IronFilm

16 hours ago, PannySVHS said:

Isn't there any difference between the two? I thought there was an advantage of the S1H over the S1.

This video would explain it: 

16 hours ago, PannySVHS said:

On the one and only shoot with my S1 and TC in demand my S1 had a little tentacle box on top of it all the time, which the sound pro set up. I am so uneducated when it comes to TC. Sorry for my lack of insight but somehow I cannot push myself into learning about it so well. @IronFilm How about the GH5II?

Strangely / sadly the GH5mk2 does not 😞

Even though the GH5mk2 came out after the GH5S

On 1/29/2024 at 6:09 PM, kye said:

It's easy to tell...

When you look in the mirror do you see a long majestic flowing magnificent beard?

If so, then you might be Ironfilm, or potentially a member of ZZ Top, but if not then it's ruled out definitively.

It's been rumored I've been clean shaven once or twice before in my life. 

I think back when was born, but I'd have to ask mum to confirm this. 

24 minutes ago, Eric Calabros said:

- 20fps still RAW (14bit)

I guess that is the mechanical shutter limitation, as if the camera can record full sensor 60p raw video files, then it should be able to also do 60fps still images in electronic shutter mode 

If you're a massively big tech nerd in your job as an editor / DIT / whatever, then doing a Graduate Diploma (so you have some credentials as "proof") plus spinning  a good yarn about your background on your CV and in interviews, means you could target IT jobs. 

Alternatively, if you've been doing a lot on the producing side of things, and/or worked a lot in AD roles, then doing a GradDip in Project Management (or even going crazy all out with say an MBA???) could then (together with spinning a good yarn about your background on your CV and in interviews) make you a great fit for Project Manager roles. (especially if you sit and pass a few exams such as for PMP/CAPM/CSM/PRINCE2/PPM/SAFe/etc certifications)

Everyone's pathway out of film would be different, and they need to look hard at what are their own unique strengths and background. 

16 hours ago, kye said:

We all know that professional colourists are more skilled than the rest of us, but one thing I've started to become aware of more recently is that there is a huge gap in the middle ground between us and them.  Sort of like we're down the bottom in the 0-2 range, and the serious pros are up in the 6-10 range.  Of course, there are professional colourists who are in that middle 2-6 range, but the thing is that because they're working on images 20-80 hours a week (20 at first, but very quickly building up to 80 hours a week - they work crazy crazy hard) they very very quickly progress from that 2-6 range of skill up to the 6-10 range.  

Exactly, even if you're totally incompetent and you get yourself into a job you don't deserve it because you've managed to do a good job at faking it, then after spending ten thousand hours doing it all the time it's pretty impossible to not become good at it! (either that, or you get spat out once they discover you were faking it, and thus you cease being a pro. Survival of the fittest!)

16 hours ago, kye said:

The more I learn about the world, the more I realise what I don't know

I reckon if people are humble enough, they realize that is true for anything they learn about. The more they learn, the more they discover there is yet to know. 

I've got a degree in mathematics, yet after that I feel like there is more maths that I do not know than I thought existed before I started my degree!

15 hours ago, MrSMW said:

But then again if I could have my time over again, I would not choose the industry I am in 🤪

Are you me?

14 hours ago, kye said:

I wouldn't suggest beginning things as a colourist now to anyone - the impacts of tech evolution have barely even begun and they're practically incomprehensible already.  I'm in the Resolve Professional Users invite-only group on FB, I understand only about half the questions being asked, let alone know the answers, and the group recently decided there were too many basic questions being asked and has created another invite-only group with a higher standard.

Ha, I'm a member of that group too! I joined up to it a decade ago. I've made a couple of posts there, but nothing at all in recent years. 

11 hours ago, MrSMW said:

OK, I’m going to revise my figure to somewhere between 1/4-1/2 

I'm somewhere between 1/40 & 1/20 

16 hours ago, PannySVHS said:

What's the difference between the S1 and S1H regarding timecode? @IronFilm Is the S1H more pro or truely pro in that regard? I seem to never really get my head around TC it seems.😊

They both support timecode via the flash sync port, just like the GH5S and GH6 does. 

4 hours ago, Mark Romero 2 said:

Gotta ask why you went with the Sony wireless instead fo the G2s / G3s? I've heard a couple of people mention going the Sony route over Senheiser for their wireless packs, but they never really went in to detail why.

