IronFilm
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Posts posted by IronFilm
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On 12/1/2023 at 7:19 PM, The Dancing Babamef said:
Then Alamby left
oh wow, I'd forgotten about Alamby!
Wondered what she's up to, I see she's got a YT channel herself:
https://www.youtube.com/@alambyl
Hasn't uploaded however in 3yrs
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On 12/3/2023 at 12:50 AM, zlfan said:
24p is hailed as cinematic. it was just a frugal approach at the time of film days.
And after a century plus of films being in 24p, then all of us have had our brains trained to think 24p = voila, cinema!
You'd not going to undo a lifetime of conditioning of the brain for everyone in the world.
I'd say just move on, and fight a different battle that's more winnable.
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7 hours ago, stefanocps said:
So i am looking to sony fx30 which seems to me more similar to a camcorder (i talk about the way it is used). Combined wih a 18 105 i can have also the desidered zoom always connected without the need of change lens. But to remain within the budget (under 2k euro) i must buy it in tdimension site, and it is a kind of risk in the case i would need a warranty... In that case i might have some problem..i think./never bought there)
As soon as I read the first paragraph, I was thinking of the FX30 for you.
Maybe buy the lens secondhand, but get the FX30 brand new? That should keep you close to within budget
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My "one camera":
ARRI 35!
(I'd also accept a Sony VENICE 2)
If all ARRI and CineAlta cameras are excluded, I'd take a Sony FX6 please (not technically a CineAlta camera).
Or are we sticking only to say sub $2K cameras?
Would be a toss up for me between a new Sony FX30 vs a new Panasonic S5mk2 vs a secondhand Sony PMW-F5 / F55 (or maaaaybe a Panasonic Varicam LT, but that's just a little outside the budget).
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Seems that this happened a month ago, there are a tonne of reddit threads about it:
Quote"Some really nice guys here uploaded the entire content into internet archive!"
QuoteUser kaimanwong said:
'Many people hate him?!' 🤣 Aw, man, is this you, Jared? 😆
I clicked in to their YT channel the other day to have a look and was shocked to see only 9 videos left - all the boring ones, too 😆 HDR photography and 360 video?! - and I was really gutted.
Honestly, I don't know why they removed all those videos, but I can definitely confirm it wasn't a case of me suing them!
All I can say is what I've briefly covered on Twitter-X-whatever-it-is-known-as; although I always appreciate DR for putting their faith in me at the beginning, the rot eventually started to set in. The success of the YT channel and the blogging platform became a vehicle for the-person-above-us' ego; I didn't think too much of it when they started doing photoshoots and interviews with newspapers about the channel, but I can see what went wrong looking back.
Also, whenever a staff writer left, they removed all credit from the articles that those writers had written and published online, which was seriously not cool. All of a sudden, these writers had no proof of their work to show any prospective employers. Staff were treated as a number and that included myself. I didn't feel that at first but I did towards the end.
So why did they delete all of those videos? I can't think of any other reason than ego. Keeping them online is a constant reminder of past glories that they couldn't achieve again by themselves.
EDIT: Oh, BTW, re: the NFT thing. I believe they tried selling content as NFT quite some time before they removed all the videos so I don't think that they are necessarily linked. I remember seeing them try to auction off those videos as NFTs and nobody bothered bidding.
Tony & Chelsea Northrup covered it:
Linus covered it as well:
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17 hours ago, Jedi Master said:
I have the Sachtler FSB 6 MK II fluid head and the Sachtler 75/2 carbon fiber legs.
The head's specs say it'll support 17.6 lbs (8 kilos for the Imperially-challenged). The C300 Mk3 is about 6 lbs, and with a 2 lbs cine lens and 1 lbs battery, comes out to around 9 lbs, leaving a margin of around 8.5 lbs.
Ah, getting say an ARRI ALEXA Classic might be pushing it beyond the reasonable max for it.
16 hours ago, Jedi Master said:I didn't realize professional recorders were that expensive. Am I correct in assuming that the higher cost is due to better analog preamps and ADCs, reliability, and ergonomics versus a prosumer recorder like a Zoom? I doubt it's due to the digital audio section as cheap, modern ICs can easily handle 24-bit/192 kHz, which is vast overkill for audio.
Nobody can really accurately tell apart a Zoom F8 vs a Sound Devices 788T (or a F8n vs a 888) in a double blind test.
So it's more about the feature set and workflows, you can just handle more with the Sound Devices 8 Series.
(I wish it was also about reliability too... but I tend to feel the Zoom F8n has the slight edge in reliability over my Sound Devices 833! Although, I am recording to not one, not two, but three media with my 833!)
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5 hours ago, kye said:
Of course, the clash between an on-camera mic and tilt-up selfie screen is a difficult one to reconcile, as many/most vloggers view both as a requirement.
Just put the mic input on the opposite side!
Or put the mic input on the top, like the URSA Mini does! (a bit of a dumb design, but "ok" if you have a rubber cover for it?)
