IronFilm

Yeah I did a feature earlier this year and the DoP owned a Boltzen, and the fan kinda annoyed me :-/ But not as much as the RED ONE did....
Looking forward to this :-)

I would recommend not to worry too much about future-proofing. Whatever you buy will be somewhat outdated in two years, and mostly obsolete in five.
You'll need to know what you need in the near future, and buy that.

I would get a MoBo with more PCI slots. They can be used for many expansions, including GPU, I/O ports, capture cards, WiFi cards, and more.
I would also get a case with lots of large fans. I've got something like 3 120mm and 2 140mm fans, which keeps it cool enough to prevent the loud GPU fans from kicking in. Lots of large fans => low RPM => less overall noise.

Be warned the C500 is bloody noisy. Although some people have had good luck with using an external fan which is much quieter so that the C500 doesn't get hot enough for the internal one to kick on. 

I like some of Von Trier's films, I've not seen all of his movies, but there is something to be said about a man who keeps making exactly what he likes regardless of the criticism he's faced over the years. Cannes is simply not the audience for him. I'm working there this year, filming on the red carpets, junkets etc. There's not many fantastic films here compared to previous years, and the ones that stand out tend to be very 'leftist'. A few that spring to mind are 'Girl', about a transgender ballet dancer, 'El Angel' about a homoerotic gangster (based on true events) and 'Sauvage' about a rent boy looking for love. - None of these are competing for the Palms, but 'Girl' in particular is expected to run as Belgium's foreign language Oscar next season. On top of that, 'Total Recall's Paul Verhouven - also of 'Black Book' and 'Elle' announced his next movie, a love story about lesbian nuns called 'Blessed Virgin', which he assured buyers will not be pornographic, but artistic. Oh and then there was 'Star Wars' of course.
With this brief list, and of course there are films I've missed out, but where does a hyper violent art movie fit in? Von Trier has never really been loved at Cannes and has previously been banned by the festival after his bazaar nazi comments in the press conference for 'Melancholia'. They're simply not his audience, but as long as they keep accepting his films, he'll keep playing them there. There's no such thing as bad press, and for a Von Trier it almost seems like negative reviews from the press make his real audience want to watch them more. 
If the general public and movie press don't like a film, then they simply don't understand it right? Luckily, those who can see the subtleties in the art of genital mutilation will stand by their loved Danish director, regardless if they actually like the film or not.
Lars has made a name for himself and in many ways, that name is more important than the films he makes. He could piss in a bucket and people would watch it. And honestly, if its filmed like the first scene of 'Antichrist', I'd probably enjoy it too.
Sorry for the rant, but to me Cannes rejecting a Von Trier movie is just not news. If they applauded him after the screening, then I would have been surprised.
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TLDR: just a whole load of BS really
 
 

I agree.  I don’t personally care for Von Trier’s films, but that’s about as irrelevant as it should be.  There is too much influence portrayed as a universal acceptance in cinema simply because of the bandwagon.  I saw Black Panther because I felt like I was the only person in the world who wasn’t hash tagging how amazing it was....  Bullshit.  I felt like I was “supposed” to like it because if I didn’t, that was racist.  I just didn’t.  The fact that it’s a problem these days if you don’t, and not prioritizing the acceptable cool kids club agenda - is more offensive to me than anything Lars will ever do and I guarantee only about 10% of the 100 critics who decided to walk out of the movie were just not interested.  The rest probably left because if they didn’t, what does that say about “them”.  Get a damn load of Gasper Noe..  lol

I don't think the majority of his work is even meant to be enjoyed. However in all of the Von Trier films I've seen, I've felt an intelligence and deep layered meaning was there behind all of the graphic scenes. If certain things are to be censored like sadism, then it means certain stories can't be told and I don't agree with that. Of course, everyone is entitled to an opinion on a film and whether they enjoy it or not is up to them. It's hardly going to be a date movie is it? But to get hysterical about it and walk out of the cinema like those 100 at Cannes is more likely a result of these people not really seeing beyond the surface.
As for left vs right politics, let's try not to get into that here, because it isn't really what the article is about. The left has gone more extreme, has gone hysterically politically correct, but the right has gone more extreme as well and both sides at their most extreme are as batshit crazy as each other. I don't support any form of political extremism either left or right. What I do support is the freedom of the filmmaker to make a film of his choosing without censorship.

Articles about creative processes are boring. Because they usually have absolutely nothing to do with creativity at all.
If you really want to know how an artist's mind works, look no further than the highly controversial Cannes visits of Lars Von Trier.
Read the full article

Indeed! Give me a heads up when you're in the area. 
 
