kaylee

Hmmm... just widely speculating here, but I wonder if there is some kind of USB-C Hub a person could use together with a USB-C to 3.5mm headphone dongle????
 
That's why the Deity Pocket wireless comes with a lav mic as well. You can easily hide that. 

edit: omg im such an idiot... you plug your tiny lav mic into those things 😂 oops lol

Docos can be a logistical nightmare in terms of managing all the disorganized data, so it is in order. 
Thus a bodypack recorder is a 100% bad idea for you (unless... maybe, if it has timecode. And that the camera always has a timecode box too. This actually makes the bodypack recorder setup more expensive than you think, and closes the price gap vs say a Sony UWP-D21). 
You're better off recording the audio directly to the camera itself, so as to keep it simple for yourself. 
 
Are you going to shoot a lot of it with your cellphone do you reckon?
I'd suggest the Deity Pocket wireless for you. 
https://www.bhphotovideo.com/c/product/1665635-REG/deity_microphones_pwb_pocket_wireless_digital_microphone.html
They're a much higher RF power output than any of the direct competition (*cough* Rode *cough*), has an essential locking 3.5mm connector which again a lot of their competition lacks (*cough* Rode *cough*), and comes with a lav too! Another bonus many of Deity's competitors don't give you. (*cough* Rode *cough*)
 
Yes, headphones (or even just earphones, is better than nothing!). Hopefully your phone & cameras all have a headphone output?? 

For something that simple you are probably going to want to look at phone bluetooth lav mics. I don't know anything about them but that's where I would start then read the reviews and watch a few YT videos to pick the best one.

I have one of these and I only use it as a secondary mic for weddings. I mic the groom and use a Sennheiser wireless transmitter to the XLR input on my A cam, then I wire a second mic using this Tascam. If the wireless signal drops for some reason I still have a safety track, and the Tascam is set to record a primary track and safety track at -6dB below the first track.
I then add a 3rd recorder to the DJ's or venue mic via an elastic band. Long story short, as @IronFilm stated, there's no way I would trust this or any other setup where I had no way to monitor the audio. However, if you are filming something like a wedding where you only get one chance, then the Tascam is a good backup plan if and only if you also have a primary that you can monitor.
I have heard good things about the Rode Wireless Go II, a friend of mine uses them for all of her weddings, but I don't have any first hand experience with them.
I personally went with the Sennheiser Pro body packs and they have been rock solid. All I do is add the batteries and turn them on, haven't changed a thing since I first bought them. In fact, its been so long since I've been in the menu system I probably at this point shouldn't change anything.  They just work....every single time with no interference or drops.

I have a Tascam DR-10L and love it within its limitations. Lately, the kit I've used for almost everything is the DJI Wireless Mic. Two transmitters and one receiver, onboard recording, mic jack for lavs, good reception, great battery life, charging case, excellent user interface. I really ticks all the boxes for me as a solo run and gun shooter. 

I had the Tascam and whilst it worked it was good. But… it stopped recording sound one day and since then I’ve never trusted it. I found other people online who have had the same problem. For critical sound you should get something you can monitor.

It's very popular with wedding videographers in part because it can record a safety track you can use in the event the person mic'd up gets too loud.
If that's your budget ($180) then that's a very good option. You'll get "good enough" audio straight out of it, and even better if you do a little post processing. 
If you do have the budget the Tentacle Track E is a great option, due to the timecode feature and the option to record in 32-bit float, which can be a life saver in the event someone gets too loud. 

