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Yep, I just did a small drone part for a heliski video and yes you are there in the cold everybody waiting for your signal and you are unfolding the drone, connecting the phone to the RC, opening the app, loading, connecting, compass calibration, compass calibration and one more time compass calibration 🙂 then check all the I agree checkboxes because is high altitude, cold, to much snow, RTH altitude, etc and finally you can start and by that time your talents are frozen and your fingers too. All this assuming you did 3h of firmware updates for the RC, drone, every single battery and maybe even for the case 🙂 the day before.

You could just plug a Deity D3 Pro and plug it into a Rode Go? https://www.bhphotovideo.com/c/product/1448999-REG/deity_microphones_vmicd3pro_v_mic_d3_pro_directional.html

I used my Wireless Go II yesterday and I would have to say......"Don't buy it!" unfortunately. I too had Rode Central App crash randomly while playing files and also when trying to export WAV's more than 7mins in length. I can confirm that these issues have been fixed by the latest Rode Central app that was released today. Unfortunately the biggest bug with the system is that both my Transmitters failed to record internally on 3 out of 8 of the interviews I recorded despite me always checking that the record light was on. I have the in camera recording, which luckily is fine, but the product as it stands is fundamentally flawed. What good is a backup recording if you can't be confident that the unit is actually recording? This seems like a completely rushed out product and as a long time Rode microphone user, am deeply disappointed that a company like Rode could release such an undercooked product to the public. Like me, if Rode had actually used this product for a day, they would have found the same issues I have faced, and by the sounds of it many others are facing too. Im returning mine ASAP.

Looks cool, but I'm holding out for a Mavic Pro 3. I find FPV footage a little nauseating to watch, but they look like fun LOL! Chris

I wouldn't know, I don't own both to do a comparison, is a little below my paygrade am afraid. Ask me about a MKH60 vs CS3e... Or go for a MixPre3, think that is one of the best picks for a videographer due to their ultra compact size, to pop underneath a mirrorless camera.

Hello! I exclusively use Premiere Pro and run with 32GB of Ram with a Ryzen 1700X with the Vega Frontier Edition 16GB Video Card, and I edit 5.9K H.265 from my S1H, albeit at the minimum reduced resolution. The performance is not optimal, as there are tons of dropped frames, but I also edit video straight off of my NAS drive over a 10GB SPF+ connection. If I copy a project locally onto my SATA drive, performance improves quite a bit. I also get a big performance boost if I have only 4K 60p footage. Here is a screenshot of my typical sequence, which I consider moderate complexity. I would have thrown in a 5900X or 5950X by now, but my motherboard doesn't currently support it 😞.

You definitely understand my stuggle right now! I do have the XT3, its my main photo camera and I love it. I have never updated it so I will give that a good scouts try today. After reading through, it seems like if there was a S5 that existed that had RAW output and a significantly improved AF that would be my ticket. Maybe a MK2.

With almost any camera you have can benefit from an external monitor, even big cinema cameras have extra monitors being used for the operator / AC / director (or all of the above). Especially if you're just doing the bulk of your work as sit down interviews, I can't see why you wouldn't want to use an external monitor.

I also just got a WG2 and found all the same problems: recordings missing, corrupted or stopping early. However they've now released an update and from my limited testing so far - all's good. I've only done a few test recordings but they've been flawless and crucially the recordings continued even when the RX was well out of range. Would be interested if yours is fixed too. Whilst I agree they shouldn't have rushed this out without proper testing - might be worth holding on to for a few more days.

I just want to switch on with a physical switch that is instant, ie, no holding for 5 seconds etc. Then I want to just a record button, see it's recording and then press or push a lock feature. On camera, I'd like it to switch itself on or off when I do the camera. I can see why some might like or need apps, for remote access etc. And don't get me started on pre-flighting a drone... 🤪

I've done exactly that with the VideoMic NTG, and NTG4+ with XLR-3.5mm cable. It works very well for a wireless boom setup. I also regularly use my Wireless Go with a Zoom recorder. Have the mics going into the recorder, then plug the Wireless Go into the output and send the audio to the camera. Perfect for monitoring from the camera, and syncing the HQ audio later, but also gives the option for super mega fast turn around where necessary. Providing you get the levels in the zoom correct before sending the signal to the camera, of course.

True but in his tests, he does usually have a section where he shouts into the mic to test for distortion.

No. There is an increased stabilisation bonus using native lenses with OIS taking stab from I think 5 stops (?) to 6.5, but there are only a couple of zooms with this feature. Otherwise IBIS works with any/all lenses regardless of what they are, who they were made by or how old they are.

Of course, but the claim that art shouldn't be offensive...? Not sure about that. Certainly being offended is subjective. Personal anecdote from me, a kid raised Catholic: Monte Pythons' "The Meaning of Life" has, what I consider, a hilarious bit of satire mocking Catholics. I was shocked yet amused the first time I watched the "Every Sperm is Sacred" musical number followed by Gram Chapman's character ranting for 5 minutes about "bloody Catholics!" while 50 Catholic children exited a single household. My Mom, on the other hand wasn't amused at all. She was very offended.

