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Rather than a new recorder, what about adding an XLR preamp to your existing setup? If that might work this review by Caleb Pike compares some relatively inexpensive (+ one expensive) preamps. In a couple of other videos here Caleb shows a way to use and modify the Saramonic SmartRig XLR Preamp ($23). I understand the camera's mic input still passes through the camera's internal preamp and you can't actually 'bypass' it - just turn it down and make it less pronounced by using a stronger - and ideally cleaner - input signal. The $23 Saramonic setup does look workable, lightweight, simple, cheap and creative, and presumably the 3.5mm output could be split with one of these or similar, to send an input signal to a recorder (e.g. DR-10L/LS-7 which could otherwise double as a pocket recorder if needed) as well as a signal to the camera for scratch or backup audio. The audio quality seems pretty reasonable, but in the video it sounds like the Saramonic setup loses some of the lower frequency sounds compared to the C100 XLR preamp, which by contrast sounds somewhat 'richer'. I wondered if there was an inbuilt low cut filter involved with the Saramonic. The Beachteck looks like a better quality option, but is a little more bulky and expensive. However, it can be bottom mounted which is a plus. Either way, at $23 and $140 respectively the Saramonic and Beachteck options are considerably cheaper than the Zoom H5 at $270, but with the downside of having to connect your existing recorder, which is more fiddly and prone to disconnecting, but nothing you couldn't work around. When all is said and done, cameras come and go, cheap gear breaks and often disappoints with it's compromises and lack of performance. But a quality audio setup will last a long time. That said, I'd personally consider selling anything I didn't need, throwing in the extra cash and buying a MixPre3 and not have to worry about audio recorders for another decade or more. If you look at it like that the MixPre3 is a bargain.

Yea that lens is not making it off of a body. Speaking of the LX100, Panasonic could dominate the blogger market if they'd just do an LX200 already, with better AF, the 20MP sensor, IBIS, mic jack, and a flip screen that goes up over the top (like an A5100).

No one is going to argue about DR superiority of the UM4.6K with 15 stops advertised instead of 12 for the 4K. It's also got a wider ISO range. All i'm saying is if you're allergic to rolling shutter and again want a 4K Super 35mm Sensor with Global Shutter then the UM4K/BMPC4K are a good deal. The F55 is literally 10 times retail of the UM4K and 20 times a used BMPC4K. Just sayin'

This is it. I remember when it came out there was talk about the unusual composition used, like all the headroom, etc.

Yeah, the one they've missed the trick with is recording 4K F-Log internal whilst outputting an HD version of it over HDMI. Ditto having no HDMI when you're recording HD F-Log either. Not being able to get a monitor feed when its own monitoring is bit limited (no zebras are even more of an omission now with internal LOG as, arguably, is the monitoring LUT) is a letdown. I found stepping through the recording options is a bit painful as its doing one of its fast reboots between each step to switch the displays on and off so it takes a while to get from HD to 4K. It would be good if they could at least let you save your formats in the C slots. Oh well, I'm nitpicking now

+1 If your camera works for you, fine. But the endless thread trolling by NX1 owners in every single camera thread is so played and adds nothing to the discussion. So far I'm pretty happy with the update. Looking forward to tinkering with the focus bracketing since I don't own a macro lens - GFX users are doing stacks of 100-200 shots and the results are pretty awesome. Flog is nice, but I would like to see Eterna added at some point too - shooting at lower ISO's with DR400 internal speeds up my workflow. I get its too soon after the XH1's release to add it, down the line... Chris Here's a guide with all the new features/options -- http://www.fujifilm.com/support/digital_cameras/manuals/pdf/index/x/fujifilm_xt2_manual_01_en.pdf

This update (especially the internal FLOG) weakens the X-H1 as an upgrade for X-T2 owners certainly. But..... Everyone is looking at Panasonic and Sony to implement ProResRAW but what if Fuji were the complete dark horse here and put it onto the X-H1 ? They certainly have the track record in handing out additional value long after you've bought the camera and that upgrade would certainly let the X-H1 stretch its legs if they made it exclusive to that camera. They're probably already at it

@jonpais there are lotta stores doing big rebates on XT2 currently here in EU. and a lot of second hand units fo even lower as well. both are results of XH1 & XT2 approaching EOL with XT3 expected at Photokina.. well one has to admire Fuji for giving older models, new features (like 4K on Xpro2 last year). but XH1 in Fuji's eyes is mostly a hardware enhancement: IBIS, body size / grip, weather sealing, touch screen. and they still left stuff like DCI 4K/2K, 200mbps & Eterna exclusive to XH1. anyways it's a win-win for the consumer imo..

fwiw im doing everything on this list for an itty bitty lil 2 min no budget film

Dynamic range of the 4K model is pretty weak. If you compare it to they Sony F55 which is also global shutter, the performance is much worse. So I think the 4K global shutter model was a big step backwards in image quality compared to other Blackmagic cams. But because it was 4K global shutter, Aliasing/moire/rolling shutter artifacts were mostly gone so at the time it seemed better. Now looking at Ursa Mini 4.6K images you can see a clear difference in the fairchild sensors vs cmosis. Ursa mini 4k/BMPC/full size ursa are not relevant anymore with the pocket 4K coming out soon.