 

Indeed! Give me a heads up when you're in the area. 
 
 

It is very strange that a product so late in its life cycle is getting such a significant push behind it. 
I am going to put on my tin foil conspiracy hat (my favorite hat to wear!) and put forward a theory:

The JVC LS300 mk2 is not too far away down the road...  perhaps nearer the end of this year?

However the JVC300 never saw the success it deserved, thus JVC is behind the scenes trying to give the LS300 one last push to gain attention for its efforts to then use as a platform of existing interest in JVC cinema cameras to build off from when they launch the LS300 mk2. 

Rather than letting the JVC300 languish and disappear, then having to restart again from scratch in getting people's attention to be interested in the new LS300 mk2. 

Just saying. 
Exactly.... it is so weird this sounds like a conspiracy! ;-)

Hang on a minute - I never agreed to that!!  
Show me evidence in writing!!  **jumps up and down demanding evidence in true EOSHD style**
 

Heh, I  just today got asked "WHAT ARE YOU DOING??" when I pulled out my iPhone to snap a few pics in a pet shop to send the pics of kitties to my gf on my FB messenger. 
But once I explained it to her though, she was all cool with it. 
Anyway, my point is you can get given sh*t for using ANY camera! Just ignore the haters. 

Oh WOW, just WOW,  what a tremendous fvck up by the post house. And it took a whole MONTH to resolve that?? They should be ashamed to call themselves a "post house". 
Unfortunately not only do most people not appreciate what goes into the sound department during the shoot, but they don't understand that it needs to also be properly handled in post as well. Just like what is shot in camera isn't magically the same as the final resulting video, but it needs to be carefully and skillfully edited together, and have a good color grade done, and VFX etc etc

Likewise  post sound is composed of a tonne of different distinct roles such as:
Dialogue Editor
ADR Recordist
Foley Artist
SFX Editor
Composer
Sound Designer
Re-recording Mixer
Etc etc
Expecting your guy who cuts the visuals to also do the sound post is like expecting on set that your 1st AC would also be a great boom op. Likewise to expect your composer to be a great dialogue editor is like expecting your steadicam op would also be the best choice as a drone pilot. Sometimes people have skills in both areas, but it is totally wrong to assume that. 
 
Every year I greatly enjoy doing the 48HOUR film contest (during which you must make from scratch a complete short film in only 48hrs, from conception, to script, to filming, to editing, to submission by the deadline). 48HOURS is extremely popular across the country, with hundreds and hundreds of teams entering just in my city along, let alone the rest of the country:

https://www.48hours.co.nz
At the start of the competition each year (when the 48hours starts ticking down) each team gets given randomly an assigned genre along with certain requirement elements (props/sounds/actions/cast/lines/etc. You can see this year's here: https://www.48hours.co.nz/news/genre-elements-and-ultra-2018/) which must be in the final submitted film (there are also a bunch of other requirements which are the same for all teams, such as what fps / resolution / max length / etc that the film must be). 

Naturally such a format means you tend to have smaller teams with an extremely fast turn around (under forty eight hours!), thus of course a lot of compromises have to be made. 

However, I was bitterly disappointed in how the audio turned out last year on the team I was on. Because while we had a professional editor who does this full time as a job, he comes from a background of editing picture for reality tv (I heard some horror stories for sound from him!), thus his expectations/workflow/standards/mindset for sound is radically different from what you'd want for a narrative short film. 

This means when I got to experience our film for the first time (as I missed seeing it at the heats due to work) at the Auckland Finals (one of only a dozen films chosen) I got quite the shock (although those who had heard it in the heats did give me a heads up beforehand). I wondered if our editor had painted on ears? I dunno. Even so, at least it was good enough we made the Finals, and even into the Grand Finals of the entire country wide competition.
So even if you have a great sound recordist on set, your final sound in the film will be far worse than what it can be if you don't take the same care with it as you do with the visuals. 

Thankfully they did teak the audio a little before putting it online, thus the audio wasn't quite as awful as I experienced in the cinema, this was our film from 48HOURS 2017:
 
 
This year I thought I'd be missing out on 48HOURS for the first time, as I had to choose between those dates or being able to work on a feature film. Obviously I took on the feature and the paid work. 

However at around midnight on Thursday night I discovered Friday/Saturday/Sunday's shoots was cancelled! (due to rain) Thus I was in the strange position of having a weekend free for once, what to do? Then I remembered, of course, 48HOURS! So at the very last minute I looked around for a team to join as their sound recordist (I'd had heaps and heaps ask me in the weeks coming up to the competition, which I all sadly had to turn down due to the clash with the feature film I'm working on), and on Friday morning (the event starts on Friday! At 7pm) I got confirmed onto a team. 

