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IronFilm

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Everything posted by IronFilm

  1. Dude come on, that black colored ND knob makes it a totally different camera! Definitely absolutely worth the cost to upgrade from the FS5 mk1
  2. IronFilm

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    Ahhh, gotcha! Yeah, only spending money on the essentials of food or rent (although, many businesses are not spending even that! No joke, here in New Zealand TWO THIRDS of retail shops are not paying their rent. It's brutal for business at the moment. We've had a very harsh lockdown for the past month) is the "smart move" at the moment! Although, I have a couple of dozens times in the past week attempted to buy audio gear on eBay lately only to be outbid or just see it race up too high for me to even put in a bid. Ah well, I don't mind, those other bidders are saving me from myself! Even if I'd really really have liked that new Wisycom wireless, or that Rycote Cyclone windshield....
  3. IronFilm

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    Look on the upside, with the coming economic crash we're in, you should be able to buy back the gear in the future at an even cheaper price than you sold it in the past! Also you've now got the option to "downgrade" to something even cheaper that is still good enough to "get the job done". Perhaps 2x Panasonic G85, one each for yourself and your second shooter, plus 2x G7 for the locked off shots. Bargains! What do you mean by "a full set of macros"? Amazing timing! What did you get rid of?
  4. IronFilm

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    I find that to be (broadly/roughly) true as well! But reason I believe is simple: when I'm busy shooting, I'm literally too busy! No time to think about upgrades. The troubles start when I'm locked in at home, with time on my hands, and an internet connection....
  5. Hadn't planned to be part of this 48Hours, as it was announced last minute and everyone is under lockdown. But I got asked to do some lines, so I tried my hand at voice over acting! At least I've got the nifty gear to whip something together? Also an excuse to set up a workflow I'll be using on shoots once lockdown is lifted, but the coronavirus is still a health & safety concern. Likely, the lav tracks will not be the option for some edits. But what if I can still give the editor more options than just the single boom track? Thus my plan to loop my boom track over AES through the CEDAR DNS-2. Using the mono split feature of the CEDAR DNS-2, I could have one output being a soft touch of noise reduction, and the other option a harder go at noise reduction of the boom track. Thus giving the editor three tracks to choose from in the edit, to select what is best for them. (of course, ideally they should do the NR in post, but not everyone has the skill/software to do that, many projects don't have a dedicated post audio team but just the one editor doing both the visual edit and the audio at once) This video was filmed with my usual vlogging setup of a Panasonic G6 with an Aputure A.Lav running straight into it, but the Panasonic 25mm f1.7 lens instead as I had my girlfriend Helen to "operate" the camera.
  6. The Sony FS5mk2 sells for sub $5K, and with how hot the competition is from lower priced mirrorless or from other brands like BMD / Z Cam, then you'd hope they'd be shooting for even lower like a sub $4K???
  7. A 1" 4K camcorder is handy for when you're manning it. But for an unmanned camera on a tripod? You just want to hit record and walk away, without needing to worry about if it will overheat / battery go dead / time limit be hit, and that is what mirrorless cameras like the Panasonic GHx series is great at doing at a very low price. All cameras should have the time limit lifted. Why the limit of 73 minutes? Because that is what your biggest card could do?? Or something else?
  8. They already had their original ATEM Mini, I wouldn't be surprised if they had already had plans to work on an updated "Pro" version. And once they saw coronavirus sweeping the world and there being very high demand for their existing streaming gear, I think it is not surprising they'd put all their focus into getting their next product out the door in just a matter of weeks. Seems like there is nothing else which can beat the ATEM Mini Pro's features for a lower price. But it's up to you as to if that is all you need, or maybe you need more, or less?
