IronFilm

Ty Harper, the H4n had shit shit pre amps. But the H5/H6 pre amps are a leap forward.

And the F8 preamps are better than anything Zoom has ever made before!

And the F4 pre amps are the same as the F8.

They show their F4 with a a terabyte of storage in it!! :-o Holy crap. 

My blog post on this news: http://ironfilm.co.nz/news-leak-zoom-f4-with-six-inputs-and-eight-tracks-is-like-a-new-low-priced-zoom-f8/ (some of it repeated below)

News got leaked accidentally by B&H that a new Zoom F4 is coming.

I think the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8!

Here is the blurb and specs list from B&H (page is currently down, you need to use Google cache to view it):

Quote

 

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4" inputs, a 1/8" stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other.
Each of the four XLR-1/4" inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4" headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8" stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9" LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

Six-input / eight-track multitrack field recorder with integrated mixer

Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input

Compact and lightweight metal chassis, weighing just two pounds (without batteries)

High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs

Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution

Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync

Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector

Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel

Phantom power (+48V/+24V) on every preamp

Advanced on-board limiters for input and output

High-pass filter, phase invert, and Mid-Side decoder

Input delay of up to 30ms per channel / output delay of up to 10 frames per output

Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning

Dual XLR balanced Main Outs plus 1/8" stereo mini-jack Sub Out

Dedicated headphone output (100mW) with front-panel volume control

1.9” white, backlit monochrome LCD

Dedicated PFL display with viewable trim settings

Dual SD/SDHC/SDXC card slots, up to 512GB each

Records in BWF-compliant WAV or MP3 file formats

Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.

Built-in tripod mount; camera-mount adapter also included

Use as a 6-in/4-out USB audio interface (@ 96 kHz)

 

46 minutes ago, Cinegain said:

I mean, ideally I would've gone with a field monitor/recorder combo, but the one I want, which is the Videodevices PIX-E5(H) is a little bit too high up there for me to really consider.

That is the one I also really REALLY want! :-D

Anyone heard of any overheating issues with it?

Yup true, should've mentioned the D5500 as well.

Nikon D3300?? Video quality is on the same level, but is very cheap, and lighter/smaller than the D7100.
It would be a rather painless transition from a D7100 for you, and it would be a perfect match for each other when you want to do multi cam shooting.

My suggestion of cheap but good monitors from a very low price to somewhat more:

Feelworld FW759 => Aputure VS-2 FineHD => Lilliput Q5 => Neway CK550S => Blackmagic Design Video Assist => Feelworld G55 / G70  => SmallHD 502

5 hours ago, John Brawley said:

Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM.

Thank you!! Hope you're also lobbying them for an URSA Mini 4K MFT?? :-D :-D 

So? What does a short shot with one camera say about another different camera? Not much, if anything at all. 

I think you are seriously overrating the one feature of the BMCC (2.5K raw), and radically underrate the lengthy list of pros of a BMPCC/BMMCC.

For example size, if you actually shoot with each other them you'll appreciate how much just that one factor can impact your shooting. Especially when shooting ultra low budget productions with a skeleton crew, then extra camera weight/size can truly limit yourself. You need a totally different level of support gear and more when it comes to tripod/monopod/gimbal/steadicam/car-rig/sliders/etc. & that is just one example (slow motion, electronic mount, and lower costs, are just a few of the others)

Anyway, go ahead and get a BMCC MFT (****NOT**** an EF mount!!!) if you must, is still a damn fine camera

On 9/4/2016 at 5:09 PM, Damphousse said:

Just in case anyone wants to know the real deal here is a document discussing Neflix's criteria and approved cameras.

Approved Camera List

Canon C300 Mk II
Canon C500
Panasonic VariCam 35
Panasonic VariCam LT
RED Dragon
RED Weapon
Sony F55
Sony F65
Blackmagic Design  URSA Mini 4.6K
Blackmagic Design  URSA 4.6K

And of course this caveat...

Secondary Cameras:

● Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) must be  approved by Netflix. 

● Test footage should be shot and provided to dailies and post­production to ensure compatibility with  primary camera.

 

Absolutely nothing about accepting the GH4 while simultaneously rejecting an Alexa.

Netflix Originals Cameras.pdf

Kinda strange neither F5, FS5, or FS700 raw is on that list!
RED MX cameras are also not listed.

Video shot with a Nikon D5 (a BTS of a D500 photoshoot):

7 hours ago, enny said:

And those arri cameras are shit they only shoot 2.8k or something and dont get me started on panavision cameras

Seriously enny?? That is an incredibly clueless statement to shit on Arri cameras because of their resolution. 