They're simply better. 

True diversity + more features + slimmer bodypacks. 

But anyway, I quickly upgraded to Lectrosonics. 

4 hours ago, Mark Romero 2 said:

My current audio gear, by the way, is still a disaster: Two of Tascam DR-10L, a Tascam DR-60D II, and two of Samson CO2 cardioid mics.

Ahhh... I remember the Samsons C02, it was awful, yet I did all of my first feature film with it for anything indoors. 

4 hours ago, Mark Romero 2 said:

One "legit" boom pole (well, it can be mounted in a c-stand grip head but if you tried to hand hold the thing, you would hear nothing but squeaking metal the whole shot).

Get a better shock mount?? The boom pole can't be that bad???

4 hours ago, Mark Romero 2 said:

And... I got the Deity TC-1 for timecode generation, but none of my cameras or audio gear has time code in / jamming, so I basically have to use an audio channel for that.

Nice, it's better than nothing!!

4 hours ago, Mark Romero 2 said:

I actually have a tough time lifting things. I have broken each collar bone at least twice due to motorcycle accidents and playing ice hockey. Operating a camera on a gimbal can be a challenge. I might end up with an easy rig at some point, which I am sure would look pretty stupid at a wedding...

nah, it will make you look high end  😉

2 hours ago, MrSMW said:

In that case, for something like gimbal work, I'd definitely be looking at the DJI Osmo Pocket 3.

Also a good option! I worked on an overseas Reality TV show where they used that a lot.

2 hours ago, MrSMW said:

The only thing that is really stopping me is spending 500 euros and the resale of the gimbal. 

Get the older secondhand generation of it?

7 hours ago, Eric Calabros said:

6K/60p & 4K/120p 12Bit N-RAW and record.

4K ProRes 422 HQ 10-bit MOV video, up to 4K/60p.

Niiiice!

If they have TC support too (even if via Atomos, ugh!) this would be sweet. 

5 hours ago, MrSMW said:

Yes there’s 8k 60p with the Z8 and Z9 but a bit overkill for my needs.

Plus the insane pricing

10 hours ago, Mark Romero 2 said:

In most cases where I punch in during post, I am only punching in by 40% or less.

Ninja V recording ProResRaw 4.7K from the FX30 might be the ticket for you. (maybe with a little help uprezzing/sharpening in post)

Do remember that often we can be far too critical on ourselves, and that local bakery you shot for or the local rally car team you film for, none of them are going to notice or care if you punched in on a 4K or 6K image. 

10 hours ago, Mark Romero 2 said:

Thank you, that sounds like probably the best course of action. I do need to get my body of work / show reel in order first. It's... dismal...

Yeah there is no point buying a Sony Venice if by the time  you get to the level to justify having it, that a Venice 2, Burano, and even a FX9mk2 are out already! A bit of an extreme example, but it applies all the way down. Don't get an FX6 before you're ready, if a FX30 will do. Don't get an FX30 if an a6300 will do. Don't get an a6300 if a NEX5N will do. (I literally was having this conversation with someone local here in NZ last week. They're brand new with ZERO experience in filmmaking. Of course something like a FX30 would be fantastic for them! And maaaybe if they dropped all their money on it they could get a FX30 body and a kit lens. Some people seriously do that, all the money into the body. But I said they place they should be looking at is at the NEX5N to a6x00 level, secondhand. With more erring towards a NEX5N. 

Lots of times with pro grade cameras people will have an in between stage where they're kinda-ish an owner or at least a regular user, before they actually buy one itself. 

Let's say a producer you know is doing a reality tv production and they go "right, we need half a dozen camera ops with a FX6"

Well, you'll just rent a FX6 for that production. 

Also maybe you start regularly being a wedding second shooter for a guy for a whole wedding season, and he uses a FX6/FX3/FX30 combo setup for the main cameras. So as you become buddy buddy with him, maybe he let's you borrow his FX6 when he doesn't need it? (or for a very cheap deal) 

Thus you then shoot a no budget short film on this freely loaned FX6, and you do a couple of local low budget videography jobs with his FX6 that he rents to you at a great deal. etc etc etc 

As you get more experience with the FX6 you then become comfortable advertising yourself as "an FX6 shooter" (no need to mention the little dirty secret you don't actually own one yourself...). 