  9. If you're shooting a wedding / musical performance / corporate event, it is nice to put down a couple of mirrorless cameras (such as any Panasonic GHx) as locked off mid or wide shots. So long as their battery & SD cards lasts, and it doesn't overheat, then that is perfect for extra coverage! And having it being a more expensive camcorder is just a waste. And for interviews, if you're just one or two person crew then it is quite a distraction from the subject at hand to need to constantly check if you're about to hit the limit. Additionally, even if you're say a four person crew, who on earth wants to interrupt an interview to re-start the roll right at a crucial moment?
  10. @Lotfi Kaz , did you fly the NX1 up into the air?
  11. This shoot was ages ago, but from memory it was a day which was MOS, thus no audio recorded
  12. Post COVID-19: "I can't wire the actors it's against the mitigation guidelines from the AMPTP, SAG and the studio. We'll need 3 boom operators and a Utility Sanitizer person."
  13. Over the years there has been a general trend to do more TV series and feature films be shot multi-camera. I wonder if (until we find a vaccine for COVID-19, or it naturally burns out) in the near future we'll see a shift back to more single camera shooting instead? Could mean more shooting days, but there could be a strong desire to shoot with the smallest minimal crews possible. As the bigger the crews, the bigger the risk someone comes down with COVID-19, causing the entire production to be shutdown! With one exception, I can see the sound department needing to add an extra boom op than they'd usually budget for. Because lav-ing a person is quite intimate, I can see for the next few weeks/months that lavs will be avoided. Thus it becomes even more essential than usual to make sure you get the best possible coverage with the boom. Wonder too what will happen to the generous film incentives these scripted productions get from states/countries? When their state budgets are already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money the state would have never got otherwise, if the production wasn't shot there). These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock out everyone who is "non-essential". Moving on from the scripted narrative world, to the corporate world of videography and also event shooting. Am expecting a rise in live streaming. Soon nearly everyone will need to offer, just like the shift from SD to HD, everyone had to offer HD. (and we're almost at that point with 4K now) Who charges extra for 4K these days? Most don't, or only a small token extra amount. So will be the case with live streaming I think, you'll either throw it in to get the job or just a modest upsell extra cost. And because an ATEM Mini Pro costs only US$599 you can easily eat that cost, as if it only gets you a couple of extra jobs that you wouldn't have otherwise, then it is worth it!
  14. I wonder if the filming incentives that countries/states offer could be revoked in the future post-coronavirus world? When their budgets for their state/country is already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money they'd never have got otherwise, if the production wasn't shot there). These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock everyone out who is "non-essential". "AMC theaters in talks to hire bankruptcy law firm Weil Gotshal amid coronavirus shutdown" https://www.marketwatch.com/story/amc-theaters-in-talks-to-hire-bankruptcy-law-firm-weil-gotshal-amid-coronavirus-shutdown-2020-04-11
  15. This Deadline article is long, but interesting. And kinda depressing. Reopening Hollywood From Insurance To Testing, Crowd Scenes & Craft Services, Here Are The Pandemic Problems Studios Are Trying To Solve Before The Re-Start https://deadline.com/2020/04/how-hollywood-reopens-coronavirus-shutdown-production-insurance-actors-crews-1202908471/
  16. Yes, 12 Angry Men was exactly one of those movies I wanted to watch with Helen! (also, what naughty thing did we get to shoved over into "Off Topic"?? Ah well, I guess talking about films isn't the same as talking about cameras! Fair enough)
  17. The US box office made just $5K in the last week of March The same time last year, it made over $200 million. https://www.cnet.com/news/the-us-box-office-made-just-5k-over-the-last-week-in-march/ That's a serve tanking of the revenue! Of course given the exceptional circumstances that is not surprising. But I imagine not many people will be rushing to the movie theatres once lockdown is lifted. How long until these numbers will recover, will they ever?
  18. Stabilize / lock-off your shots
  19. I'm disappointed how my GF won't watch anything which is B&W :-( She'll even rule out things from the 1980/1970's
