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If the size of LX100 doesn't look impressing for the customer smile emoticon FOTGA rig, Zoom H4N, RODE stereo mic, RAM mount, LCD-V3, Opteka 58mm extention tube. There is no need for a belt to attach a follow focus. The follow focus blocks access to the focus mode switch.

I'd also like to see more accessible global shutter cams.

Here's a start, http://vashivisuals.com/5-eq-audio-for-video-tips-for-filmmakers/http://vashivisuals.com/5-eq-audio-for-video-tips-for-filmmakers/ http://www.dvxuser.com/V6/showthread.php?191499-audio-levels-in-a-filmhttp://www.dvxuser.com/V6/showthread.php?191499-audio-levels-in-a-film Cheers

I can also provide Pro Tools templates for generating all your deliverables if anyone mixes on that - could knock other variations up too for Logic / Cubase / Nuendo et al too. I'll look at Premiere this weekend and see what's possible on that - I know stuff like TOWIE etc is mixed in AVID by the onliner, so can help there too, as is same engine and plugins as Pro Tools essentially. There are great plugins such as lmcorrect by Nugen (lovely chaps) that will take you mix and legalise it essentially to meet loudness requirements for all the formats - take a peek. http://www.nugenaudio.com/lm-correct-loudness-correction-automatic-quick-fix-plugin-aax-au-vst_19 Also Izotope are releasing a similar solution, AFIAK it's not quite out yet. Another handy tool, if time is of the essence, or you need a quick balance done is Waverider - essentially mixes for you to give you a starting point to reach your required loudness requirements. http://quietart.co.nz/ Handy for providing a nice leveled dialogue premix or smoothing music cues etc. and far less intrusive than compression and limiting. Loudness cheat sheet is in progress with all the links to metering etc. but for now I need a beer!

mercer- yes, thanks, Delta was our first narrative short. We had no complaints for audio/sound (other elements- yes; a learning experience for us! ). Glad you got the humor shots! (I shot everything- no stock footage). The short was supposed to be campy and fun; special effects a homage to old-school video games / Star Wars, etc. We'll improve the story (and everything else) on the next one The simplest solution would be a shotgun mounted on camera with a high-quality isolated mount (and far enough away from the lens to mask stabilizer noise, etc., when present), with a decent preamp (either in the mic system (Rode etc.)), or as another piece of hardware (JuicedLink sounds cleanest for the money, SD's MixPre-D sounds much better and has superior limiters: worth over double the cost IMO. The hacked iRig Pre is perhaps the best low cost, ultra small solution: http://www.dslrfilmnoob.com/2012/11/25/irig-pre-hack-cheap-xlr-phantom-power-preamp-dslr/ ). You could also rig a boom to a backpack, etc., to get the mic closer to the subject (really need to get mic pointed down towards the ground to take advantage of noise rejection). Regarding dual sound, IMO it's only worth it for larger productions, with a dedicated sound guy, and only when using Sound Devices or similar quality gear (I have a Zoom H4n and Tascam DR100mkII: not high enough quality vs. internal DSLR with a preamp to warrant extra effort of separate sound. DR680 and newer are good and SD 702 and up are preferred. SD gear has amazing preamps, not only clean, but a very full, natural 'Hollywood' sound. The SD limiters are also very, very good: the extra cost for SD gear is worth it: http://www.bhphotovideo.com/c/product/429566-REG/Sound_Devices_702_702_High_Resolution_2_Channel.html . How many 5.0 reviews do you see on ANY piece of gear? Pretty amazing). Steve M.- going wired like that can certainly sound better than wireless (until getting to the Zaxcom or Lectrosonics digital wireless level), though the Sennheiser (and similar priced gear) is more than good enough for indie work (even material planned for streaming paid delivery). Another solution that can be 'free' is to use old cell phones as lav recorders (even your current cellphone). Rode makes a decent lav for the iPhone & Android: http://www.amazon.com/Rode-smartLav-Lavalier-Microphone-Smartphones/dp/B00EO4A7L0 . It is technically possible to have an app be remotely controlled to start recording, meaning a bunch of iPhones/Androids could join an adhoc wifi network and be triggered to record remotely, then send a compressed AAC copy over wifi back to the controller, where mixed audio could be monitored live (if this already exists- very cool)). In post the locally recorded uncompressed WAV files can be used for editing (along with timecode and/or sidecar metadata to make syncing easier). Not monitoring lav recordings live is indeed very risky- many times the mic/cable rub and must be readjusted due to talent movement (cable loop taping and careful placement help, but there are still issues that come up during recording).