Thoughts on these? https://www.sounddevices.com/products/recorders/mixpre-3 Its hard to beat SD preamps

http://www.fujifilm.com/support/digital_cameras/software/firmware/x/xt2/index.html Just upgrading now, looking forward to playing with 120fps!

I might have another tinker with it over the next few days regarding what happens when I was trying to put cinelike d on it. Its been sat on the naughty step for a few months because I never got back round to trying to probe it a bit more.

Always thought this way about my LX100 - a lens with a free camera. Have to use it back to tinker a little bit with photo quality - always have the impression that the lens is a bit soft. Unfortunately the video quality is now lagging behing the GX85 - G9 - G85 - GH5; the noise levels are from the GH4 generation. If it could be updated to the GX85 level, would be amazing.

I have really enjoyed work from Hiro Murai.

The Hero6 is a completely different beast from all other GoPros from an image standpoint. The 4k/60 and 2.7k/120 H265 clips are beautiful. The Stills are also a big step up. Don't know about Europe, but in America it's $399 and that is a great deal for a camera like this. The Yi 4K+ is a better camera than the one you own, but not the Hero6. Don't scrimp on Image and features and regret it later. Regarding the OP on low light, check this vid from :40 on. GoPro has never been a low light Camera, but the Hero6 between 400-800ISO is improved over your cam.

It’s back to the nets for you! I only got there with an unplanned edge which third man fumbled.

Only about a week Been trying to position myself to have strike so I could've hit it myself but I'd miscalculated a no ball or a wide somewhere along the line.

I’m always impressed by those here who can tell the camera from the footage. I admit to struggling to see the difference even when I am told where to look and what to look for! It’s like a game of chess - the colour grader trying to make the footage from the various cameras match and the eagle-eyed EOSHDer trying to spot the difference...

Thanks for the information. Will definitely check it out. Actually, there is no question if crop, cause it' a fixed lens camera.

You could compare camera+lenses sizes (some of them) in the same Camerasize site. - Go to https://camerasize.com/compact/ - In the menu bar at the right of the combo box which you choose the cameras, click on the last icon (camera+lens) - Choose a camera and click the "+" button - The camera body will appear in top view, and over it there is a link "click to add a lens" - Choose the lens that you want - Add a 2nd camera body and repeat the process. You can copy the generated URL that your browser will show in the URL bar when you have the comparison you desired and share it, like this: https://camerasize.com/compact/#698.613,698.366,ha,t

Totally agree. Unhelpful, unnecessary, ego-driven, snarky. No, Kisaha, it is not "simply pointing out information" if your reply swings that way. These sorts of comments just bring the purpose of these forums down. I'm looking forward to spending significant time with the new firmware later in the week. Curious if the slow-mo aliasing issues of the X-H1 show up in the X-T2 post-firmware update - in the 60p as well. Glad, glad for the Flog and Eterna LUT. Jonnie at Cinema 5D had a nice, short intro to the new firmware. Basic story but the images look good.

Getting very tired of reading this over and over and over

People easily overlook that the champion in sales is APS-C, and smaller than full frame sensors in general. Not a lot of people want to carry around big, heavy and quite expensive lenses. It is good that Nikon is finally preparing a full frame mirrorless, but I would prefer to see an APS-C body. I seriously have no desire for a full frame camera at all, and I am not the only one (sales!).

There is a deep divide in the vlogging community about where the flip screen should be.. those that use in-camera sound and prefer the screen flips over the top because it looks more natural if they look at the screen while shooting, and those that use an external microphone which is mounted in the hot-shoe of the camera and therefore they prefer a side-flipping screen like Canon. .....then there are the Sony shooters, who focus on their hand and then just stare into their 16-35 hoping they're in frame!!!