Eventually you're doing enough of these FX6 jobs it makes financial sense to then buy your own. (or maybe by this point in time the FX6mk2 has came out! And you get that instead) 

You might even be borrowing/renting a FX6 for jobs that don't strictly need it, but you think both the job and yourself can benefit from it. 

That short film for instance might not have had the budget to rent a FX6, so perhaps strictly speaking you should have used your FX30. But because you believed in the director, and you have got the stars aligning that some of your other mates are going to join in too to be stellar a 1st AC and Gaffer for you on the crew, you decide to really push all out with this to get something amazing for the show reel. So you also use your connections to get the free loan of the FX6. 

Then for that local videography job where you just merely making a social media advert for some local nail saloon, it has just a low budget that sure the FX30 could have been just fine, but maybe there were aspects about it you thought "it would be nice to have a FX6" so you decided to swallow the costs for the discounted FX6 rental from a friend to use it on the shoot. That way both the production and yourself benefits from the experience of using it. 

I've seen this kind of progression / tactic play out many times with various crew members I know in the industry. 

I've done something rather similar myself with my own career as a Production Sound Mixer. 

Started out with just using my absolutely shitty / nonexistent equipment on my own short films or student films and such. (one of my first ever short films I used a monopod as a boom pole! With a Zoom H1 mounted at the end of it. Yes, it was that bad) 

Then I was doing some productions using other people's stuff, such as merely a crappy Zoom H4n (or a much better setup with a Sound Devices 302 going into Zoom H4n, still an awful setup though!). Or one particular film that will always stand out in my mind which was a Sound Devices 302 running into a Sound Devices 702T, which was very weird for me... as I was seemingly meant to be using 5x Sennheiser G2/G3 wireless with it???? And a boom! wtf

Eventually as I got to know directors, they'd leave the equipment on loan with me. After all, if I was doing every single short film of theirs, why not just let me have the gear in between the shoots? Saves them having to remember to bring it to the shoots. So that's how I ended up getting a borrowed 416 shotgun and blimp plus crappy boom pole from one one director, and a borrowed Sennheiser G3 from another director, with a G2 & G1 wireless from another, getting an Oktava mk-012 hypercardioid boom mic from another, etc. That I just got to keep at home for myself, that I could also use on any another  productions I'd do. 

Eventually I'd gradually upgrade and add to this equipment. Getting a better boom pole, getting my own Sanken CS3e shotgun, getting more of my own wireless (going with Sony UWP-D11 instead of Sennheiser G3 though), getting an AKG CK63 instead of the Oktava, etc etc etc 

(also would sometimes be renting in extra gear when needed to, such as extra Lectrosonics wireless from the rental house. Or even just simply better lav mics than the crappy stock lav mics I was using. Even for gigs that didn't request it, but I thought were paying me a good enough rate I better show up with the gear to justify it) 

I'd try to keep around the borrowed equipment from the directors even after I'd upgraded it, as it's always good to keep spare backups! But as my career progressed I'd get busier, and have to be saying "no" to these directors when they asked me to do sound on their short films because I would have actual paying jobs I needed to do so I couldn't do their freebies any longer.

Thus of course if I wasn't working for them, it made no sense to keep on holding onto their gear, so I'd return it back to them. But it helped me get started onto the track to where I am today! (with a quarter million or so RRP of sound equipment!)

10 hours ago, Mark Romero 2 said:

BTW: I still have my a6500, but I can't get decent colors out of it (not the fault of Andrew, just s-log is kind of a disaster on those 8-bit cameras)

Yeah I think in the vast majority of cases people shouldn't use a log profile if recording in 8bit, if they can avoid it. 

10 hours ago, Mark Romero 2 said:

as well as an a6000 (nice 1080p, overheats though) and an a5100 (again, nice 1080p, but REALLY overheats).

IKR!!!! I used to have an a5100, if you just simply stare at it too hard then the thing will have an heart attack and overheat. 

10 hours ago, Mark Romero 2 said:

And as mentioned have a couple of Sony aps-c lenses. Although I should probably sell them soon as long as I can still get SOME money for them???

Eh? The FX30 is an APS-C / S35 camera. 

And Sony's APS-C line up seems to still be going strongly. (ok, not as much focus put into it as say Fujifilm does. And I wish there was a "Sony FX60"!!) As Sony has their a6x00 series of cameras and the FX30 too. (oh, and the Sony ZV-E10 too! Plus any others I'm forgetting??) 

