thebrothersthre3

I'm still trying to find a supplier for the e-ND that can make a larger piece so slightly back burnered at the moment while I concentrate on other things.
The electronic part does work in concert with my other controllers such as this one (and the app as well actually) so when it happens it will be integrated.
Currently, the size of the glass that I have is only really suitable for in mount versions, which is a bit of an issue with cameras such as the P4K which relies on speed boosters.
Anyway, I've just done a quick and dirty pic (literally when you see the finger prints all over the glass) to illustrate what the build along would have been with the smaller piece. 
I used the MicroBit as the controller (in an electric blue DIY case obviously) as its cheap and easy to program for everyone (although I would obviously provide the source code) so at its very, very basic component level this is how it works and you could finesse it from there in terms of housing etc. and not using croc cables to connect it!
In this version you just use the two buttons to increment and decrement the ND level as seen here at 0%, 50% and 90% reduction although you can scale it anyway you want.
Another advantage of the MicroBit is that it has a very simple Bluetooth link function so you can use a second one to remote control it.
When I source the bigger piece, I'll put it up properly but thought it might be interesting to you in terms of how it works as it will be exactly the same simple principle but bigger!
I'm actually pondering a mechanical version of it at this point though....

As a man who's latest phone purchase was a Blackberry I'm not sure ahead of my time is that accurate
Wait till you see what this one does.....

To take a step back, what the MFT proponents here want is an APS-C sensor they can adapt or speed boost. MFT and Sony E were the only two real mirrorless mounts up until recently, and Sony E was out because of patents. I don't think many people genuinely want MFT over, say, RF, L, or Z mounts if the legalities worked out and the corresponding adapters and speed boosters existed, which they don't--yet. I would personally love to see more companies join in with the L mount alliance. A standard mount across different brands would benefit consumers.
Another option is if JVC made it EF mount, but had an optional focal reducer fitted inside the mount, like what Luca does for Blackmagic cameras. There would be a couple disappointed people who really wanted to use FD or other short flange vintage glass, but overall that's a good solution, since EF is still widely popular. JVC already makes fixed lens cameras, so they have the capability/partners to make their own focal reducer.
And of course a FF sensor with EF is an option as well, if it doesn't balloon the cost. But hey, if Z Cam can make a $5k FF cinema camera, maybe JVC can?
Just brainstorming any viable solutions that don't include MFT. But none of them are likely to happen, so MFT really is the most likely mount that JVC would choose to allow speed boosting an APS-C sensor.

I used to use Zoom H1's with Rode lav mics and had 3 and mic'd each speaker and if more than 3 people, swapped them around...and then synced/synched (how do you say spell that?) the audio to the video...but it was all a pain in the backside.
I moved to the Rode Wireless Go system this year and that works well, except only one transmitter per receiver a pain.
My current set up is:
Sony 1 inch camcorder with WG and Rode lav mic in a central lectern for the celebrant/readers etc, set moderately wide taking in the scene for the full duration of ceremony and speeches/toasts.
Fuji XT3 for tighter head shots of those speaking and with another WG system this time with Rode lav mic to groom. 
Splice and dice as required for the production.
Ideally, I'd like to link up a mic to the WG on that central lectern that is not the WG transmitter itself (with it's tiny dead kitty) or a vertical/angle pointed small shotgun (Rode Micro Pro) but 'something else' that captures not only the person speaking at the lectern, but also the vows assuming the B&G/B&B/G&G are not standing behind it and maybe 8-10 feet away.
I tried both of the above and as soon as anyone speaking is more than 4-6 feet away, outside especially, it's not great as you'd expect.
Or I'm maybe overthinking it...
I just like the idea of some vintage style static thing like the Shure Super 55 or similar to 'force' them to stand where ideally I'd like any/all speakers to remain that captures a bigger distance. Plus, I get quite a few multi-bestman speeches where I can't mic them both to the same WG as they are both speaking repeatedly in turn so forcing them into speaking into one single system would be great.
The only issue with this is that so many venues like to set up a PA type system and I never like to record off that as anything but a backup as most folks don't know how to speak into a mic and sometimes do and sometimes don't so the audio is all over the place.
Thought I'd ask as audio is not my strongest suite!
Cheers in advance.
 

Yeah depends on what you need it for. RED's don't have great rolling shutter but are being used everywhere. The newer full frame cameras like the Z6 or A7III seem pretty decent. 

Faster processors should help though like you said. The G2 rolling shutter is super minimal, Alexa territory almost. 

