IronFilm

Well it depends... Some post software does more heavily use GPU. 

Like I said, check out the gaming build guides for the gist of it, then tweak a little depending on the specific software you're going to be using

On 4/12/2017 at 9:31 PM, Kisaha said:

No sound man in his senses would prefer a lav to a properly positioned normal form factored mike.

If you think that "you just "mike the guy" and forget about it", you haven't miked a few people on a very important shooting or TV series/Film.

Why? Mostly physics.

1) size. There is so much you can do to a wee tiny capsule to achieve great sound. The good ones, are really expensive (DPA are my favorite)

2) Placement takes time, huge amounts of experience, and always, some luck.

3) Cloth/hair/movement noises

4) wireless have frequency issues from wi fi/mobile phones/whatever - cable is limiting and can be the worst solution of the 3 (boom/wireless lav/cabled lav)

5) change of sound depending of the talents movement

6) a $250 mic (a not uncommon price for a lav mic) is going to sound worse than a microphone that cost six times more. 

On 4/12/2017 at 10:00 PM, pablogrollan said:

I'm not a sound guy myself but my sound guy takes 5 minutes to set up a lav, and if done properly -which takes experience- you mike the guy and forget about it (there are many ways to hide the mic and protect it from cloth noises).

No, you do not just "forget" about it, you stay monitoring it and ready to troubleshoot any issues at a moment's notice. 

And that experience which you mentioned.... that takes YEARS to build up!

Editing PCs are a rather extreme niche of a niche, but the good news is there is a MASSIVE overlap between what makes a good gaming PC and what makes a good editing PC. 

Thus reading how to build guides for the optimal gaming PC at the moment for a given budget, often gets you 90% of the way to figuring out a good and close to optimal build for an editing PC. 

2 hours ago, Arikhan said:

4k RAW footage with the FS700 it's a complete different universe than the on camera 4.2.0 - but I even like the 4.2.0 when shooting ENG Run & Gun. Small bitrate, easy to "quick grade" (for quick jobs)...The RAW option is only for "extra shots" I need. After looking of some RAW footage graded out of the hand of an pro and compared with F55 footage, I was blown away by the IQ of the ancient FS700...

Is this footage comparison online?

They'd keep prototypes under higher security than just in a generic truck with all the other general standard show equipment needed.

3 hours ago, wobba said:

Fake information!  The A6500 does not overheat after 3 min ...

http://www.newsshooter.com/2016/10/14/sony-fix-overheating-issue-with-new-setting-on-the-a6500/

I'm still seeing user reports of a6500 occasionally overheating.

And even if it didn't.... Thus then you could use it as your A cam for weddings, where oh where are your cheaper B cam options?? They don't exist! Not like the G7. And if you purchased 3x a6500 that would totally blow your budget.

Ohhhhh.... !!! Exciting!

But they have very tough competition however vs FS5/FS7/C300mk2

It will take a *lot* to drag away owner ops from the brands/models that producers/directors trust.

But if they can launch it at the same price as the LS300 arrived at, but with internal 4K 60p 10bit and the ergonomics of an FS5/FS7, then they might have a hit on their hands!

I wouldn't even want to do a wedding with only one shooter...  Most weddings have two shooters filming it. (A few with 3 or more...)

But I understand if some low budget shoots might do it solo.

But for the ceremony and reception you absolutely want at least two more cameras rolling on a tripod. One a big wide shot to capture everything. And another tighter shot on the couple.

Then you'd roam with with your A Cam on a monopod, capturing all the juicy spontaneous moments.

If you can get more extra cameras... That is good too! Then you can put one tighter shot on Bride side and another on Groom side, and another pointing backwards at the guests.

I've shot weddings with half a dozen cameras rolling at once. 

On 15/04/2017 at 7:23 PM, HockeyFan12 said:

Yeah, that controversy is pretty crazy. From what I recall the fall out of it was even weirder I forget what happened exactly.

I agree, I like the Alexa best. I work with a lot of footage from every manufacturer and it's always my favorite on set or in post (if you have the crew to use it properly). But if you need higher resolution and can't afford the Alexa 65 (who can?) the Red is a good option for 4k or 8k or whatnot I think. Netflix requires 4k and won't take Alexa footage and I think there are more 4k finishes these days (on higher end stuff than I work on). The Dragon isn't bad, it is a step up from the MX and I suspect the DXL is a step up from both. Neither is the F55's RAW bad, fwiw, it's really decent, and I think Sony might be doing some good work putting RAW into the smaller bodies now. SLOG3/SGAMUT 3 is not bad!