Sony APS-C is definitely not going away any time soon. 

9 hours ago, Mark Romero 2 said:

Kind of bummed to hear that they are doing the Bluetooth thing, and specifically with the Atomos Blue, as I just got Deity TC-1.

Also, noted that the Tascam DR-10L PRO is using the Atomos Blue sync as well. 

Yes, Atomos seems to have been very proactive in working together with lots of other recorder brands (Tascam Portacapture X8 is another model from Tascam as well that does Atomos only TC) and camera brands (Nikon, Fujifilm, etc) to be working together with just them. 

I really wish that others such as Deity and Tentacle would join in and make stuff compatible too. But I guess all of that costs manpower $$$$

9 hours ago, BTM_Pix said:

Oddly enough, Zoom make a product with LTC that is a great all rounder called the M4 MicTrack which virtually no one ever talks about. (Well they did a bit at the start as some early units had noise issues which has been resolved)

It is a 4 channel recorder with stereo mic with two additional simultaneous external mic inputs, all of which are 32 bit float as is the 4 in 2 out USB interface it can act as. 

It is incredibly versatile but ironically I'm at a loss why it doesn't also include the BLE timecode option as when using it handheld that would be more appropriate. In addition they have also missed a trick there as it could have acted as a BLE TC to LTC converter which would make it even more useful for cameras such as BM Pockets which have the LTC in/out.

So I'm not sure even they believe in it fully but then Zoom do make weird choices sometimes such as their music multitrack recorders having MIDI ports but don't support MIDI timecode which renders them a bit pointless for many potential owners.

 

True, we do indeed all so very easily forget about the Zoom M4 MicTrak. Another big feature about the M4 MicTrak is that it uses the same high quality preamps as are in the Zoom F Series 

If a person is a casual indie filmmaker who just uses a boom (maybe a lav) then the extra $150ish for a M4 MicTrack vs a H4essential is absolutely worth it for the better preamps and the better implementation of timecode. Of course, it's still vastly inferior to having even a Zoom F6 (but that's nearly double the cost). 

Hmmmm.... I might need to have a little think about it, but I wonder if maybe the M4 MicTrak might even be a better buy for some of the casual indie filmmakers than the Zoom F3 is??? (as after all, they have an almost identical price) 

10 hours ago, BTM_Pix said:

A word of caution about the Atomos/Zoom partnership when it comes to the Connect module for the Ninja V is that it doesn’t work.

I got the Connect in a bundle with the AtomX Cast so it wasn’t a massive financial hit but it’s annoying nonetheless as I was looking to it to provide sync of my Zoom recorders when recording ProRes RAW. Needless to say no firmware update has been forthcoming.

Which brings me to the second note of caution about their alliance which is that the new Atomos branded UltraSync Blue does not work with my Zoom H3VR due to the same Bluetooth incompatibility with their new chipset whereas the original TimecodeSystems ones do.

My F2BT and F3 with the BTA-1 module work perfectly with it but it’s a no-go for the H3VR and, again, needless to say no new firmware has been forthcoming to resolve it.

It was interesting to see earlier in the week that FujiFilm are releasing a firmware update to allow the XH2 and XH2S to join the Nikon Z8/Z9 in being able to receive timecode from the UltraSync Blue and hopefully Panasonic and Sony might join in to give the option to use their generally underutilised Bluetooth ports (for video at least) for something useful too.

That's very worrying that there are all these TC incompatibilities with different bluetooth chipsets. 

Is why they should just use 3.5mm (or even better BNC) for timecode! 

As if you simply do it the good old way of hardwired, as everything should be for TC, then I could take a twenty year old timecode box and sync it up with a modern camera made today. Or I could take a modern timecode box made today and sync it up with a twenty year old camera!

7 hours ago, sanveer said:

More like grandfather/grand-uncle. Almost seemed like some legacy business 🤣

oh that's right, it was skipping a generation, was a teenager and a grandfather 

(if you even believe it was two people behind that account, and not just one. I think the "two people are using this account" was just a way to excuse the lies they got trapped in)

Have you held an EVA1 before? It's shockingly light!!!  Basically a lightweight feather. 

For a cinema camera...  of course if you're comparing it against a Panasonic S5 you may have a different opinion! (the S5 is a third of the weight of an EVA1)

Anyway, I know that 🙂 Am just teasing you, sorry! 