I was hopeful this year would go differently, as I'd joined quite a good team, in fact they were the countrywide winners of the entire competition last year with their film "Under the Bridge":
However after principle photography wrapped on Saturday night I realised from discussions with others on the team that the guy they had coming in to do post sound tomorrow morning after picture lock was someone primarily with a music/composing background and thus I was immediately starting to develop deep concerns about this year's dialogue editing as well.
As a sound recordist your primary job on set is to "protect the dialogue", everything else in your job is secondary to capturing the best dialogue you can under the circumstances. So in a way I decided I better on carrying on protecting the dialogue another step further as it passes through post. Not ideal, as my practical experience as a dialogue editor is right next to zero (but I have been reading through a textbook on dialogue editing: "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art", dabbling a teeny teeny bit in a DAW: REAPER,  and hanging out in various sound post forums. All of this significantly motivated by my bad experience last year, I didn't want to leave sound post at risk in someone else's hands again. But I'd been too busy and 48HOURS came around surprisingly earlier than usual this year, and so I hadn't got around to mastering dialogue editing at all in time). 
So I proposed that I (together with Josh our picture editor, who kinda had some spare time after picture lock, as he wasn't handling the grade at all, rather they had a specialist color grader coming in just for that do it in DaVinci Resolve with a BMD grading panel) focused specifically on doing the dialogue edit, while their post sound guy focused in on doing his composing together with the overall sound design and final sound mix.
Really needed Josh's assistance though, as I have no experience with Premiere (what little video editing I do very occasionally do, is done in Vegas) and his computer was the only free computer there anyway to do editing on. But by guiding him along (read: "micro managing" :-P ) with identifying where the issues are and pointing him to how and where solutions existed (seriously, if not for me, I bet he'd never have even glanced once at my sound report file! Even though I gave him the heads up a sound report existed every time I offloaded files to him during Saturday's shooting).

However in the end I only managed to do one very very quick and rough first pass through the dialogue of the film (ah well, better than nothing!), as in the end I got dragged away by the director herself as she instructed me to do foley and SFX that was needed (WHICH NEVER GOT USED!! Even though Josh & myself not once, not twice, but three times ran upstairs the files to him for the sound design / mix, but he claims he never got them?! I to this day do not know what was going on....  In the end I saw him recording with a handheld mic in his noisy room the extra sounds he wanted, and I just bit my tongue... as I knew my objections would just be overruled by him, the producer, and director. Plus we were running very short on time by then so anything I said that I knew wouldn't happen would just be wasting time and thus be bad for the team overall. Thus my best course of action would be to walk out of the room to keep my thoughts to myself. Although it sure feels good to let them out now....). Oh and btw, although I did the foley and SFX (which never got used....), there was no need for me to do any ADR! ;-) Because I'm awesome. (and modest)

And that is the end of my tale about how sound post is important, don't neglect it!

</rant>

Addendum, I did some BTS videos during the weekend:


Also from my SECOND team that I was on that weekend (this was done after principle photography wrapped on Saturday evening for my main team, and then I returned to their base on Sunday morning before picture lock), I must be just a little insane to chose to do such a thing, and I barely slept that night:
 
 
 
 

Agreed also with your original point that I got, I was just further expanding upon it :-)
 

Q:What is better than being on a 48Hours Team? 
A: Being on *TWO* teams at once!
As I worked late through the night and barely slept... But by my own choice, because I'm certifiably insane! As after we wrapped I then went and joined another team to do their sound through the night....
 
 
I must be mad. 
 
 
Then after a very late finish last night with the other team, I got up early in the morning to help on sound post for my main team for 48Hours! We're getting closer, the finish line is creeping up.

From the article :
"A North-American company, producing special cameras for the movie and defence industry - Photo-Sonics, founded by Adolf Furer in 1924 - used many Nikkors with special converted mounts."
Boy, that was a hell of an unfortunate name to have a few years later.
Reminds me of this 

Nikon's Cine lenses
http://www.nicovandijk.net/cinelenses.htm
 

Q:What is better than being on a 48Hours Team? 
A: Being on *TWO* teams at once!
As I worked late through the night and barely slept... But by my own choice, because I'm certifiably insane! As after we wrapped I then went and joined another team to do their sound through the night....
 
 
I must be mad. 
 
 
Then after a very late finish last night with the other team, I got up early in the morning to help on sound post for my main team for 48Hours! We're getting closer, the finish line is creeping up.