Used Alexas are under $20k these days. Rentals are pretty cheap, too. Given that you need a whole camera crew (at $400/day per AC, conservatively, then an operator at $800/day if we're talking union) to use one properly, it seems fairly priced. Even $60k for an Amira, which could be used by a team of two, is nothing next to the lenses and support gears you'd need to properly support it. I think it's priced about right and I'll often see companies buy an Alexa body but no lenses (for that reason). Even the Mini is a beast to operate, not for the faint of heart.

I wish it weren't so expensive, but I also wish I could get the same thing in an owner/op style body... and I can't. So I'm less concerned with not being able to afford it.

Used Alexas are even cheaper than you think....  They're going for $15K or less on eBay now!

On 16/04/2017 at 4:21 AM, webrunner5 said:

What do you think about the original Red One MX?? I have had a chance to buy one for awhile, I can buy the body for less than 2000 dollars. He never uses it. But he wants way to much for the whole kit. He has a TON of stuff in the kit, but half I would never need, and I can't afford that much money at one time anyways.

I have been thinking of getting just the body, and a Bomb, a power supply, and go from there little bits at a time. But I don't know, maybe their time is over with. I know they have pretty damn good DR in them, and some people think they look better than the Epic MX?? Have you worked with them before? I am sure you have.

I guess it has more to do with me being able to say I own a "Red" than any logical thing LoL. I am more of a tripod guy anyways, so the weight of the damn thing is not that big of a deal to me. I think it may actually be a benefit on a tripod. It would be just for Hobby stuff. Not making money with, I, think? LoL

I'd by a RED One MX SSD (but not if it is the original R1 M CF) with a large kit of extras for $2K!

But any higher priced than that....  Nope!! Rather do 4K raw from an FS700

What is the current situation with software for editing / VFX , is nvidia still much more widely supported than ati?

I've shot heaps of weddings and I'd never go in with only one camera.

Thus I recommend the GH5 (or G80) as your A cam,  with a couple of G7 cameras on tripods for your B cam coverage

a6500 lacks this choice of excellent 4K cameras at dirt low prices which you can match easily to your A cam

While Panasonic has the G7

On 15/04/2017 at 7:12 AM, Wulf said:

edit: But hey, they were nearly dead in 2008, too, before they launched the lowlight king D3. They have allready a chance to come back, it depends all on the next bodies (take the new 7500 not in account)

D7500 is a solid progressive update for Nikon. But yeah, won't be setting the world on fire. It is at least a year too late for that.

However, D750 and D810 are both overdue updates which should happen this year or early next year. As they're both very excellent cameras that are still top of their class now, then if Nikon pulls off a big update for them then they should have something very special on their hands when they get released.

On 4/13/2017 at 10:21 AM, wolf33d said:

anyone spending more money to get less than D7200 is out of his mind. 

You gain 4K!! (& a bunch of other features over the D7200 that you also didn't list)

With time the D7500 will drop down in price to closer to where the D7200 is currently. I'll be very tempted to buy one them myself. 
However the D500 will also keep on dropping in price.... and the D5700 with eventually show up too (hopefully with 4K?). So I could easily be tempted by the D500 above or the D5700 below instead.

On 4/13/2017 at 1:20 PM, M Carter said:

I had no idea how useful 120fps would be for b-roll, manufacturing, emotional stuff, and shooting plates for effects and so on.

Is a bummer the D5/D750/D500/D7500/etc can not do anything more than 60fps!! :-/ :-( 

19 hours ago, TARS said:

Over the last year or so, vlogging has been changing. A lot of the top travel vloggers are lugging around full frame gear, and seem to be obsessed with getting a depth of field so shallow that their eye will be in focus (sometimes) and the tip of their nose won't. I saw Louis Cole one time went to camera shop to get a speedbooster and that sigma 20mm f1.4, to put on his A7Sii in 35mm mode or whatever it's called.

 

a7S mk2 in S35 mode would be a bit silly.... can't do 4K then, perhaps you meant the a7R mk2?