  20. I'll need to hit the gym a LOT more before I can stick an F23/F900R on a self stick! (although I've got a super beefy Sirui Monopod that could handle it! Got it for my Sony PMW-F3) Those cameras on a selfie stick would make booming my usual Rycote Blimp and shotgun on a 5m drama pole feel like a piece of cake! Although, I've never used a selfie stick in my life! Perhaps my wiiiide 8mm lens and my long arms makes it look like I am using one in my vlogs??
  21. Ah I see, I wonder if Mike Krumlauf ever posts on EOSHD? Can't seem to find him on EOSHD's user list. Personally I think he swings too far in the direction of falling in love with old vintage equipment, but it is really great hearing his perspective! As it interesting seeing it from that side of things. Maybe if I ever do something as foolish as buying a Sony F23/F900R myself then I could realize I was wrong and become a convert to his side! After all I already lean a little in his direction, am a fan of Sony PMW-F3, I keep on seriously considering an "old" FS700 as my next camera, and I reckon the original BMPCC / Micro still has its place. And I'm often recommending the likes of the "ancient" Panasonic GH1/GH2 as a great starter camera for highschool filmmakers.
  22. Almost nobody is proposing that Fuji needs to massively push forward their sensor tech with a new cinema camera. (although of course when a X-T5 is launched, that should have a new sensor, and it is reasonable if a X-H2 comes out a similar time that will share the same sensor) But Fuji could make a Fuji S35 cinema camera with essentially the same sensor tech inside as the X-T3/X-T4, heck it could even keep the same codecs! (although industry standard ProRes would be good, and raw would be a cheery on top) Rather it is features like SDI, full size HDMI, LUTs on output, dual media, proxy recordings, internal NDs, XLR, TC, etc that could all be added. Yikes! 10? I remember liking to play Civilisation 1 back in the early 2000's because: 1) it's a great game! 2) I could play Civ1 from a single floppy disk
  23. ohhhh... I just suddenly clicked from watching your video that you're Mike Krumlauf! Had many times read your stuff over on other sites, but had never realized that you're @User here on EOSHD
  24. Wow. Just wow. That's AMAZING! Nikon thought up an HDSLR before there was even "HD"! Edit: nope, this is definitely a stills only camera. Would have been super cool if true though! https://www.nikonweb.com/qv1000c/ However Nikon did release the "Color Video Camera S-100" in June 1982 https://www.nikonweb.com/s100/ That's a funny quote, "great uncle of the QV-1000C" Ohhhhh... that's cool, the Nikon SVC prototype was developed by Panasonic! (Matsushita Electric) Wow. Just wow once again. They wanted to LIMIT the number of sales they made. Because every sale = a loss for Nikon So why even sell any at all? I assume because Nikon saw a future with this, and that being early to market and getting customer feedback (basically a large scale form of beta testing in the 1980's) had a long term pay off? After all later on Nikon was then first to market with a DSLR, with their Kodak / Nikon joint release in 1991. (the Kodak DCS 100 was even more expensive than the Nikon QV-1000C!)
  25. XC15 came out in 2016, which was itself a modest upgrade from the XC10 in 2015 Time for another modest update of the XC10/XC15 then? Give it 4K DCI, TC, the better lens from the RX10 series, 10bit internal, 240fps FHD, etc The JVC LS300 is also from 2015! Indeed Sony and Canon have abandoned the entry level S35 market. Long time since the C100 or FS5 got an update (and the FS5mk2 barely counts!). And they've never ever given us 10bit for sub $5K But it isn't just Sony/Canon who are forgetting about the entry level S35 market, like we just mentioned before, JVC has been a long time without an update to the LS300. Five years. Not even Blackmagic Design is active in this niche! As they've crept up in price, their latest cinema camera (not merely a S35 sensor in a Pocket body) is $6K! Their last S35 cinema camera which was sub $5K was also five years ago. And where is Panasonic? The Panasonic EVA1 is "only" from 2017, but that was much more aimed at FS7/C300 shooters (EVA1 was initially US$7.5K, now US$6.5K). And dinosaurs roamed the earth when Panasonic last gave us a cinema camera with a mirrorless mount with their AF100 series. There is an opportunity here for Fuji / Nikon to launch a mirrorless cinema camera using their existing tech (plus a little more, like NDs & TC) for sub $5K. (ideally sub $4K, or even sub $3K)
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