A_Urquhart

To add, I wouldn’t pull focus on anything other than a Teradek or Vaxxis system if you value your reputation. Of the wifi systems, the Accsoon CineEye are the lowest delay I have tried and Hollyland Mars was unusable for focus pulling.

HDMI doesn’t introduce any noticeable delay. The ‘proper’ video cameras I’ve used with an HDMI port (FX9, FX6, FX30, Pocket 6K Pro and Pocket 4K) all have got less than a frame delay when using the HDMI port either hard wired to a display or when using my Teradek Ace 500 HDMI transmitter. It’s down to the camera as to how much delay is introduced via HDMI and hybrid cameras are usually much worse than proper video (or cinema!) cameras.

You pick one phrase and really pull it apart! What I meant was that I am happy with an APSC camera. I don't need full frame. I just wanted a great APSC camera and that is what I got. I wasn't saying that the S5 was no good in APSC mode was I? Sorry if that is what you thought I meant and got offended? It was not my intention. Is the FX30 the best APSC video camera out there? Nope. Does it suit my needs better than most other cameras out there? Yep. I have camera operated on two Netflix docs back on the FS7. Never had a complaint from Post production about it. But again, I never said the Vlog was bad did I?

Is this a camera thing? Are there forums out there with carpenters spending this much time and effort arguing about why their Makita drill is better than the others DEWALT drill? Two post in a row! 🤯

Yep, I posted three times in a row. Arrest me! That's mainly due to not being able to edit or add to a post very shortly after posting. Didn't know it was a crime! I think you will find that what I said about cine lenses and crop sensors was....and I quote "I also wanted a camera that could shoot high quality APS-C for using most current cine lenses which the FX30 excels at". The FX30 is a great APSC camera, there is no debating that. APSC or S35 (not the same thing) is extremely well catered for when it comes to cine lens selection and it's still a perfectly good format for me. It has been the industry standard for many decades. Many more cine lenses in S35 format than full frame. Sure, you can shoot in APSC mode on many cameras but it sounded like you were in the 'Full Frame or nothing' camp. Happy if I was wrong. EOSM is worse than the FX30 in many regards and may be better in some....not sure what your point is? So if I am happy to shoot in APSC then I should just shoot EOSM because it's cheap? Not sure what your getting at here? What about all the other features it lacks? Is the EOSM the best choice for APSC shooting overall? SLOG3 and All-I have proven themselves. The FX30 is not the first camera with these and that is why the production/post houses I have to deal with prefer them. I stated that I personally had nothing against LONG GOP so you can argue that with post production. It fits in with their work flow here and I've also been shooting for two clients in Europe that requested SLOG3 footage. Never had one ask for VLOG. That's not to say VLOG is bad, but me buying into Panasonic just won't earn me any money....I don't know anyone shooting it unlike Sony and Canon. Ok, so are you going to melt the S1 and S5 into each other to create the perfect Panasonic "Challenger"? Look, a camera is more that one or two flagship specs. It's a sum of ALL it's parts. The FX30 ticks pretty much all the most important requirements for me. According to you so far I need to carry around an EOSM, an S1 and an S5....I'm really confused at what you're trying to prove here. I said the S5 is a great hybrid camera. I'm happy with the FX30 which Is possibly why I don't feel the need to get on the Panasonic S5 thread and bag it to defend my purchase. Are you happy with the S5? I hope so and I hope you go out and enjoy shooting with it. Not sure why people have to pump up their chests and get aggressive when it comes to camera specs??

Yeah, knocking it down it 8bit to record longer than 30min is not really an option for the work I do. Haven't used an 8 bit camera professionally for at least 5 years. Personally don't have an issue with it most of the time but my clients expect 10bit across the board, not just for some shots. Is the 30 minute 10bit limit due to overheating or just a cripple hammer move by Panasonic? Don't worry, YouTube 'Influencers' are the last people I listen to! Most of them don't even seem to shoot anything more than their own Youtube videos.

Thinking about this more...... Regardless of price, the FX30 gives many video shooters features that they need. My circumstances require an ALL-I codec, Timecode support, professional audio and most importantly.......when filming interviews, I need to be able to record for longer than 30 minutes. The S5 doesn't give me any features I need so regardless of price, it just doesn't cut it. No one 'needs' full frame. If you need stills in the same camera...then the S5 is an obvious choice.

As it's not really a hybrid camera, there are less compromises made in video mode on the FX30. If I am comparing the FX30 to the S5, then here in Australia they are the same price. FX30 has an All-I Codec, No 30min record limit in 10bit, professional audio, Timecode support, MUCH better AF if you're into it. Sony's ecosystem is huge and third party manufacturers are making lenses with electronic support for e mount in droves. Also, I can use the FX30 as a B or C Camera to the FX3, FX6, and FX9 which are all 'industry standards' so to speak here in Australia for shooting broadcast content. Post houses deal with SLOG3 all the time and familiarity with colour workflow trumps any debatable image quality advantage the S5 has that you mention. Sure, the S5 is full frame which is the only real 'advantage' for video. 'Full frame' is not the be all and end all but if I want, I have a Metabones speed booster I can attach to the FX30 which makes it Full Frame. We also sometimes use the Alexa Mini and MiniLF. We chose them on a project to project basis and we don't always choose the LF by default just because it has the bigger sensor. Ultimately, If you need one camera to do it all, sure the S5 is a fine choice. I'm not here to create a spec argument and not sure why you wouldn't stay calm if you are happy with your choice but to say one camera is better than the other in general terms is incorrect I feel. Sure, the S5 is a better hybrid camera.

