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About Anaconda_

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  1. Looks great! Is this with no crop in post? I'd love to see some moving images with a setup like this!
  2. I think it's more about licensing ProRes. If the camera uses Braw, it doesn't cost them anything. And I'm pretty sure h264/5 are free to use. As Braw is pretty close to ProRes file sizes, I think I'd actually prefer to have Braw and h265 over ProRes. I often shoot in remote locations, and need to send files back to the big city. The small filesizes of h265 would be really great to have in camera. So I'm quite excited about Braw and a proxy simultaneously... However, Blackmagic seem to enjoy the Goldilocks effect, so I'll wait for the one that's juuuuust right in about 2 years time.
  3. Why do you say that? Apparently it's SMPTE standard.
  4. Skip to 7:30 - you can essentially jam a device like Tentaclesync or Deity TC1 with the Rode's timecode, and since they're also super accurate (one frame drift in 48 hours), you can keep those devices plugged into as many other cameras as you like. This is the same as pretty much any other timecode system out there.
  5. Interesting take, but I don't necessarily agree with what he's saying. He's right, in saying that this system doesn't work with multiple cameras. However, TC can still be valuable for a single camera shoot, especially when recording 2 audio sources externally. In my opinion, this is the same as complaining that the one tripod you bought doesn't hold all three of your cameras. Rode have noted that they system can sync other 3rd party TC generators and get them in sync, so you can have multiple cameras running the same TC, with some extra hardware. Which is the same as any other TC system. He also mentions that the transmitters have to be connected to the reciever for TC to work, and you lose the function if the reciever shutsdown or loses connection. But Rode have said they'll stay running accurately for quite a while, and when they reconnect to the reciever, they automatically double check that everyone is running on the same TC. Skip to 7:30
  6. Looks pretty amazing. Where could they go from here? Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.
  7. @Andrew Reid - as an independent blog / site, how do you feel about the future of eoshd? Of course, I don't know the ins and outs, and maybe I've got things a bit twisted, please correct me. However, if being honest about cameras meant companies stopped inviting you to events and launches, but being advertising copy has lead the others to fail and close down, does that put you and this site in a better position with manufacturers?
  8. I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything. But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time. Better to have two bodies with a nice combination of primes (say the 21 and the 50) But I would personally stick to the zoom on cam A with a super wide prime for cam B.
  9. Maybe it's been said, but the wireless go ME? The receiver has a built in mic, for the general sounds of things, and if you want to get cleaner audio of something specific, just clip the lav unit onto whoever or whatever is making the noise (or something close by). Super small, flexible and quick to work with.
  10. Thanks for the work and effort! I'm looking forward to testing it out! Do you know if it also works with Braw? Happy to send some test shots if you want. Just let me know what kind of footage will help.
  11. who would pay 500 more for just the colour? I get you can have a preference, but jeez. I'd take a pink one if it was 500 less!
  12. I'm hoping it's their 12k sensor on a smaller body. Even if it's a lesser resolution.
  13. What are the thougts? New camera, or new firmware... or both?
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