Skintone Raw Footage Side-by-Side Download Here GH5 VLog Alexa LogC White balance placed a touch magenta on the GH5, but I opted to only use GHa Main sans pre WB tweak

An H1 is "too big"?! The mind boggles.... Perhaps get a Tascam DR10L to use on talent? Please no. Just because people have done this (I've also seen people use broom sticks as boom poles! ha), doesn't mean you should do it!! I wrote up last year my thoughts on the best pics for a recorder: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ The only notable changes since then in this niche is the MixPre10T announced and the Marantz PMD-706 shipping. Zoom F series pre amps are right up there at the same level. And the Zoom F4 has more features and a lower price than the MixPre3. Personally the only strong reason to get the MixPre3 in my eyes is its small size, it is shockingly small. So if teeny is what you want, go for MixPre3!

The lens causes the sensor to have a lot of crop, and that is why despite being a 16MP sensor, its highest resolution is limited to 12.7MP (in the 4:3 aspect ratio). I am guessing it was designed by Panasonic to actually compete with the 1inch sensors by offering a fast lens and slightly larger sensor, despite the crop from the M43 sensor size. Despite the low MP count, it seems to have worked quite well.

That's an interesting point. Many of the reasons it's not suitable for me (as a specialist camera) make it more suitable for the average consumer. Phones still have huge screens and are already in your pocket, but the 19mm lens does help somewhat.

Not sure why Leica couldn't make an outboard version of their fixed zoom on the Panasonic LX100. It is fast, sharp, and it has a nice zoom range -- and it covers a 4/3 sensor.

Thanks Jeremy! On their own, as a conversion to VLog, they are really accurate. Looking at the point cloud throughout the color space, they're near perfect. But it is my impression that Vlog is superior for locking in skintone nuances and absolute smoothness. This is essentially because combining two really intricate conversions magnifies translation error. This doesn't apply to the simpler PREs (i.e. Premiere 10bit VLog and ProRes), because of their uniformity.

Don't. Own it, I love the look. Watched this earlier today and both the director and the DoP appear to be big fans of using diffusion wherever possible.

This is 84.90euros in my country. This is seriously an action camera for the masses. Comes with a box full of accessories inside. Is it as good as a GoPro6, or even 5? Of course not, but most people will be happy to spend a lot less than 100euros (this can be an impulsive buy for a lot of us, even my I consider 84.90euros for a nice little gadget a very fair price), and it comes with 2 years European warranty (German company it seems). @kyeWaterproof mobile phones can, but it is not advisable to swim with. Even action cams without housings have to be cleaned, and properly dry out, but you can shoot somethings on the beach (not inside the sea, salt is killing everything, even human hearts!), near a pool, or on a river (canoe-cayak!). I would call them splashproof.

After doing a little bit of research, I discovered that while there is a site comparing most Amatuer and Prosumer Cameras (https://camerasize.com/compare/), there appear to be none that compare Camera Lens sizes (except one that matches M43 cameras with lenses for relative look and size estimations http://four-thirds.org/en/special/matching.html). There is a strange presumption that lenses must remain small at the cost of faster glass or great options, and this applies to Panasonic too. Olympus has been shamelessly making some superb glass and some of it is pretty small too, especially for the quality and brightness that it offers. If Samsung could make f2-2.8 (16-50mm) Zooms, there is no reason Panasonic should not aim for Zooms that start brighter than f2.8 (Panny Leica f2.8-4 12-60mm). I saw the Zuiko f2 Zooms and they are absolutely enormous. Panasonic should aim for a combination of bright and decent range, even if it means a little large lens (not as enormous as the Zuiko f2 zooms). I don't like variable zooms, cause they suddenly feel weird if you don't close the aperture to begin with, and then zoom in. A 12-100 versions of the stellar Olympus f4 zoom, but with an f2.8 lens would be perfect. It could be large. This single lens could outsell everything but the M43 system if it has good OIS and isn't priced above $1499.

The EOS M doesn't handle blown highlights very well in raw and you do sometimes get a flat pink (or pure white) colour in the blown out areas, and it's easy to get with harsh clipping sometimes with colourful moire appearing at the edges of the blown out areas. MlRAWviewer might make the problem worse - worth trying another program like MLV App to see if its still an issue? The way to get rid of the pink and hopefully bring back some information is clicking 'highlight recovery' in Resolve, but I'm not sure this necessarily works in every single case. If you want to go slightly further with highlight recovery, look at Juan Melara's tutorial on grading cdngs (for Blackmagic cameras but works for magic lantern raw): Great work though it's a shame about the moire. I guess this must be 720p mode because when shooting 1080p mp4's (with or without bitrate hack) I'm pretty certain you wouldn't get so much moire? Today I've tried the SD card overclock hack. It works and will post footage here soon.

The sony fdr-x3000 sounds like it has what your after. Better low light than go pro, image stabilization, very nice picture. Only negatives I see are no screen and you need a case for underwater use. Worth checking out though.