IronFilm

4 hours ago, gt3rs said:

Not sure where the C200 it fall short on important areas?

C200 completely lacks an everyday middle ground codec. For many people this is NEEDED as it is 95% of their bread and butter jobs.

This is the key way Canon crippled the C200 vs C300 mk2

6 hours ago, EthanAlexander said:

I can't speak to why Panasonic went with an EF mount, but the large flange distance on DSLR-type mounts is a necessity for the mirror. Maybe after canon (and nikon) actually figure out a mirrorless system that keeps all the advantages of their pro bodies they'll start pumping out professional lenses in their EFM and it will get widespread adoption as a mount option.

But... adapting EFM to E or MFT would be impossible... So I'm perfectly happy with how things are, being able to speedboost high quality EF lenses

Video cameras never need the long flange distance, as they don't ever use a mirror.

5 hours ago, tupp said:

[cough] Nikkor lenses [cough, cough] Zeiss lenses [cough] Leica lenses [cough, cough] FD lenses [cough]

Exactly! Buy Nikon over Canon lenses.

2 hours ago, Anaconda_ said:

The people who own the FS5 I use refuse to put anything other than Sony glass on it - so it's very limiting.

Well that SUCKS! Boo them. 

2 hours ago, Anaconda_ said:

Thinking about it though, maybe I should clarify - I prefer shooting on the LS300 setup I use compared to the FS5 setup I use. maybe if the tables were turned and I had an annoying lens on the JVC but a great one on the FS5, I'd be the other way around...

That indeed sounds like what it is. 

On 8/5/2017 at 7:01 PM, fuzzynormal said:

It got shot.  Judging by how long it's taken this far that means post will be done in 2020.

Which means it will be 2050 by the time he is done with his third film. 

Which is sad. 

People should already have thoughts about their NEXT film while shooting the current film. And be making moves to get it shooting while in post of the previous one. 

On 7/25/2017 at 6:40 PM, Mattias Burling said:

I'm not sure who did this first. Panasonic did it with the GH5 but I have a vague memory of Fuji doing the same, but might be mistaken.

I'm pretty sure this has been around for years and years, decades! The doing pre announcements that is.

Just now, Anaconda_ said:

I also regularly use an FS5, and honestly, I prefer working with the JVC. 

Oh wow, why is that?

15 hours ago, Linus N said:

• Sound Devices MixPre-3 for interview shots, will be packed away dry and safe when kayaking

Go for Zoom F4 or MixPre6 instead, as they're a big leap forward over the MixPre3. 

I'd probably rather pick up a Tascam DR70D for next to nothing, than buy a MixPre3.

http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

15 hours ago, Linus N said:

• 20.000mAh powerbank for MixPre-3 and charging on the go if necessary (we will have electricity at some places)

There are powerbanks which have a solar charger integrated into it!

My iPhone for work has a waterproof case with an integrated battery case, that also has a solar charger too! :-D

This is what I have for my iPhone SE:

https://www.snowlizardproducts.com/products/waterproof-iphone-5-slxtreme-rugged-battery-case?variant=749212631

15 hours ago, Linus N said:

• Tripod/monopod. I have both, but I both want and need to travel light. On the other hand, for interviews they'll be sorely missed

I have a lightweight travel tripod which allows one leg to be screwed off to be used as a monopod, two in one combo!

15 hours ago, Linus N said:

• A lav kit + Röde Stereo X Pro or whatever it's called

Go for Sony UWP-D11

15 hours ago, Linus N said:

• Smaller LED panel(s), looking at picking up a few Aputure M9 just to have something in case I need light

The power output is not much. While I agree about getting them. I'd also at least grab 1x Aputure LS-mini20 + 1x Aputure LS C120d + 1x Aputure LS1/2w. Plus of course a stack of V mount batteries. 
However that might be blowing up your space/budget?! And depends on your needs, and what you're trying to achieve. 

Do you get a large chunk of your income from stills shooting? 
Then you need to at least own the likes of a Canon 5D mk3 / Nikon D750 / Nikon D500 / etc

However.... unless you are the rare 0.00000001% of pro sports photographers, do you do not NEED the 1D X mk2 for stills. 

So get a much cheaper DSLR for your stills on the side (or even skip it entirely and use your iPhone, if it is only for super casual personal use and you're very tight for money) and get an actual cinema camera instead (although I'm not a fan of the C200. Go for Panasonic EVA1 or Sony FS7 or URSA Mini Pro instead).

 

3 hours ago, BTM_Pix said:

What I can say from all the testing I've done with it is that the sheer versatility of this thing in using native MFT, B4, PL, Canon AF, Contax Zeiss, M42 and Nikon lenses is that you'll get no arguments from me about what mount Panasonic have missed a trick not putting on the EVA  

Wish I could like this more than once! :-( 

I used to read No Film School everyday! And soak up everything they had to share. 

Haven't done that for a number of years now. 

On 4/21/2017 at 4:15 AM, BTM_Pix said:

Well, well, well...

I have just managed to buy an absolutely mint condition used LS300 for just under £2K and will take delivery of it next week. 