So basically what you are saying is A7S = perfect camera to shoot The Simpsons with?

1. Innovative Lighting Tools Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!! 2. Modified Lenses Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character! 3. Ninja Star 4k I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 4. Panasonic Video Camera They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. and... that's it.

My Hopes: Adobe announces H265 support for Premiere Firmware update for the NX1 that adds the 1:1 4K crop mode from the NX500. GoPro will announce a video camera outside the action sports arena. KineMINI announces a U.S. Distributor

The trick to getting professional audio (low noise, excellent quality) is to use a preamp into the DSLR. In the field, the Sennheiser G3 wireless lav system works great, especially for run & gun and guerrilla shooting when you don't (or can't )have a boom operator. I use two G3 systems for two channels and a simple Y-adapter into the Sony A7S and it works great. In the studio / green screen I use a Sound Devices USB Pre2 (also a stand alone preamp, same hardware topology as the 744T) and an Audio Technica BP4029 mid-side stereo shotgun. For ADR in post I use a Shure SM7 mic into a Focusrite 2i2 (amazing quality preamps for the price. Not as good as Sound Devices, but it's a more stable solution as a computer input device (SD made some odd choices for the USBPre2 hardware (as in it never turns off, even when the computer sleeps + some driver issues)). Example audio: http://brightland.com/w/delta/ : jump to 6:30 to hear VO (SM7 + Scarlet) and BP4029 + Sound Devices (into a GH4) for prelude to fight scene. Earlier scenes used the G3's into the A7S. All audio sweetening done from within Premiere Pro (used to use Pro Tools, including their crazy expensive hardware) and small amounts of Audition (waveform editing). For shorts/indies/corporate/for-fun, this level of hardware is plenty good!

I can't imagine getting really pristine sound from any DSLR - so-so circuitry designed to be tiny, not awesome. It's not about camera gain settings or XLR adapters. Don't choose a camera based on its audio capabilities, choose it as a camera. A Tascam DR-60 is 10x the utility and quality, and comes with PluralEyes, so your synch issues are history. 2 tracks with phantom power (and a -6DB backup track of each for safety) and 2 more line ins, headphone out with a level KNOB and line out - with a knob as well. A really, really unobtrusive limiter and a low cut. Can't beat it for $200. And that's just the entry level, but you get XLR combo's, good meters, a wealth of features. I shoot plenty of corporate stuff all by myself. It really doesn't take me any remarkable amount of time to plug my mics into a recorder vs. a camera. When I'm doing interview stuff or planned-out stuff with DSLR or BMC style cameras, I run a line out from the Tascam to the camera for cleaner synch. But PluralEyes synchs with the in-camera mic just fine. You can mount a recorder on your rails or stick it where it's convenient. If the gig is just a crazy run & gun deal, I use a "video" camera with ND, zoom, a real viewfinder with peaking, XLRs, etc. I've watched the DSLR guys miss 20% of their shots at those deals. Plugging mics into an NX1 (or a 5D or a Nikon or a BMC)... just don't do it. If you can afford a YHAGI you can afford a great recorder and do it right. $199 gets you out of the crap preamps realm, and if you have more budget you can get more. And the YHAGI is pretty overpriced unless you need the SDI. Dual system sound just does not add complexity to worry about. YMMV and my .02 of course...