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On 11/23/2023 at 4:41 AM, TomTheDP said:
True though a lot of budget "cinema" lens options have an EF mount option. Even some mid range lenses like the CP3 have an EF mount option. Often times they are swappable so you can switch to PL relatively easily.
But why ever use EF if you have the option for PL????
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Me, being the tight ass I am, would recommend you go for the secondhand M1.
As why, what do you need it for specifically? The M1 is already quite powerful, do you need more?
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10 hours ago, PannySVHS said:
If a GH5 (ll)
I wonder if Panasonic would be crazy enough to bring out a GH5 mk3, that is simply identical to the GH5 mk1 / mk2, but with DPAF added! Especially if they could hold the price the same, or even better drop it slightly to fall under the magical US$1K mark. Could be a smash hit then.
(although, I would dream that they make one more addition to the GH5 mk3: add timecode support! At least like the GH5S has)
The GH7 can get the kitchen sink at it, but let the GH5mk3 carry on all that is great with the GH5, but with PDAF
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16 hours ago, ac6000cw said:
I agree the GX85 is one of those cameras where the design and features were 'just right' when it came out. Its main problem (for me) is the on-board audio is poor (terrible electrical/IBIS noise breakthrough) and there's no mic jack, so getting decent audio means using a separate recorder.
With the boom in vlogging and social media it's insane to release a camera without at least a 3.5mm mic jack
16 hours ago, ac6000cw said:Wanting a genuinely pocket-sized camera with decent video and on-board audio, plus reasonable stabilization and a mic jack, I've just bought a refurbished Sony ZV-1 (original version).
Hmmm... I should check out the Sony ZV-1 if I'm foolish enough to buy another camera in 2024
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Fascinating, they used hardwired booms! 😮 Shows how very old this is.
I guess the Lectrosonics UH400 had only came out about six years beforehand.
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23 minutes ago, BTM_Pix said:
Just make sure you budget for a decent tripod.
And budget for several lighting trucks.
And budget for a six figure sound package.
And budget for all the crew, and actors. And feeding them.
And budget for all the locations.
21 minutes ago, BTM_Pix said:Yiiiikes, that doco starts out harsh
"There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op.
Poor guy
- PannySVHS, ntblowz and Eric Calabros
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14 minutes ago, MrSMW said:
Batteries. Yuk. One more thing to charge and everything I own is internal battery.
Well, of course from my perspective internal batteries is a major negative.
I do know the Theos TX & RX can be powered via USB, but I wonder if it can also charge via USB? Nothing in the manual I just read now seems to indicate that though.
14 minutes ago, MrSMW said:So better the devil you know kind of exercise with a large dollop of KISS.
Fair enough.
(although, that logic is what kept Canon so very strong throughout the DSLR & HDSLR years...)
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21 hours ago, gt3rs said:
This was a joke for @IronFilm as he normally never compromise on audio but tends to find the most economic options for cameras. And it make sense with his profession.
Not at all true, I'll commonly be suggesting mid range to premium grade cameras. Such as FX6 / FX9 / URSA Mini / etc to ALEXA Classic / Varicam LT / etc (when it is appropriate)
The thing though is that there is a much much broader range of camera prices, and the level for "acceptable" reaches down far far lower than for audio. (such as Unsane and Tangerine, which were shot on an iPhone, yet still used a Sound Mixer with $50K+ worth of audio)
So there is a huge range of pricing with cameras that could be used, while I'm going to bring a pretty much similar audio package to a shoot no matter if it is being filmed on a P4K/FX3/GH6 or FX6/C70/URSA Mini or VENICE/ARRI/Varicam
Prosumer audio recorder will cost about $1K ish, give or take a few hundred.
Prosumer wireless will cost around $600 ish.
Professional wireless will cost over $1K per channel for the receivers, and about $1K ish to $3K ish per transmitter
Professional recorders will cost around $5K ish to roughly double that (except for the outlier that is the Aaton Cantar X3, at over $17K)
Professional mics will cost from around $1K ish, to about roughly double that.
It's a much tight spread in prices than for cameras and lenses.
21 hours ago, gt3rs said:Btw the Swiss state TV, biggest view share in Switzerland, 1.7B USD yearly budget and yet they use tons of RODE GOs and not a single Pocket 4k... so for some professionals GO are good enough but this is a complete off topic.
It's no secret MSM are some of those feeling the most crushed of crushed budgets.
But anyway, their sound needs have always been low and basic for many instances of basic reporting. Using for instance just a handheld mic, or a hardwired lav.
As you've typically got one (maybe two) people talking on camera, mere feet away. With low expectations for audio quality.
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21 hours ago, MrSMW said:
plus need a new Wireless Go as I also smashed one of the components of that in a ‘wedding based incident’.