The audio guys (IronFilm) are going to scoff at me for this suggestion but I've had good experiences with the Rode Wireless Go II on small little projects I've done in the past that have not allowed for more expensive setups. 
The Transmitter records so that if the signal to the receiver drops out (and it doesn't take much to get it to drop out) you still have a 24bit audio recording.
It has quite a few shortcomings, mainly being the non removable recording media so you need to make sure you transfer the files before they get overwritten (7hrs in High Quality 24bit mode), no Timecode support and the requirement of using Rodes rather clunky software to transfer the recordings but if you treat it like a small recorder that can transmit just for monitoring then I think you will be pretty happy with it. Use a slate to mark your takes for easy syncing in post.
I've also used it paired with a Sennheiser HS2 headset microphone to record an exercise instructor and it sounded great. The small, lightweight form factor was a cinch to hide in the instructors active wear....where I don't think I would have been able to use a heavy sennheiser G4 or Sony UWP.
It's also pretty cheap.
What I don't like about recorders that don't transmit like the Tascam, is that you can't monitor the sound so you will not know if the lav capsule is rubbing on clothing or pick up on any other issues you may get. 
Learn the Wireless Go II's limitations and work within them .....used with a good lav I think you'll be surprised with how it can sound.

Of course I'd strongly recommend using a wireless instead (as bodypack recorders are an incredibly niche tool, I own one, never used it. Never needed it). Of which the best low budget / prosumer wireless is easily the Sony UWP-D21. 
But for those who do wish to use bodypack recorders, then for a long time the Tascam DR10L (or if  you were outside the evil reaches of the Zaxcom patent lawyers.... the Tascam DR10CS) was quite popular, as it is obviously a massive upgrade over the former approach of lav into a Zoom H1!! (I remember doing that when I was a film school student) While also being massively cheaper than the professional bodypack recorders from Zaxcom or Lectrosonics. (easily over a thousand dollars each)
But times have kept on moving on since then, the Zoom F2-BT got released (which added timecode via bluetooth) and then later on the Tentacle Track E was shipping. (which does it even better, with a timecode crystal integrated within it)
And that is what I'd recommend when going for a bodypack recorder, the Tentacle Track E.
https://www.bhphotovideo.com/c/product/1506356-REG/tentacle_sync_track_e_pocket_audio.html 

Recently posted over on reddit what is the best prosumer wireless on a budget, which is the Sony UWP-D21, and why. Thought I'd reshare it here as well, should others here be interested as well:
---------------------------------------------------------
If someone can't afford pro level wireless (i.e. a receiver such as the Wisycom MCR54 / Lectrosonics DSR4 / Sony DWR-S03D / Sound Devices A20-RX / Shure ADX5D / etc plus the appropriate matching receivers) then going instead with the fourth generation Sony UWP-D is no brainer decision! (although, I'd recommend 2x UWP-D21 over 1x UWP-D27) This choice is so easy it isn't even close, as the 2nd best choice comes a long long way behind Sony.
Sony gives you:
True diversity receiver (no other prosumer UHF wireless has this) Has a digital compander (avoiding the issues that say for instance the Sennheisers have with their analogue compander, giving you better quality audio from the Sonys. Essentially, the Sony wireless transmission behave more comparably to how Lectrosonics Digital Hybrids do, using the same mix of digital + analogue for transmission) A slot receiver (again, no other prosumer wireless does this! Although, sadly not unislot, you'd need to get the Sony DWR-S03D instead. Hopefully Sony will bring out a UWP-D receiver one day in the future with unislot compatibility) An option of using the smart shoe on Sony cameras to feed it audio directly, skipping doing another D/A conversion, along with numerous other benefits such as being able to add more audio channels than otherwise or being able to go cableless with the receiver or not needing to do battery changes either for the receiver (these are all features entirely unique to the Sony wireless) Sony UTX-P40 Wireless Plug-On Transmitter supplies phantom power. (the Sennheiser EW100 G4 plug-on transmitter does not) Headphone output (but yet again, the standard Sennheiser G4 doesn't have this) An option for a dual receiver (again, the Sennheiser G4 doesn't have this) An option for getting it in the 941 to 960 MHz frequency range (again, the Sennheiser G4 doesn't have this, Usually only pro wireless offers products in this frequency range) Backwards compatible with all past UWP products.  
Just a few of these reasons would be enough to make a strongly compelling case to buy the Sony UWP-D21! (especially as Sony is priced similar to or cheaper than the Sennheiser competition) But add them all up together? Sony blows away all the competition.
There are literally hundreds and hundreds and hundreds of options for lav mics for the Sony wireless just merely listed on the one B&H website alone:
https://www.bhphotovideo.com/c/products/mini-microphones/ci/3779?filters=fct_compatible-with_744%3Asony%2Cfct_connector-type_745%3A3.5mm-mini-plug|3.5mm-mini-plug-locking 
There are zillions of accessories for the Sony UWP-D system, such as these (would you like for instance a battery pack for your Sony transmitter so that you can run it for over 24 hours? You can do that!!): https://www.hlaudio.de/sony-pro-audio/wireless-zubehoer/
Unfortunately when people hear "Sony" they think of "cameras", not audio. What most people don't realize is that Sony's name itself comes from the latin word for audio: "sonus"! Sony originally started out as purely an audio company, and has been making wireless since the 1950's.