1 hour ago, ac6000cw said:

It's the 32-bit float that is the attraction, as it makes audio input level adjustment on the recorder something else I don't have to worry about. Same reason I normally use shutter-priority auto exposure for video - it leaves me free to concentrate on framing and holding the camera still (or moving it smoothly).

If you're only filming outdoors, and away from street lights, that probably isn't a major deal breaker to film with shutter priority. 

But personally if I want an easy low fuss approach I'd use the 180 degree shutter rule (tweaked for if you're in a 60KHz or 50KHz country) with manual aperture and auto-ISO (preferably between a couple of limits, if I have the option to set that within the camera). 

That way you hopefully won't get that annoying flicker if you pop indoors for a moment, or shooting under street lamps at night. 

25 minutes ago, ac6000cw said:

No timecode support, but the new 'H1essential' also looks very interesting - 32-bit float recording for $99, in a package that's small enough to mount on a moderately sized camera.

Why would you use it? As a way to feed scratch ambience to the camera?? You'd prefer this over say a Shure VP83F on camera mic? 

25 minutes ago, ac6000cw said:

It'll be interesting to see how Tascam responds to this.

I wish Tascam would hurry up and update their old Tascam HS-P82 / HD-P2 / DR680 / DR701D. But I am starting to feel I might as well be waiting for pigs to fly. 

Cranky Camerman (one of the youtube channels I quite like, as he is very willing to show what life is like behind the curtains, the real world aspects of being a mid level working pro) just released a two part series of how 2023 was for him (goes into the financials too, as well as the gear aspects. He's saving up for a Sony BURANO next!) : 

On 1/24/2024 at 7:12 AM, sanveer said:

He's from Egypt. A double Doctorate in Medicine 💊 

Don't forget his father too! (or was it an uncle? Man, was a few years ago, I'm forgetting all the juicy details!) 

On 1/25/2024 at 3:22 AM, PannySVHS said:

Really nice edit on the teaser. @IronFilm Colors at display look soso imho. Andy Lee has been writing about a feature film in production which he dped with several G7 cameras. It was titled Pandora back then. I don't know if it got finished. G7 has the nicest HD image I have seen from Lumix Mft cameras, almost as high resolving as GH5 but with less edge sharpness. I imagine the GH5II providing the best HD image of all of them. If the G7 only had a 50mbit longop codec like the GH3. I had gotten some nice images out of it. Great color palette for grading.

Btw I still have mine, not used as much as I would have liked too.:)

Would love it if @andy lee popped back to give us an update about the Panasonic G7 feature film! And what is he up to now? 

1 hour ago, Mark Romero 2 said:

First, thanks for the three replies. You do seem to have a pretty good grasp of the current camera situation at most of the different budget levels.

Yes, I agree with your points. 

My needs are that MOST of the time I would be a one-man-band doing it all myself. 

And used EVA1s are fairly inexpensive (around $2,500 on ebay).

Sounds like a package of Panasonics are perfect for you right now!

1 hour ago, Mark Romero 2 said:

But...

I would also want to pick up work where I can as, say, a cam op on an agency job, or as a second shooter at a wedding, etc., and here in California, it is much like the rest of the USA (and probably the world) that agencies pretty much want Sony operators, and wedding shooters want second shooters who shoot Sony, too.

(Of course I am sure there are some agencies that want RED or Canon, but it seems most of the agency-originated jobs are going to Sony shooters. Unless I am missing somethign completely.)

Ah this is the problem then, what is right for you "now" isn't right for you now once you consider where you want to be in one, two or five years time. 

1 hour ago, Mark Romero 2 said:

I don't HATE Sony, and in some instances it would make (much) more sense than Panasonic and / or L Mount.

My only real gripes are why they don't have 6K resolution? I don't need to DELIVER in 6K, but kind of need it to cover up jump cuts (the kind of talent I work with struggles even with a teleprompter, so being able to cut to a tighter shot can cover up a jump cut... of course, I have a second camera too).

Meh, if you're shooting low budget stuff with mirrorless cameras then just punch in anyway then still use it in your timeline for an upscaled 4K export. 

Nobody else will notice or care, other than you being extra hard and finicky on yourself. 

As yeah, in the Sony world you'll need to spend at least Sony FX9 money to get yourself a 6K camera. 