2 hours ago, Jonesy Jones said:

Kino, you can't have expertise and anonymity at the same time. 

Maybe Kino is from Egypt?

7 hours ago, enny said:

resolution between 1080 and 2.5k? i there a really big difference specially raw

Not really, no.

Yes perhaps you can pick it out sometimes in side by side tests but practically speaking that never happens in reality. So in real life usage it would be almost close to impossible to tell the difference. 

And ditto there is no real notable difference between the two in terms of control over DoF.

Personally I feel the sensor size (especially once combined with a focal reducer) and resolution between a BMCC and BMPCC/BMMCC is so minimumal it is not worth giving up all the benefits of a smaller size AND paying more for a BMCC! It is a lose-lose proposition. 

3 hours ago, TheRenaissanceMan said:

Both cameras record 4:2:0 internally. The biggest advantage of the GX85 is IBIS. The footage from both cameras is identical.

He is referring to the future G80 not the GX85

Look into replacing the H6 with a DR70D, heaps cheaper and I prefer it.

Replace the GH2 with a G7, great camera that can be found for very cheap 

1 hour ago, enny said:

Thanks but i am looking for 2.5 raw and dont care about slow motion at all and dont have money to spend on new lenses working with what i have

Why 2.5K raw? It is a very oddball number!

What lenses do you have currently? 

On 8/25/2016 at 8:01 AM, theSUBVERSIVE said:

As an add-on to this topic, JVC could launch a new LS300 or even an LS500 or something with better built, FS5-like modular design and slow motion. From what I've seen after it got the log firmware update, the LS300 is a pretty good camera, it just lacks 120 fps and IBIS.

A JVC LS500 with 10bit internal & FS5 size would be smashing!

On 8/25/2016 at 3:07 AM, sudopera said:

Why is it a problem, Nikon mount lenses + Nikon SB, except if you already invested in something else.

Or this.

On 8/25/2016 at 2:24 AM, wolf33d said:

So I might grab a D810 + GH5, but then 2 cameras with 2 systems of lens.... And my main use is travel (think 5-10 days trek in Rockies, Patagonia, Iceland, ...) so I am quite pissed. 
I tought the A7RII was the one. Bought it, traveled 2 weeks in Cuba and it appeared it was not enjoyable to use (such a pain to switch from stills setup to video setup, poor ergonomics, etc). But here we are the GH5 might be the best camera on the market for its size for video, and the D810 is the best world landscape camera under 20k$ (phase one anyone..?)

Why not an a7S for video and an a7R for stills? That way you have two bodies, but get to share the same lenses.

On 9/2/2016 at 4:49 AM, Kino said:

So it's just a coincidence that the BMD 4.6k sensor and the Fairchild 4.6k sensor have exactly the same specs and were released at the same time, right down to the switchable global/rolling shutter we were originally promised in the Ursa Mini?

My guess/assumption is BMD was very heavily involved in the development of this new sensor, and to help Fairchild recoup some of the costs they've got permission to sell it to others after BMD has used it

On 9/2/2016 at 4:49 AM, Kino said:

In fact, their CEO, Jarred Land, makes this claim about RED's sensors and boards:

....

Essentially, you are arguing against his position, which I have simply restated here.

Right, so you're a RED repeater fanboy? And Jarred's word is gold. 

There is exactly zero chance RED has their own sensor fab.

They'll outsource this part, just like BMD/Nikon/Canon/Arri/etc

On 9/3/2016 at 9:31 PM, Grimor said:

No reason to buy now a G7 when G80 is knocking out the door.

yes there is still reasons.... it is dirt cheap! Even cheaper than what a G80 will be when announced.

Get yourself a Blackmagic Micro Cinema Camera. The more compact form factor, 60fps slow motions, are all big gains over the BMCC. (2.5K is only in raw from the BMCC, at all other times it is 1080 same as BMPCC/BMMCC(

Get native mount lenses (such as the T0.95 lenses from SLR Magic) or use a focal reducer (for near FoV of S35).

(reference: I own a BMPCC, shot part of a feature film with a RED One MX, and use a BMCC as well)

On 9/2/2016 at 5:30 PM, SullyCortez said:

Once again this clown thinks he can get away with this nonsense please Andrew call him out publicly - https://youtu.be/FrYui231Wyc

HAHAHA, in the menu it has an option called "Zombie Game"! lol, need we say any more? Enjoy the video for what it is

Ah yes, it does look rather like that.