Give a serious thought to the Deity Theos system it's only just came out. It's very affordable, not much more expensive. (especially when you factor in the extra cost factor of buying lavs for the Rode GO)
More range, better design, more features, also is internal recording (for non-Americans, such as yourself).
https://deitymic.com/products/theos-digital-wireless/
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21 hours ago, MrSMW said:
plus need a new on board shotgun mic as I smashed mine to pieces
Got Phantom Power? (Panasonic DMW-XLR1 https://www.bhphotovideo.com/c/product/1304877-REG/panasonic_dmw_xlr1_xlr_microphone_adapter.html )
Get the Sanken CSM1 https://www.bhphotovideo.com/c/product/1404643-REG/sanken_cs_m1_super_cardioid_short.html
No phantom power? Get the RODE VideoMic NTG? https://www.bhphotovideo.com/c/product/1521595-REG/rode_vmntg_videomic_ntg_camera_mount_shotgun.html Or the even cheaper Deity Microphones V-Mic D4? https://www.bhphotovideo.com/c/product/1733776-REG/deity_microphones_v_mic_d4_camera_mount_shotgun.html
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https://time.com/collection/best-inventions-2023/6324047/sony-fx3/
QuoteThe high-end cameras used to film today’s blockbuster movies can cost upwards of $100,000. But director Gareth Edwards (Rogue One: A Star Wars Story) shot his recently released sci-fi epic, The Creator, primarily on Sony’s FX3. The camera can be purchased at electronics stores for under $4,000, and most viewers won’t see a difference in quality.
https://www.xdcam-user.com/2023/11/sonys-fx3-wins-time-magazine-award/
QuoteFor the film the FX3 was connected to an Atomos Ninja V and they recorded ProRes Raw.Of course – the film went through some extensive post production work and there is a lot that AI can now do to clean up an image or to rescale it. But, I think we are now at a stage where almost every cinema camera that is in the market today, from the FX30 to a Venice could be used to make a feature film and the audience is unlikely to be aware of whether you used a $3K camera or a $75K one. At the same time I do feel that there is a lot to be said for picking the right camera. A studio based film might be quicker and easier to shoot on a Venice. A location based film may benefit from a smaller and lighter package.
Whichever camera you choose, great story telling remains the main goal. Good lenses, lighting (or the use of the available light in a pleasing way) and composition are key elements in telling that story. Your skills as a film maker are more important than the camera you choose to use, but choosing the right camera can make the job easier. It’s a wonderful time to be a film maker. -
https://ymcinema.com/2023/11/21/sony-fx3-wins-the-best-inventions-of-2023-by-time/
QuoteThe Sony FX3 has won “The Best Inventions of 2023” in the “Accessible Filmmaking” category by TIME. The obvious reason: This affordable camera was used as the sole camera to shoot a blockbuster (‘The Creator’).
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16 hours ago, MrSMW said:
Things were quite a bit different in 2019 and none of us knew what was coming in 2020 or 2021
Biggest understatement on this forum
13 hours ago, ac6000cw said:- If it's got IBIS - "It's not small enough and it's too heavy"
- The battery life is too short
IBIS would make the battery life shorter too
5 hours ago, MrSMW said:Nothing short of total armageddon will change that.
That will be 2024
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28 minutes ago, eatstoomuchjam said:
FWIW, for landscape especially, I would not buy the 10 lens kit. There's barely a reason at all to own 35, 40, and 50 (unless you want similar focal lengths for a multi-camera shoot and don't want to duplicate). Between 35 and 50, you can take about 1 small step forward and back. Between 35 and 40, you can move the tripod a few inches. 😉Eh, 35mm and 50mm look quite different! It's worthwhile to own both.
You were attacking me before over if a few milliseconds of rolling shutter in either direction matters when we're in a thread talking about filming landscapes!
And now you think 35 vs 50 doesn't matter?
Feels like very weird priorities to me!
So anyway, I guess OP could get the 8 lens package instead of the 10 lens package:
But do they want a macro lens? And now you're left with an awkwardly large gap between 16mm and 25mm! I do not like that at all. So got to buy the 21mm??
If they don't want the Macro, there is the six lens kit:
https://www.bhphotovideo.com/c/product/1602171-REG/dzofilm_dzo_v21a6pl_vespid_6_lens_kit_a.html
But then they'd have to buy themselves individually the 16mm and 21mm
28 minutes ago, eatstoomuchjam said:Those zooms seem pretty alright - with only about 2x each, assuming that DZO make a quality product, the quality should be really close to a prime.
Another option if putting out $7-10k for lenses would be the Fujinon MK series - but with the caveat that they're S35-only. They're really gorgeous, though, and whenever I see one used for a decent price, it takes incredible willpower not to mash the buy button (repeat to self, "I don't have many S35 cameras, I don't have...")The other caveats:
Mirrorless mount only
No wide angle zoom
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cinepi 2 super 8 4k raw is disrupting
In: Cameras
Posted
I can't seem to see any news about a new camera module?? Not sure what OP is referring to.
There is no CinePi 3.
Even if a 1" CinePi 3 comes out, I reckon a person would be still better of with a secondhand P4K if they value their own time at anything above minimum wage.
As the out of pocket differences between a possible future CinePi 3 and a secondhand P4K (the fact it is "secondhand" is irrelevant, it would still be more reliable than a brand new "CinePi 3"!) would only be a few hundred dollars, which would be completely swallowed up when you consider the many hours you'd have to put into getting the CinePi3 up and running from scratch