newfoundmass

Budget wireless really depends on your uses. A lot of people will bash budget options because they don't match the performance of higher end options, but for really basic stuff they're often fine. I have an Azden system that's under $200 (I got them on sale a couple years ago for $129 on B&H) and I've had virtually no problems with them, but I also have only used them in situations that fell well below what their specs say they're capable of in terms of distance. I did use them in a venue Friday that had about 300 people all using cell phones and had no problems with interference even though they're 2.4ghz. That made me happy! I'd say if you're within 25 to 50 feet of your camera/recorder and with a relatively clear line of sight you can get away with using a lot of the budget systems. Your mileage will vary when it comes to audio quality (that though often has to do with the mics that come with those systems and can be remedied with nicer ones.) Currently I have the aforementioned Azden XD system and a Sennheiser XSW set. Both are under $300; the Sennheiser is quite nice, though unfortunately doesn't allow you to limit the output so it runs too hot for my GH5, which won't allow me to lower my preamps any lower. I've looked into getting the Sony UWP D11. You can find some good deals on them used. My biggest fear is buying a more pricey system only for the frequencies to longer be useable as they get purchased by private companies or phased out, but that might be an irrational fear.

Those Sigma lenses are absolutely lovely and a steal. My only complaint is they're a little big but I'm guessing that's because it just uses a different mount than their other versions and is essentially the same exact lens. Fine by me if it means they keep releasing M43 lenses! Most Laowa reviews I've seen have been positive and the images look very nice. I was in kind of the same position, with the Panasonic 7-14 f4. It's a very nice lens, but I hated the inability to put filters on, and just felt uncomfortable with the front of the lens. Those extra stops will be quite welcome, as will the standard lens form factor!

I'm more likely to give them the benefit of the doubt than others, given the goal was obviously to release a drone that went under the limits that would require licenses, e.t.c. When that is your goal some compromises must be made. The lack of 4K, RAW images, custom options, e.t.c is unfortunate. If you need that stuff then this isn't the drone for you. I feel like people are increasingly spoiled and unable to grasp that last part: not every product released by these companies is for you, stop whining every time they release something that doesn't completely measure up to your specific needs. If you need 4K the Mavic Air can easily be had for about $100-150 more used, or about $200 more refurbished/open box. But sure, fuck DJI, the company that has allowed people like us to actually afford drones. 🙄 As an addendum: $399 for a drone that weighs less than an iPhone, is pocketable, gives you the ability to fly pretty much anywhere without a license, with 30 minutes of flying time per battery, and in 2.7K seems like a pretty good deal to me. That's a pretty big technological leap forward, even if it lacks features I'd want out of a drone.

I have the Sigma 16mm 1.4 currently and then the Panasonic 20mm 1.7, and the Panasonic 25mm 1.7. I'm just not sure I'd have much use for a 17mm between those 3 primes. The Laowa 7.5 and 9mm are ones I'm looking at for real estate/landscaper work, since I sold my Panasonic 7-14 (lovely lens but I hate the design.) I've got a Rokinon 12mm T2.2 lens that's doing the trick for right now, but i definitely need some wider lenses.

You got a steal then. Haven't been able to find one too far below $300 and I've been looking! I'd jump on this if I felt like I had a use for a 17mm, but I don't know that it'd do much other than take up space in my bag. I've really been tempted by their ultra wide lenses though. I've been impressed with the footage I've seen!

Azden has a decent sub $200 system that I actually like better than my Sennheiser XSW set. The XSW set works really well but it doesn't allow you to adjust the output levels, so I'm getting too much peaking from my GH5 since I can't lower the preamps low enough Are those among the frequencies that will be phased out over the next couple of years? I heard that is going to be an issue for some wireless systems over the next couple of years.

I'm not arguing that he's a great person, but comparing him to people accused of sexual assault is pretty unfair.

Regardless of RED and their business practices, Jim changed the landscape, disrupted the status quo, and helped push video/filmmaking forward. He deserves credit and gratitude for that. I just wish RED hadn't taken the path they took.

This would make more sense if they weren't facing more competition than ever in the mirrorless full frame market. I'm not sure I'd choose now as the time to coast, but that's just me. The landscape has changed over the last year. Others are innovating and moving forward while Sony seems stagnant.

It should be able to handle h264 without any problems. Worse case you can use proxies. As a rule though it's not ideal to transcode for editing unless you absolutely need to. Back in the day h264 and Final Cut Pro 7 didn't play well together at all, making it a real pain in the ass to edit, especially for large/multicam projects. I would transcode out of necessity back then. Now everything handles it well.

Those are all welcome improvements but they wouldn't be enough for me to upgrade if I had the A7 III. It's more interesting to me that they're again reusing sensors. That isn't necessarily bad, if they're able to get more out of them, but it's still a bit curious.

I never felt that way about sliders, as they're great for establishing shots. Using one just for the sake of using one though is obnoxious. Everything in moderation!

Gimbals are great, don't get me wrong, but I've largely eliminated my usage of them in favor of a shoulder rig. I prefer the natural handheld look more and more, especially now that everyone over uses gimbals. I really like how my GH5 footage looks with IBIS and a cheap $60 shoulder rig. I have been looking for an affordable motorized slider to use for interviews. I think at this point I'd get more use out of it than my gimbal

Another recommendation; https://www.youtube.com/user/element1108 Mark Holtze does a lot of videos on vintage lenses. His reviews and comments are very thoughtful; I really enjoy listening to him, he's very well spoken. His videos on the Takumar lenses are especially worth checking out, since they're not the most common vintage lenses you'll see people talking about.

Yeah, you're not going to get anymore out of the original file by transcoding. If anything you'll lose quality.

It might be modestly discounted, but I wouldn't hold my breath. Older models might, but they're not ideal for vlogging.

Nigel is great. I love how he still uses a GH3! FilmLook is also great!

Sports and other events.

Yeah, the time limit is really disappointing.

Have they released if there are recording limits? For my kind of work that's important.

I just got the Sennheiser XSW and it's really good. Just wish I could adjust the volume/output. I think I'd recommend them over the Rode based on some of the posts here.

You mean they intentionally left these features out?!? I don't believe it!

Our very out @Mattias Burling just released a similar video to this thread

The GH5 is not able to compete with Sony and Canon, especially when it comes to adapted lenses. But the narrative that it's awful or unusable just isn't true. Most of the tests you'll see are static shots on a tripod and don't play to the GH5's auto focus strengths. For instance, the GH5's strongest auto focus setting for handheld video is single area. As you see in the beginning of the video, when I move to get the shot of the wrestlers on the outside, it focuses pretty quickly and nails focus. That's the result you can expect going with single area. For the G85, when on a tripod for non static shots, the ideal setting for wrestling is 49 area. Single area doesn't work as well because there is much more going on in the frame, so you don't want just that single area to be in focus. It's all about learning how the AF works and working with it's strong points. Unfortunately it's strong points isn't when it's on a tripod with people popping up in and out of frame. I will look for footage I shot on the 14-140mm zoomed in and see if it's something I can share. I do know though that the results are comparable.

Mokara has been searching for every reason EXCEPT the most obvious one to try and explain why 24p was left out. Must have been licensing and cost cutting! Now it must be a processing issue! No. Canon left it out because they want to push the customers that want those features towards their higher priced offerings. It's really that simple.