Although.... the Sony FX30 does record to ProResRaw 4.7K, so if you just want "a little bit more than 4K" that might tick the box for you. 

1 hour ago, Mark Romero 2 said:

Oh, my other gripe is, why can't they put waveforms on their hybrid cameras? And why no Timecode??? (I got the Deity TC-1 and I use Resolve so I can convert audio timecode to meta data in Resolve, but still, since I suck at audio, I like to have as much redundant audio as possible and using up the audio jack on an a7 IV with the TC-1 timecode is kind of a bummer.)

Get the FX series cameras and you'll have TC support. (FX30/FX3/FX6/FX9)

1 hour ago, Mark Romero 2 said:

And I can't stand "creators" who buy sony because of the amazing autofocus, and then shoot in anamorphics on them. 

Just because a camera has great autofocus doesn't mean you have to use it all the time. If I got an FX30 I'd certainly be using the great autofocus on low budget videography jobs but then when I shoot a short film / music video with it then I'd be stealing/borrowing/begging a set of anamorphics for the day. 

Plus when Sony was #1 for the low/mid budget productions back just before I started, back in the era of Sony EX1 / EX3 then it wasn't #1 due to autofocus. 

When Sony slipped down to and held strongly the #2 position during the C100/C300mk1 vs FS100/FS700 era (& sort of F3 era), that had kinda almost nothing to do about Sony's autofocus performance. 

When Sony regained the #1 crown for the low/mid budget productions in the FS7 era (and kinda FS5 / F5 era, they played their part too)  that also had nothing to do with their autofocus performance, as it had terrible AF (almost "none" for all practical purposes).

Likewise, Sony is still #1 today in the Sony FX Era not purely due to its autofocus performance, but due to all the other factors being the primary reasons why. 

1 hour ago, Mark Romero 2 said:

Anyway, so now that I am done complaining, I will probably end up with an FX3 and an a7 IV since I need a camera for still photos (that has a mechanical shutter for firing  flash).

Heck, Maybe I will even get an FX30 since I still have a handful of Sony aps-c lenses like the 10-18 f/4 and the 50mm E OIS, and about four copies of the 16-50 pwoerzoom kit lens that all suck and I can't even seem to give them away...

My suggestion is get the cheapest a7 you can get away with. If it's an original a7 secondhand, then fantastic! (I dunno how important stills are to you, and how much of your work you do as a stills photographer. If it's major, then of course you might need better than an a7mk1! Or is the a7mk4 a body you already have?)

So that you've got as much cash free to get a Sony FX6. If you have any budget still left, then get one or two Sony FX30 bodies, otherwise just get it as soon as you can. 

Having an FX3 by itself as your "best" camera still unfortunately puts you in the same general category as someone shooting with say an a7mk3 or heck even an a6100 shooter. You get viewed as a mirrorless/hybrid shooter. Sure, you can pick up low/no budget shooter jobs as a second videographer for weddings or little short films or whatever. 

But if you want to have a shot at breaking into the more professional low/mid market, then an FX6 is the price of entry. (or at least say an FS7, although that's becoming rapidly old and irrelevant)

Do however consider if you've got the right body of work / showreel / connections to have a real shot at making it up to that next left? If not, maybe buy the Sony FX30 bodies first. Then in a year or two get the FX6 (especially as they'll be even more affordable secondhand by then), and just rent an FX6 until then if you need it. 

31 minutes ago, MrSMW said:

Well hello there. That is my middle name

Indeed it is you to a T!

31 minutes ago, MrSMW said:

just without the EVA in the mix ie, I find the combo of S1H + S5ii to be the dogs biscuits.

If the EVA1 could take photos would you get it?? 😛 🤣

A new model, the "Zoom H4essential" just got released today for US$199.

Supports timecode, but only via the Atomos (formerly TCS Ltd) Ultrasync BLUE. The new Zoom H6essential (for US$299) also supports timecode via the same manner as well.

Is interesting seeing even these very low end consumer products are now kinda supporting timecode too.

https://www.newsshooter.com/2024/01/25/zoom-adds-three-new-models-to-its-lineup/

16 hours ago, PannySVHS said:

Timecode is another thing. But better ask @IronFilmabout that as he is a soundrecording pro and artist working with all cameras available for professional film productions.

Sadly the S1H/BS1H and S1 are the only L Mount cameras which support timecode. 

