Ty Harper

I've shot continuous 1080 ML raw on a 5D with a 256GB Lexar card on occasion with no issues whatsoever. This was simultaneously on a 5D Mark II and III.

As a Canadian, born, raised and making a living for 15+ years as a producer in Toronto (predominantly in radio but also in tv with a passion for grassroots indie film docs) I can tell you that while there might be some unique characteristic of Canada that is giving film/doc makers/crews the perception of an advantage to film/doc makers/crews south of the border, the comparison itself would likely sound laughable to many of them... especially when you think that Canada's entire population can fit in the state of California. You can also expect much much more laughter from the Canadian film/doc makers like myself, who are Black, Brown or Indigenous. It's one thing to be a Canadian film/doc maker/crew etching out a decent living telling and re-telling the standard White-Eurocentric narratives, but... .... I don't think I need to finish that sentence cuz we all know where I'm going with it.

Anyone know how DPAF on the 5D MKIV compares to DPAF on the 1DX MKII?

Thanks for posting! And thanks for the review @Mattias Burling I'm now leaning that much more towards picking up an XT-3.

Co-sign on Sirui! I remember 3 years ago selling my Manfrotto video monopod and buying the Sirui brand new the next day with money to spare, and it's never let me down + had way more features than the Manfrotto.

@IronFilm just picked up an F4 and wondering whether that -10 output limit (vs the standard +4) has ever been an issue for you? Other than that, glad I finally picked one up!

I honestly can't keep up with these guys. They've revamped the SliderOne series again (no more SliderOne Pro). So now you've got two SliderOne options with different weight capacities (and a $3-400 price difference at reg. price) + it looks like they've revamped the Motion Box which is now the Head One, and added a HeadOne Plus. https://edelkrone.com/products/sliderone-v2

Could be totally wrong but sounds like Edelkrone's SliderOne Pro + Motion Box would be all you need. The Flextilt Head 2 is a useful add as well. Either way with the slider/motion box you get continuous slides, ramp up/down parallax motion, timelapse, stop motion, etc all controlled via bluetooth/smartphone + the entire system's footprint is about the size of a 70-200mm lens. I've never had need for anything else.

A Canon firmware update that gives the 1DC the ability to remap its dead pixels... an ability most Canon dslrs have...

Anyone with experience with the Fujinon 10-24mm f4 OIS?

Honestly if they get this thing working for even just raw 1080p, I'd sell my MK III and buy two MK IV's, cuz those two along with my 1DC would mean I'd never need another camera again.

Can you elaborate on how you felt they weren't working well together? I've been meaning to buy the SliderOne Pro/Motion Box combo for a while now, so any first hand critiques would be greatly appreciated.

@IronFilm, @Kisaha, hoping you can explain why the G3s are a problem in your opinions. Most tv/small production houses I've seen or worked for seem to swear by them. Although I will admit I've seen the Lectrosonics used for bigger/specialty shoots.

The F8n costs about $1500 in Canada. I can get a used F4 or F8 for around $600 tho.

@IronFilm if the price was about equal, would you ever purchase the F8 over the F4?

I've got a pair of the G3s that are fine for me + I've got an extra G3 transmitter I bought for cheap, just need to pick up a receiver for it. Thanks for all your help!

As a USB interface I wouldn't be doing much recording (if that's what you were referring to). Maybe the odd v/o, or record as I continue to digitize my old vinyl. In the field it would be for talking head interviews that require more than two mic inputs as I already have a Marantz PMD661 with the Oade mod that's fine for my two-person interview needs. But sorry, are you saying the pre's on the F4/8/8n would be better than the RME FF400, or worse? And thanks for the link!

First off, I have to thank you for singing the praises of the Zoom F series over the last year or so. The H4 was the first portable recorder I ever bought and it was so bad I thought I'd never go back. Now thanks to your reviews I'm seriously considering picking up an F4, but aside from using it in the field I'm wondering whether the sound quality and audio interface functions are good enough to have it replace my current audio interface, an RME Fireface 400?

I don't think there's a direct music example that would make music people get it. I think all you can do is make it clear that while there are benefits to 4K, those benefits are separate from the industry's vested interest in getting people to embrace 4K, and that pressure they're feeling to use 4K stems primarily from strategic marketing coming from those vested industry interests. It's also tricky because in music/audio production and broadcasting, uncompressed audio is the standard format, but that's possible because the files are so much smaller. So I can see why a music person would think the higher the quality the better. Point is there aren't simple comparisons between the two mediums on this particular topic.

Was actually all for going with the 5D4 and calling it a day until I saw the rolling shutter...

The 1DX MKII has been the one I've wanted to buy for a while now. Currently I have a 1DC as my A cam with a 5D III RAW as B, and I always saw the 1DX MKII as the logical camera to get, to bump the 5D and become my B, especially bcuz of the DPAF. But everytime I see the camera size of the A7 line out in the field, it makes me think maybe my 1DC/5D III RAW can stay as my A/B cam combo and I just need to get something from the A7 line to use as a run n gun BROLL cam. That way I don't have to worry matching the Sony look with the Canon look when cutting between A and B cam interview shots. So yeah leaning away from the 1DX MKII now but it is still a great camera imho.

Nice, hope it works out! I'm looking for a bi-color option tho, and now that I think about it, I really don't want to have to be mixing LED brands.

Anyone with thoughts or experience with the Litepanels Brick One? I currently have a Litepanels Astra EP Bi-Color and am wondering if two of these Brick Ones would make for a solid 3 point interview lighting kit, or are there newer, more affordable options that might pair well with an Astra EP?

Marantz PMD-661 (with Oade Mod)

Cool! And for anyone with a Slider One + Motion Module wondering if this Motion box will be compatible, the answer from Edelkrone is no :-( which honestly seems pretty unfair.