For me if it delivers RAW, S35, ND's, prores, 4K 60P in a more professional form factor its a win. Anything more like full frame or 4k 120fps or 300fps is all icing on the cake, not a requirement though. If the price goes about $4000 than my interest starts to be lost, especially when you are competing against say the URSA G2 and BRAW or even the Pocket 4k at $1300. You could have two pocket 4k's for $2600, thats hard to beat. 

People are being way to harsh on you IMHO. I find a lot of your videos interesting and helpful. Make a youtube video takes a lot of work especially anything with thought behind it.

People are being way to harsh on you IMHO. I find a lot of your videos interesting and helpful. Make a youtube video takes a lot of work especially anything with thought behind it.

I have to say Jon came off as very aggressive. Not that he didn't often have goods points and I don't think was a bad guy. After all we are just talking about cameras here, I don't think anyone really needs to be labeled a good or bad person, this isn't war!

 I think people have a tendency to just go with the flow. So when someone like Andrew goes against the tide and starts calling people out he might be perceived as a jerk rather than someone simply saying what he actually thinks. 

People are being way to harsh on you IMHO. I find a lot of your videos interesting and helpful. Make a youtube video takes a lot of work especially anything with thought behind it.

The Sigma has no OIS and also has less range 18-35 vs 18-55, its also a lot heavier and like twice the price, (not including an adapter). 

Its 2.8 at 18mm and f4 at 55mm, compared to 18mm 1.8 and 35mm 1.8 on the sigma lens. 

People are being way to harsh on you IMHO. I find a lot of your videos interesting and helpful. Make a youtube video takes a lot of work especially anything with thought behind it.

Yeah depends on what you need it for. RED's don't have great rolling shutter but are being used everywhere. The newer full frame cameras like the Z6 or A7III seem pretty decent. 

Faster processors should help though like you said. The G2 rolling shutter is super minimal, Alexa territory almost. 

For me if it delivers RAW, S35, ND's, prores, 4K 60P in a more professional form factor its a win. Anything more like full frame or 4k 120fps or 300fps is all icing on the cake, not a requirement though. If the price goes about $4000 than my interest starts to be lost, especially when you are competing against say the URSA G2 and BRAW or even the Pocket 4k at $1300. You could have two pocket 4k's for $2600, thats hard to beat. 

The A6400 could have been a great contender but the rolling shutter and subpar 1080 is kind of crippling. The 18-55 is really awesome. I don't miss IBIS when I have it on. They also go for really cheap used.

I'd love a camera that can easily be mounted on the shoulder. The issue is it makes mounting on a gimbal a no go, at least affordable ones.

Something like an XT3 with RAW output, prores, SDI's, and internal ND's would be a winner in my book. 

A73 is going to give you a noise free image past 12,800 iso. Color is pretty good with HLG. Definitely a lot of lens options going into the future like webrunner said.

The XT3 was my camera of choice for its internal 10 bit and high speed recording, as well as its color science. Kind of depends on your needs though. 

The XT30 plus the fuji 18-55 is a hell of a combo for anyone on a budget. 

I have to say Jon came off as very aggressive. Not that he didn't often have goods points and I don't think was a bad guy. After all we are just talking about cameras here, I don't think anyone really needs to be labeled a good or bad person, this isn't war!

 I think people have a tendency to just go with the flow. So when someone like Andrew goes against the tide and starts calling people out he might be perceived as a jerk rather than someone simply saying what he actually thinks. 

I have to say Jon came off as very aggressive. Not that he didn't often have goods points and I don't think was a bad guy. After all we are just talking about cameras here, I don't think anyone really needs to be labeled a good or bad person, this isn't war!

 I think people have a tendency to just go with the flow. So when someone like Andrew goes against the tide and starts calling people out he might be perceived as a jerk rather than someone simply saying what he actually thinks. 

Yeah auto focus is still not practical for bigger productions imho. 

Most people using super expensive equipment are renting not buying, but $500 for a weekend is still pricey when you might be used to owning a piece of glass for $500. 

A73 is going to give you a noise free image past 12,800 iso. Color is pretty good with HLG. Definitely a lot of lens options going into the future like webrunner said.

The XT3 was my camera of choice for its internal 10 bit and high speed recording, as well as its color science. Kind of depends on your needs though. 

The XT30 plus the fuji 18-55 is a hell of a combo for anyone on a budget. 

I actually wrote a lengthy response about 12 hours ago. Maybe it didn’t get approved or maybe it’s hidden (it’s marked as hidden)

A73 is going to give you a noise free image past 12,800 iso. Color is pretty good with HLG. Definitely a lot of lens options going into the future like webrunner said.

The XT3 was my camera of choice for its internal 10 bit and high speed recording, as well as its color science. Kind of depends on your needs though. 

The XT30 plus the fuji 18-55 is a hell of a combo for anyone on a budget.