I'm mildly excited at this development.

How are you finding it, now you've been shooting with it for a while?

On 6/5/2017 at 11:58 AM, jax_rox said:

Then it becomes a more expensive camera. A swappable lens mount alone would make the price rise drastically, and I just don't think at this level that there's enough market for it to justify.

The base mount itself would not add any extra cost. Yes, the main mount that then gets sold with it on top of the base mount would then cost extra in this scenario, but how much would it really add to the cost?

At the moment third party adapters range from twenty bucks or so, up to a thousand dollars or so. But due to bundling it up, and vast economies of scales, they would cost much much less to produce in terms of how much it would add to the final price of an EVA1 MFT,

On 6/5/2017 at 11:58 AM, jax_rox said:

You want to shoot a feature with an MFT mount, I guess you have to go to Blackmagic... If there really was a market for S35 cameras with MFT mounts, don't you think Blackmagic would've gone there already...?

If you only stick with what has gone before then Ford never would have made a Model T, and instead would have just made a "better" horse pulled carriage.

On 6/5/2017 at 11:58 AM, jax_rox said:

The problem is no MFT glass that covers a S35 sensor. You're suggesting Panasonic shoot themselves in the foot with an obscure (at pro video level) lens mount, one that already doesn't lock, and you want to build that up with adapters...?

MFT is Panasonic's best selling mount. 

Sigma, Rokinon, Samyang, and Veydra MFT glass all covers S35.

You can have a locking MFT mount, just like the FS7 mk2 did for E mount.

On 6/5/2017 at 11:58 AM, jax_rox said:

As I said previously, when they were building the LT, they did extensive market research, and the cry was for EF mount - not MFT. I understand the adapting possibilities. I do it myself with Sony. But I just don't believe that it's a huge market at this level.

See my point above about making carriages, rather than cars. It is easy to get mislead with market research if you don't really think about what you're doing. 

They probably went out and asked a bunch of ex C300 shooters what they wanted, rather than asking any up and coming GH5 owners who are moving up.

On 6/5/2017 at 11:58 AM, jax_rox said:

What's the point of releasing a S35 camera with a lens mount that forces you to crop hugely without adapting lenses...? 

Flexibility is why! Want to go ultra light, small, and compact? Then bring along a few MFT lenses!

Want to use PL lenses? You can do that too!

Want to have a Vistavision field of view? You can do that too!

Want to use a speedbooster? You can do that too!

However... the Panasonic EVA1 EF can do NONE OF THAT! :-(

On 6/5/2017 at 11:58 AM, jax_rox said:

Sure, the JVC may have done it, but how popular is it..? 

Don't mix up its popularity due to being a JVC camera vs being an innovative MFT/S35 camera. 

Being a JVC product it was always going to struggle for sales. Thus the question you have to ask, is if being MFT/S35 gain it more or less sales?

I feel undoubtedly JVC got more sales due to being a MFT/S35 camera!

Just look at how we are still talking about it years later in late 2017!! Clearly it made a notable impact, that wouldn't have happened to the same extent it if was just another EF camera. 

On 6/5/2017 at 3:00 AM, mercer said:

Exactly, Panasonic missed the mark completely IMO. If they use the same Super 35mm Varicam sensor as planned, with a Micro 4/3 mount... or very least a swappable mount, with 5-axis, include an EVF, with 4K up to 72fps and some form of internal/external Raw... it DOESN'T NEED to be a yet to be developed 5.7K Raw (although that is pretty damn cool) and price it between $6000 and $7000, they would have nailed this for the market (I assume) they're going for.

I'd LOVE that!

18 hours ago, Andrew Reid said:

The problem is it is so expensive, you're better off just getting the GH5.

D500 is the same price as the GH5, and if you look around you can find the D500 for hundreds of dollars cheaper. 

And if you need the high end stills capacity of the D500, then the D500 looks like an extremely good value buy compared to the GH5!

And now there is the D7500, that probably by the end of the year will be going for close to half of what the GH5 goes for. 

So while I think the GH5 is absolutely fantastic camera, I think a strong argument can still be made for a Nikon being right for some people's needs.

On 8/9/2017 at 8:59 PM, Basma Ahmed said:

In my local community the only two available models I can afford are the D3300/3400 and D5300. 

If those are all you can afford, then I recommend sticking with your D5200. 

Keep saving up! Or spend it on some other area of film gear. 

As it is best (as a rough rule of thumb) to at least skip one generation ahead, when upgrading. So going D5200 to D5300 doesn't make much sense. 

It makes more sense to instead to upgrade to D500 or D7500 (or maybe a D5700 when it comes out?? If it gains 4K too), however you've said they're outside your price range. 

On 7/25/2017 at 4:04 PM, NewFilmMaker said:

Back into 2009-2011, (before the mirrorless camera taking over Canon 5D & 7D) you can find a lot of nice & rare lomo lenses easily on Ebay, but now, nothing good is showing up anywhere.

 

Yup, I bet there is tonnes of lenses that were cheap in "pre-mirrorless" days, but now would be very very hard to find at those same prices. 