19 hours ago, TARS said:

Over the last year or so, vlogging has been changing. A lot of the top travel vloggers are lugging around full frame gear

Jon Olsson vlogs on a RED 8K camera, is nuts:

7 hours ago, webrunner5 said:

I know he is not going back to 1080p anymore. So that eliminates a lot of Canon cameras right there. Ehh, Nikon ones also.

 

Nikon has three DSLRs with 4K

5 hours ago, BTM_Pix said:

I think I must've meant 18-200 

So we can downgrade that to merely massive and very very expensive!  

I did actually have some rational basis for how that could be achieved but I'm fucked if I can remember what it is now.

 

You're still looking at a lens which is likely tens of thousands of dollars, and needs rod support and probably can't be hand held by anything less than arnold schwarzenegger himself

1 hour ago, Andrew Reid said:

The DX lens range is very weak.

 

But Sigma + Tokina + others now means we have an excellent selection range of DX lenses! 

1 hour ago, Andrew Reid said:

The price of the D7500 is too close to the full frame D750.

 

The D750 is right at the end of its life cycle.....  the D7500 only just got released! (and D750 can't do 4K)

On 3/25/2017 at 3:09 AM, BTM_Pix said:

Canon have the wherewithal to make a Super 35 version of it with L optics with a constant 2.8 with a FF equivalent (not that old chestnut) of 18 to 300mm, retail it for 5K and it would probably be the last camera most of us would need or buy. Which of course is precisely why they won't do it! 

 

A lens which is S35 coverage and the FF equivalent of 18-300mm f2.8 (so a 12-200mm lens!!!) would be ******HUGE******!!!! 

And would be very very very expensive.

Any one had luck ordering business cards from Aliexpress and have tips to offer?

On 4/8/2017 at 0:21 AM, ted69 said:

I only have one camera now the Nikon D750 and was either looking to get a complimentary B-camera which I am unsure on what.

 

Go for the new Nikon D7500! Even the name itself is a good match for the D750 ;-)

ISK HP2011 are crazy good value.

1 minute ago, Chrad said:

I know a certain video camera manufacturer with a proclivity to using industrial sensors and an MFT mount camera that is due for an update. 

Is it a three letter acronym that starts with B and ends with D? ;-)

This got me thinking, any one know what is the focus throw of the older original Tamron 17-50mm f2.8? (not the newer VC model)

20 hours ago, Cinegain said:

But... I'm more of an 'a zoom covers the range of multiple primes, so it's super convenient' kinda guy. I don't really need all the typical characteristics of a cinezoom and can save me quite a few bucks by just cinemodding or just gearing stills lenses.

Exactly! My reason for wanting a cine zoom is just so I have something solid I can run in and grab a heap of shots without constantly switching between lenses too much. 

Ideally I want something starting around 16mm (18mm at worst) going to 100mm plus (but I'd even settle for as little as 50mm if the weight and price is suitably compact) which is T3 or better (although even T4 ish is completely fine if the price and weight is suitably compact in compensation), with a nice sized focus throw, & an aperture ring. Preferably I'd want this in PL or Nikon F mount (ideally swappable mounts!! Like CP.2 lenses are). 

Unfortunately nothing comes close to meeting this at a reasonable price! :-/ :-(

Except for: 

Fujinon 18-55mm T2.9 & Sony 18-110mm f/4 (or their older 18-105mm). But then you're stuck with E mount cameras! :-/

Or Nikkor 17-55mm f/2.8G & Tokina 16-50mm f/2.8 & Sigma 17-50mm f2.8 & Sigma 18-50mm f2.8 & Tamron 17-50mm f2.8, but then you lose out on having an aperture ring. Plus at 50mm they're really the minimum length and the long end that I'd like to see on such a lens (however I really should just get one of these anyway, to complete my lens collection).  Oh, or there is the Sigma 17-70mm f/2.8-4 (bit slower than T4 at the long end though, and variably aperture makes it tricky to set constant exposure! I'd much prefer a 17-90mm f4 over this instead). 

I suspect (& hope!) Samyang will be the first to fill this missing hole I want filled, that I described above.

17 hours ago, tupp said:

Looks like the fittings might be die cast.  

Why do you think this?