There isn't a single Panasonic DPAF camera with timecode support (correct me if I'm wrong, but I'm pretty sure the G9mk2 doesn't have TC. Guess we have to wait for the GH7 and S1H mk2)

20 minutes ago, IronFilm said:

But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

You can see what I mean about them not standing still; RED just announced this:

https://www.newsshooter.com/2024/01/25/v-raptor-8k-vv-x-v-raptor-xl-8k-vv-x-global-shutter-cameras/

Has all of this: global shutter, mirrorless mount, 8K, TC, genlock, SDI, etc etc etc (you kinda sort of ish "have built in NDs", but not really. As the EF adapter can have NDs built into it, but you won't have the clear ND option. And of course no NDs if working with RF Mount lenses) 

Yeah ok, the  RED V-RAPTOR 8K VV [X] is however a $30K camera. But it will still have a knock on domino effect pushing down the secondhand prices of all the RED models below it. Making it even harder for a future Panasonic BS2H / EVA2 (or Varicam LT mk2) to compete against it. 

26 minutes ago, IronFilm said:

I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)

My bad, I totally forgot about the box-ish style cameras with NDs which are:

Sony VENICE (all versions) + Sony BURANO

Still, it doesn't change my point much, as the cheapest of those is the BURANO at US$25K. 

8 hours ago, Mark Romero 2 said:

I could certianly buy both an S1H and an EVA1 used, but I will need at least ONE hybrid camera fo some kind with good autofocus (both for video AND stills), which neither has.

If you're working solely by yourself (never on other people's productions) say as a wedding videographer or small in house corporate productions, then yes getting say an EVA1 + S1H + S5mk2 (for when AF is critically important, say when shooting solo on a gimbal unpredictable content) would be a nice little package to have!

8 hours ago, Mark Romero 2 said:

And I am concerned about the viability of using a Panasonic ANYTHING if I am going to try and get work as a second shooter (or through agency assigned jobs) since they will probably be looking for someone who either shoots Sony or Canon (or RED???) 

Of course it depends a lot on where you live, and what kind of markets you work in (narrative vs doco vs sports vs commercials vs whatever can all have very different preferences. Likewise low vs mid vs high budget tiers can have different preferences too. Ditto what's popular in Berlin vs Vancouver could be quite different) but generally speaking if you're looking to work quite a bit as a Cam Op / Second Shooter / etc it would be rather foolish to pick anything other than a Sony. 

With a very strong preference for going with the Sony FX6, maaaybe the FX9 depending on your market niche and/or budget. (some people might even be targeting the Sony BURANO, such as this guy who just posted about it this week: https://www.youtube.com/watch?v=91_psSssbGk&ab_channel=CrankyCameraman As that what makes sense for his market and the work he does) But if on a very tight budget, and the FX6 isn't viable, then go with either the FS7 or FX3/FX30 instead. 

If for perhaps you hate Sony and your joy is more important the $$$ in the bank account, or maybe you are targeting a niche where Sony isn't so big & relevant (say narrative for instance) then you can think about other non-Sony alternatives. 

For instance if you're trying to break into the narrative world and make it as a DoP (or you've already "made it" as a DoP, and you can work on productions where you can use whatever cameras you wish and are suitable for the shoot. As they've got the rental budget for it. But you want a smaller cheaper "personal camera" for yourself, so you can bring it along to passion projects you're shooting that you wish to help out) then I'd be seriously considering non-Sony cameras such as the Blackmagics (any of them) or the RED Komodo (or older cheaper models such as the RED Raven or RED Epic / Scarlet) or an older ARRI Alexa Classic (or perhaps the AMIRA). Maaaaybe the BS1H would get a consideration. 

I personally have never shot with the EVA1. 

Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason)

Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally)

So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. 

I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. 

Heck, Canon had even already launched the C300mk2!

Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7).

Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!):

1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED)

2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on)

3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you!

4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you!

5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you!

6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you!

7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you!

That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. 

Might have missed out one or two niche exceptions, but I think it's quite comprehensive. 

I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. 

The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. 

There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. 

I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)

But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. 

More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. 

Then another year or two after that we get the box camera version announced of the S1H mk2.

But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

On 1/8/2024 at 8:20 AM, MrSMW said:

I’d like to see any GH7 go modular.

That would be any future "Panasonic BGH2" (with a GH7 sensor hopefully).