I finally finished and released this film yesterday. 5 years late is better than never, right? I was dissatisfied with it for a while, and there's a lot I would still change, but I've come to appreciate it. Now. So here it is, at last:
The film has been given a makeover with FilmConvert Nitrate. I'm pretty shocked at how good this a6300 short looks and how much I could recover from overexposed shots. There are only a couple of shots with sorta mushy compression.

...coming to a neighbourhood near you.

Even though I have n* number of cameras capable of shooting 4K and above, I don't have a 4K TV let alone an 8K one.
If I was absolutely realistic about the number of people even remotely interested in watching anything that I've shot then, including myself, then my total audience is precisely one.
And on a lot of occasions, this number can actually be less than that as I'm barely interested in watching any of it myself these days either.
So, on that basis, if I was to only have cameras capable of shooting 1080p then I would have a 100% match with the display technology of my audience.
That doesn't stop me wanting all the Ks though.
 
 
 
n* - precise number redacted out of acute embarrassment regarding the extent of my addiction.

As an R6 user, I can tell you this is going to be Canons best selling camera (which R6 already is). 
It finally eliminates recording time limits and overheating at 4K30p. That alone is major.
Adding false color, specific easy video menu, focus breathing comp and other video centric tools is fantastic. 
DPAF 2 is indeed killer.
The faster read out times surely means lower rolling shutter. 
Really seems like the perfect mid-tier mirrorless. I don't see any cripple hammer, aside from no ALL-I codec so you'll need an M1 Mac to edit the 10-bit Log footage. Aside from that detail this is an A7IV killer.
Needless to say my R6 is going up for sale today.
Here is a pretty good rundown of the camera:
 

If only Samsung was here about to launch their Samsung NX3 with 8K 60fps 10bit h265 internal so as to push the limits once again of what mirrorless can do. (none can currently!)

yeah i kno!!!! cg sucks (for the most part, in practice)
ima watch chucky!!!!
note: halloween candy is priced crazily. $15 pack of american spirits. society collapsing
i say "CG" too!! who says CGI anymore lol

oh no i have lol, but not in ages. i used to be a big ridley scott fan!
outstanding
awesome visual – and horrifying. this happened to me with 2001 as a kid and it made me a crazy adult
i feel u. wise. same. or, i try lol
will check out
def should watch again!!!
too many ufo opinions, but ill give it a shot. big milla fan
familiar but ive never really seen it?? will do!!
also EVIL DEAD btw
nice!!! hmm interesting will check it out
amazing that idk what these are... what a great thread by me!! looking now...