On 6/4/2017 at 3:27 AM, mercer said:

I'm sorry but there is no GH5 video on the entire internet that looks more cinematic than this

False, nope, as nope I don't buy that for a second.

7 hours ago, Juxx989 said:

Fake News?  Ill take my free Alexa 65 thank you.  

Arri isn't offering it, but Sony is..... grab a F65 perhaps for a free weekend rental? ;-)

15 hours ago, jgharding said:

Tiny fanless camera with ProRes and RAW to SD cards, released in 2013:

 

4yrs later and we are still waiting for something better! (aside from the Micro, which was a step forward refinement)

I even was filming today with my BMPCC I got from the half off sale.

1 hour ago, BTM_Pix said:

I decided that poring over the list of what cameras I could use for a Netflix film was distracting me from my other concerns such as what amp Paul McCartney would prefer me to use on his next album and the approved list of colognes to wear on a date with Sofia Vergara.

Are we going on a double date?

Anyway, I agree such discussions and not terribly practical! But they are FUN :-D 

Plus sometimes interesting and practical points do arise naturally from such discussions. 

16 hours ago, dhessel said:

It does matter to Netflix for original content, they will not allow any camera that doesn't shoot native 4K period. The reasoning I have heard for this is that they advertise that all of their original content is 4k. They don't want to deal with any issues that may arise from using upscaled to 4K material. Technically they could get hit with a class action lawsuit if they say all of their original content is all 4k but some of it was actually not 4k and upscaled. While I find this to be unlikely it is not outside the realm of possiblity. Again this is only for their orginal content, for anything else it doesn't matter.

I wonder what would happen if someone used ones of their "approved cameras" for a Netflix Original, but in post punched in to 85% (for whatever reason, maybe boom was in shot, or they just wanted a different frame). As I bet that happens a lot.

But would they get into trouble because it is "not 4K"??

12 hours ago, cantsin said:

The F5 and FS700 don't meet the 10bit requirement (that is mentioned below the camera list).

Huh? They can both do 4K raw...

12 hours ago, TheRenaissanceMan said:

One of the primary differences between the F5 and F55 is the color filter array, which is "wide gamut" on the F55 and "optimised for r.709" on the F5. Thus the F5's disqualification.

I don't buy that explanation, as the FS7 and other cameras are on that list already. 

12 hours ago, HockeyFan12 said:

The 4.6k is pretty good, though! I would expect they'd include it.

They do included it

http://www.4kshooters.net/2017/07/25/netflix-which-4k-cameras-can-you-use-to-shoot-original-content/

Not just the F5 is missing (which is weird when the F55 & FS7 is included!)

But also the FS700 isn't there. Which I reckon odd when the C500 is on the list (as like the FS700, the C500 can't do 4K internally, only via 4K raw output. Same as the FS700. So if the C500 is on the list, so should the FS700!)

3 hours ago, Kisaha said:

Also, "active busy restaurants" have enough bodies, coats and other stuff to cut reflections anyway! Human bodies are very good to kill sound and light waves. Not radiation so much! CS3e is a special mic anyway. 

Not so many human bodies around however if it is just the start of the day when the kitchen is busy making a racket but the rest of the place is just hard surfaces!

3 hours ago, Kisaha said:

Sound blankets are a good tool to help a bit.

Yup! When you're not a one man sound department and juggling too many things as it is... :-/ 

3 hours ago, jcs said:

You can also rent self-propelled sound blankets

Hahaha! :-D Love it. 

1 hour ago, squig said:

You really need a hyper or super-cardioid mic to get good sound indoors, any shotgun is going to sound a bit thin and reflections are going to be a nightmare. The Sanken CS-3e short shotgun may be the closest to usable inside but I had a listen to some tests and it didn't impress me for indoor use.

Sometimes I use my Sanken CS3e indoors when the conditions I'm given are truly TERRIBLE, such as in an active busy restaurant. Thus if the location was perfectly silent (HAHAHAHA!!), my Sanken CS3e wouldn't be the right choice, but because of the sheer background noise levels I use it anyway rather than a hypercardioid.

2 hours ago, squig said:

Hehe, I've still got my H4n, haven't used it since film school. I know the new Zooms sound way better, but I've got very good ears (I was a record producer in a past life) and I love the sound of Sound Devices. I was doing 16 track digital recording in the 90s and we used to put everything through valves to warm up the harshness of 16 bit.

Very likely because you've only had experiences with a Zoom H4n or other such handheld recorders, which is badly influencing how you view Zoom and Tascam's other products

I can assure you the likes of a Tascam DR680 mk2 / Tascam HS-P82 or Zoom F4 / Zoom F8 is nothing at all like those other ones.

It would be like looking at the Sound Devices MP-1 (one of their earliest products, when Sound Devices was viewed as this strange unknown cheaper outsider) and using that to cast your judgement on a Sound Devices 688!!

Note: I'm not at all saying a Sound Devices 702 is a bad product!! Far from it, as it is a top notch product for its time. Just in the context of 2017 and for a newbie sound recordist starting out, it wouldn't sense to buy one today (unless it was offered at a truly crazy low price!).