Thought it would be interesting to share the BTS videos we take on shoots. 

This is BTS from a car mount shoot, and what I did to capture the audio:
 

LOndon is a complete nightmare (especially the public/private land thing), but where I am in Bristol, no one cares. I've even had 2 Policemen stopping whilst I was filming so as not to walk into shot - I was using the BMPCC with a K3 pistol grip/shoulder mount & probably looked like we were filming tourist stuff. As far as photography is concerned, there's a 24hr photo competition & you get given a time slot to take a photo - never heard of anyone being stopped or the police being called, but they do have better things to be doing & you hardly ever see them walking about these days.
If you are filming with a crew, whether it be 2 or 5, it's really easy to get a permit to film & doesn't cost a bomb. But i've shot loads of stuff & never been stopped - quick & discrete is the rule of thumb. But in general, where I am, no one is going to approach you or call the police - perhaps we're just a little bit more chilled as a city.

The problem in the UK isn't caused by the real Police but by the private security companies.
The Police (by and large) know the actual law about theses things and if they don't they can at least be reasoned with in regard to you asking them specifically about which laws you are breaking.
The private security companies think they know the law and also, bizarrely enough, think they have the right to enforce them, both the real law and the ones they think should be law.
The really stupid thing here - which should be blindingly obvious to both the real Police and the pretend ones - is that because of their overt paranoia about photographers then anyone who is genuinely up to no good will of course never be carrying a camera and a tripod because they run the risk of being pulled.
One thing that you do have to be careful of is that, increasingly, what you think is public land in the UK actually isn't, often due to council's selling off areas for development to private companies. It might be a public space and have no deterrent to access but its not actually publicly owned so in that instance the private security companies are well within their rights to ask you to leave. 

Bizarrely enough, I have a use case for it exactly as they show it with their 14mm lens that means I might well buy it!
Or two actually !

Basically, taking a fully fledged DSLR for the goal cam shots is a waste of camera, lens and packing most of the time.
To get proper coverage you ideally need two (which hardly anyone does for obvious reasons) so a lot of the time its a bit of a lottery as to how successful the image is as you have to go very wide and crop in depending on which side the ball goes in the net etc.
They are also a right royal pain in the arse to set up as you have lie down on the (often soaking wet) pitch to set the framing and then there is the issue of getting the images off them in any sort of timely manner as you aren't allowed to access the pitch until half and full time (hence the enormously long ethernet cables you can see which lead back to the main photo positions).
All in all, they are a hassle and of course you are going to have to get lucky to get something different from everyone else but they are a necessary evil and I've tried numerous different strategies to ease the process (especially the framing issue without getting soaked) but its still a pain.
So.....
Looking at that module, it might be a bit of a godsend if its the right price.
If the camera is say £200 then the package with their 14mm lens (which will give 28mm if its MFT) would be just over £500.
So for £1000 (way less than the price of any lens you can see there!) you can cover both sides of the goal with something much, much smaller to carry round.
With it connecting to a smartphone then the framing issue is sorted because you can do it standing up.
As a smartphone is part of the deal then that means it would be eminently feasible to automatically ftp the shots wirelessly to the editing computer.
The only missing link then would be the triggering but if there is one company that know a bit about triggering remotely then its YongNuo.
If they built a triggering port in to it (which I'm guessing they could because it is likely to have a USB port) then it would cover every need that I would have for it.
Unless it does like 1fps or something stupid obviously
 

Did I ever share this recent video?
Not only are we shooting with an Arri AMIRA in public, and I'm fully rigged up in my sound gear, but heck the producer even goes and asks the construction road workers to stop! You can "get away" with an awful lot. 

Nah, not really at all, because it doesn't provide phantom power. Sooooo.... you'd still need to lug in something like say a MixPreD, defeating the entire purpose of trying to use the EXH6?! Or at least in that situation. 

Having said that, I do indeed own a EXH6, as it is quite useful for a totally different purpose (accessing 5/6 on the F4).
 

"Reviews" be default tend to be quite positive, especially when it is a flashy new toy. 

And yeah, people get wowed by its "swiss army knife" nature. Yet in reality I think it would have been better off if it tried to do just one thing WELL, and take head on the DR10L/PDR. 
 
 
Smaller, size is everything with a bodypack recorder. 
Also no safety track. (arguably essential if you're unable to monitor the audio!)

A deadly double blow to the F1.
 

New the H6 is $350, new the F4 at B&H is $450. That difference is nothing when you think about what a steal the F4 is.