It is interesting that Joe says in the video, they wanted the absolute character of the Kodak sensor to be preserved in-camera, without any noise reduction or introduction of any circuit noise. Just the natural grain from the sensor.
So it got me thinking...
With HVEC and modern sensors we have a squeaky clean look. It has a lot of noise reduction you can't turn off, and a lot of compression.
So if we wanted the colour, character, uncompressed Cinema DNG and film grain of the Digital Bolex...
We need to find a modern camera...
Because the D16 on eBay now is $6K!!
I think the closest I own is the Sigma Fp-L in crop mode.
It has the resolution for 2x crop so works with Super 16mm lenses.
But any crop from about 1.37x onward gives a very detailed texture to the uncompressed 4K raw.... as it is a 1:1 pixel readout.
If you download the frame grab below, and look at the full 4K JPG conversion of my DNG, it is apparent at 1:1 that nothing is being lost and nothing is being added.
Especially since this is at ISO 3200 behind a strong ND filter.
At lower ISOs it looks a bit too clean to be a Digital Bolex-a-like.
However at ISO 3200 it is perfectly on note.
What other cameras could we wrangle (with a few tricks) to look like a Kodak CCD?
GH5S?
S1R 5K?
Canon RAW?
Nikon Z9?
How about our smartphones in Motion Cam?

WNUF getting love makes me happy! 

My brothers have been binging halloween movies, they just finished the entire Chucky series lol. 

Definitely one of the goofier horror film series. Makes me miss the days before everything was CG though 

I'm also enjoying some early Simpson's Treehouse of Horror and Are You Afraid of the Dark? to relive some childhood trauma lol. 

I HIGHLY recommend the director's cut of Doctor Sleep since you're a Shining fan. It somehow is a great sequel to both the movie and the book. 

Three movies I watch every Halloween are WNUF Halloween Special, Trick r Treat, and The Guest. All worth checking out for something new.

I'm not really into Halloween (and it's less of a thing here in Australia, although it is growing in popularity each year)....  but, Alien is seriously good sci-fi cinema!  I can't imagine you haven't seen it, but if not, wow are you in for a treat!  My first experience with the series was Aliens, which I watched as a ~7? year old alone in the lounge room of someones big old scary house where my dad was visiting and the adults put it on to keep me entertained why they talked somewhere else in the house.    I had a major jump-scare when during a particularly tense moment in the film someone suddenly stuck their head into the room to ask me what I wanted for dinner!  A memorable watch!
I've often wished that I could 'forget' a movie so that I would get to watch it for the first time (again).  I purposefully don't watch my favourites for years so that I have forgotten at least some stuff and get some surprises and fun twists.
Other fun movies that come to mind:
The Forgotten 2004 with Julianne Moore (watch it without any spoilers or previews at all if you can) The Ring The Fourth Kind 2009 with Milla Jovovich (again, watch without spoilers or previews if possible) and of course, just for fun...  Shawn of the Dead 🙂 

heres a fun thread!
my current playlist includes helping build haunts (!!!), shopping for trashy halloween store stuff aaaanndd
• horror movies ive never really watched like Exorcist 3 or Halloween 18, whatever 
• fav 'horror' movie of all time is the shining btw lol (sort of doesnt count?)
• maybe ill watch Alien...
• Simpsons treehouse of horror seasons 1-10+
• x files monster of the week episodes
• Anything Ghost podcast
• Garfield halloween (garfield sucks but i have a soft spot for him. not funny but kinda sweet)
• been watching Are You Afraid of the Dark? vintage nick, never seen it before
• do you know whats ACTUALLY p darn good? dahmer on netflix. check it out..... IF YOU DARE MUAHHAHAHHAAAAA
• oh, and of course GHOST TO GHOST AM with art bell

what are you watching/doing? costumes? haunts?? projection mapping the house???
give me stuff to watch

Please shoot something with lots of fine detail and varying colors at infinity focus (trees with autumn colors are the best, check my youtube video I posted in this topic), both h.265 and ProRes. When it comes to h.265, the higher bitrate the better, and ProRes should be 422. UHD or higher resolution is fine.
When comparing both cameras, please use the same scene with the same settings. F-Log and/or F-Log2 please.
I know I ask a lot, but if you have other cameras as well, Canon/Sony/Panasonic, it would be nice to see them as well. The issue might not be obvious until you start to compare it with other cameras.