! But just making a general point here).

Six is a lot! :-o Ha, then again I do have 5x UWP-D11 myself. Never yet used them all at once however, but have been using 4 of them + a Lectro the last couple of weeks. (oh wait, I did once use all 5! Had one UWP-D11 receiver taking a feed from my 552, which was attached to a plant mic, then being sent back to my F4) If you want a better mic capsule, why not start by getting some OST lavs? http://www.oscarsoundtech.com/services.html Pro Sony wireless, are you referring to the DWX series? I do wonder if DWX is compatible with their UWP gear, as then it would be tempting to buy one of those dual receiver DWR to use with my existing Sony transmitters as a half way upgrade step. However my UWP-D11 transmitters are already so lightweight and their DWR is kinda bulky, I doubt if there is any weight savings at all? Sony DWRS02D weight = 9 oz (255.14 g) Sony URXP03 = 6.21 oz (176 g) including batteries (for AA batteries, rechargeable Ni-MH cells around 31 g / 1.1 oz each) Plus of course there is always the Sony URX-P03D 2-Channel Reciever: 7.4 oz (210 g) Thus getting the Sony DWRS02D would be a backwards move for me in terms of saving weight in my bag. Unlike my Lectrosonics UCR210D which are hell bulky and heavy! Switching to Lectrosonics SR series would make a big difference for me. Anyway, when you look up the prices: https://www.bhphotovideo.com/c/product/1259102-REG/sony_dwt_b01n_30_digital_bodypack_transmitter_566.html https://www.bhphotovideo.com/c/product/879345-REG/Sony_DWRS02D_30_Dual_Channel_Digital.html Not cheap! Don't see the point in it when I can buy a Lectrosonics SMQV for less: https://www.bhphotovideo.com/c/product/877748-REG/Lectrosonics_smqv_21_SMQV_Super_Miniature_Wireless.html The Lectrosonics SRc is a little more expensive: https://www.bhphotovideo.com/c/product/1242605-REG/lectrosonics_src5p_b1_src5p_dual_channel_slot_mount.html But you're certain to pick up a SRb for cheaper!

Might steal this list, and add a few of my own, for a future blog post at some point. As would be nice to have one central link I can point people to when referring to what the F3 is capable of. Other than this of course: http://www.shotonf3.com

For Keying / tracking / etc then 4K can be handy. CGI? Nope! So I guess it means what type of VFX you are talking about.

http://www.filmtake.com/streaming/subscription-video-trends-challenges-part-one/ Wonder if this might be bad news for indie filmmakers trying to sell films to Netflix? (good news though if you're pitching an original series to Netflix! But for the vast majority of us, that isn't applicable)

I'd love the Optitek mount & an Odyssey! But that would kinda defeat my purpose of being super frugal with my camera purchase.... :-/ So poor me settled for a chinese eBay FZ adapter, and an Atomos Samurai Blade. Still happy with it though! Is excellent.

Saw this tweet: "John Wick 2: 2k, Alien covenant: 2k, Arrival: 2k, Fury Road: 2k. Do people really think they are getting actual 4k resolution movies?" https://twitter.com/RuairiRobinson/status/912865327221846016 People shouldn't feel pressured to buy a 4K camera (plus almost all VFX, with some rare exceptions, is not done in 4K! And with how VFX heavy films are these days, even the 4K films are typically having a lot that is not 4K)

You get scales of efficiency with compressing a higher resolution image (as the same jmage at 4K, is not the same as 4x random 1080 images), so it would not be exactly a linear increase in bit rate that is needed. But as a first approximation, it is a good enough guess.

Nice! Where did you get this list from, or did you put it together yourself?

Ah, because currently on B&H it goes for $999 with a 12-60mm lens https://www.bhphotovideo.com/c/product/1280824-REG/panasonic_dmc_gm85mk_lumix_dmc_g85_mirrorless_micro.html Lucky lucky!! For me the Panasonic GH1 was my first personal video camera (Nikon D50 was my first camera, unless you count my cell phones). & before then I was using a borrowed Nikon D90 (from my GF) or a Canon T2i (from my sister) for my film school assignments.

You've got to be joking