But for Kaylee's use, if you are going to be near the subject wearing the mic, and only need one channel then yeah, the city is prob a better choice especially if you don't want to sync sound in post or deal with separate audio

The Diety doesn't record in the TX unit does it? Sure, it might have double the TX power of the Wireless Go II but if the Deity BPTRX is anything to go by....or any WiFi based system....then you will get drop outs at pretty close range if you're in a congested area or have a body bwetween the TX and RX units. The Wireless Go II bypasses this with it's 24bit recording which is of pretty good quality so range anxiety is not something you really need to worry about.

Yep, overkill. Luckily, 95% of the jobs I do have the budget for a sound person. I've never liked the Sennheiser G3 and G4's that I've used even though many rave about them. Found their wireless signal not very robust. Yeah, might go for the two UWP-D21's and scrap the Mi interface. I got the XLR handle so can mount them both up to that.....somehow! Ha, yeah I've dabbled in audio quite a bit to know just a bit!

Musings of a wise man! Can't think of anything worse than a place (Twitter) where I can read everyones small talk!

I'm looking at the Sony UWP-27 Kit with the two transmitters and dual channel receiver. My understanding is that the single channel receiver version (D21 Kit) is true diversity (double tuner diversity) but when using the dual channel receiver (D27 Kit) in dual channel mode, it is only single channel diversity. One tuner per channel? So, am I better off getting two D21 Kits for reliability? The D27 Kit does appeal to me more especially considering I can get two channels into the FX30 via the MI shoe which makes for a very compact setup but ultimately, wireless reliability is what I'm chasing.

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.

It is, although I haven't connected it to the camera via bluetooth for control yet.

Two frame delay between FX30 screen and WiFi to iPhone 11. Useful when rigging camera in hard to reach places. App gives live image (as you can see) and full control of pretty much all camera setting.

Ha, that really rolls off the tongue....how do you pronounce MILVC? 😉

After playing with it for a few hours.....I don't think the FX30 should really be compared to hybrid cameras as that's not it's focus. It's a video camera (or 'cinema camera' as they seem to be called these days!). I think it's closest competition is the Pocket 6k or Canon C70. It's much more like a video camera to use, which to me is a good thing. Has proper Audio and timecode capabilities, not likely to overheat as it has a fan, supports 4 channel 24bit audio recording, doesn't have the 30min record limit many other cameras have when shooting 10bit codecs etc etc. These conveniences when used in a professional environment are invaluable and well worth the asking price. Sure, If you have no need for them then they are kinda pointless but this is why you shouldn't compare this to many hybrid cameras.

Yeah fair enough. I already had a Speedbooster and using it, I get 4k 50/60p FF (no crop) which the S5 can't do. When it comes to lenses, apart from cine lenses, I was more referring to electronic lenses which support Sony's AF. Plenty of good aftermarket lenses coming out for E Mount. The FX30 is not a hybrid so yeah, get the S5 if you want more photo functions. For what it is, the FX30 is extremely well priced though IMO. I got $450 AUD off RRP (with Audio Grip) with my supplier making it even more attractive. That's only $500 more than an S5 body here and the S5 doesn't have XLR

Apologies in advance if this info is already known but just discovered you can have the image on the flip out screen with all the status info on while outputting a clean feed to a monitor via HDMI AND output an extremely low latency image with full camera control and touch focus control to a phone all at the same time. My guess is that the latency on the Wifi image is less than a frame! Could open up some possibilities! I often have to rig cameras on/in cars so this could come in handy!

In addition......The ability to zoom in 1.5 times in 4K or 2x in HD with no apparent loss in quality due to the oversampled sensor is an interesting feature. Just playing at this stage so haven't tested if it is actually lossless but zooming on primes is novel!

Despite me complaining about the choice of CFExpress type A, the small body of the FX30 is a bit of a revelation to me. It's small in all the right dimensions except thickness which makes it far more comfortable to hold than any other mirrorless camera I have used from Sony or Fuji to date. After owning both the Pocket4k and 6K pro, there was no way I was going back to a camera with mini or micro HDMI. I don't like the Flip out screen...hated it on the GH3 I had years ago and still hate it. Give me a screen that just tilts up and down. I'm using a Metabones Speedbooster on mine at the moment for Full Frame. That makes the 4k 120p crop around APC-C. Most of my clients want Sony these days so the FX30 made perfect sense as a B or C Camera to the FX6 and FX9. I never would have made my money back on a Panasonic camera despite specs. I also wanted a camera that could shoot high quality APS-C for using most cine lenses which the FX30 excels at. As above, add Speedbooster and I have a Full frame camera which with the Leica R cine modded lenses, is absolutely tiny even with Speedbooster. Best of both worlds really and Sony has a much better range of available lenses and third part accessories. Despite the still awful menu's, I think I'll like this camera!

Got my FX30 a few days ago and time to buy some more CFExpress Type A cards..... Reminds me how much I hate that Sony went for Type A over Type B. Paying more than double for a card that is half the speed of type B. For the same price of one 160GB type A card I can get a 512Gb Type B card which is rated at double the speed. Sure, they're smaller but I would happily have gone a slightly bigger body to accomodate. Why Sony.....just why??

While this is kinda old news and not strictly FX30 related but with the similarities between the FX3 and FX30......Greg Fraser is apparently shooting his next feature "entirely" on the FX3. Normally I would agree that what people are calling 'cinema cameras' really aren't cinema cameras but merely marketing BS and Greg does call it what it really is: a 'prosumer camera' but this is blurring the lines I suppose. Go to 38:28 in

On the FX6, I have tried using 12800 and ND but have noticed the increase noise.