In comparing the two, I think the Canon focal reducer/ speed booster needs to be added to the equation. Not only would that make it more equal in price, but it makes the c70 essentially full frame. There is a technical difference of course; while the focal reducer increases field of view and brightness, it doesn't change the DOF. Personally, I think that's a plus. I'd prefer the unique flexibility in gaining a stop in light without the accompanying razor-thin plane of focus. Just more practical.

Every single movie I can think of that can be called art pushed normative boundries in some way or another. Most of them were missunderstood in their time. Contrary to what comes out today these creations had "weight": being subversive + having good exposition + good craftsmanship. There's some Hollywood stuff, of course, as well as cinema from other countries. Following that logic, 99.9% of the digitally enhanced stuff we're consuming today will most definetly not be remembered in 20-30 years. They are neither subversive nor have good exposition, but are techinicaly fantastic and produce a ton of money, but that's it.

I'm with you. I think reliable autofocus is key to shooting on a singlehanded gimbal, unless you're locking the focus and maintaining the right distance from your subject. Of course, I'm not the best gimbal operator and prefer handheld shooting. I personally don't think pulling focus with a wireless system on a single handed gimbal is all that great an idea for a single shooter. If I were doing a lot of gimbal shooting and wanted to pull focus for myself, I'd probably build out my Ronin-S, or an S2, with a ring grip and Easy Rig type backpack stabilizer or the Tilta Float -- basically a support system that transfers some/all of the gimbal weight to my core so my right hand can focus on framing the shot and my left could run the focus wheel without having to provide stability. And of course I'd rig my Ninja V or another monitor to pull focus from instead of the camera's rear screen. Both of those solutions are spendy and the bulkiness/rigging complications dilutes the simplicity of a good small gimbal. On the other hand, the type of shots you can get with a Arri Trinity style stabilizer system are dope. If I did a lot of music video content, I'd definitely buy the Tilta Float, which can work with the Ronin-S. Since I personally shoot mostly doc-style stuff, I'll probably going the Easy Rig route. Do you still have the X-T3? If so, maybe make sure the firmware is up to the new version and play with autofocus settings for each lens you want to use to see if you can find a sweet spot for your intended use.

I'm not a C70 or FX6 shooter, but I gotta say, nothing new here. Yes, the Sony leads in low light/low light AF and the electronic ND. But, as has been discussed on YouTube and on this site and others endlessly, and in the video itself, there are other factors to consider, including ergonomics, noise, dynamic range, timecode availability, xlr port placement, etc. In the end, as with most near competitors, the whether one camera is "better" than the other based on an individual shooter's workflow, experience with a brand's ecosystem, shooting style and the lenses and other gear they already own. Both cameras can produce pretty great images, in the end. Like the dude in the video says, it's about the system you have/want to go with.

I am not sure that works. The GH5 added IBIS and 10 bit, making it a much more exciting a camera release at the time than the GH4 was back in its day. Sure the GH4 added 4K, and it was huge, but 10 bit files is hardly a small addition. GH3 added 60p to HD, again a huge step from the GH2. I think each step of the GH Series has been a big step and factored in new technology, bringing new things to mirrorless camera from 1080p, to 60p 1080p, to 4K to 10 bit and IBIS. The GH6 would need to add something unique. Alas 8K has already been done in fullframe, RAW with the Pocket cameras, 120fps is already covered. What can the GH6 offer on the table to make it stand out from what is already there? Not much. Even internal ND has been done. You can't blame Panasonic if they thought that MFT had now had its day. Technology has now caught up to make fullframe now equally beneficial. For the GH6 to shine in the way previous models did, it would require a leap I feel Panasonic are unable to make. Outstanding AF coupled with internal ND, internal RAW or ProRes, minimum 120fps 4K, 30p 8K and 6K shooting modes and countless other features to give it an edge over fullframe mirrorless. Anything less, and many will compare it to say the S5 and ask, why? MFT was great in its day, but let's face it, even the size advanatage is hard to factor when the S5 is on a similar scale to the GH5. What can MFT do that other cameras with larger sensors can not? The only question to validate a GH6 release.

You're not wrong at all - though I disagree about the IQ of the BMPCC's. But, The X-T3 and X-T4 footage is VERY nice too. Not as much latitude for editing and h265 isn't as pleasant to work with, and there are some other differences, but I do love the footage they produce. I wasn't saying that people who don't like BM are ignorant about cinema cameras. I was saying people keep wanting stills camera features in cinema cameras, which *is* ignorant to what/how cinema cameras are meant to be used for. And I was pointing out Andrew's inconsistencies in his complaints against BM cameras (the Sigma Fp was FULL of reliability issues too). And I agree about the Fp - it felt like the beta version of a product, but it was a very unique and original product, and I too am very excited for the Fp II (or whatever it'll be called).

I think it just depends what you look for in an image. The XT3 codec is much thinner than 12 bit BRAW and just doesn't have the same amount of color information. Won't always be noticeable of course and if you like the Fuji color science that's a huge advantage.

I'm not sure why you couldn't have flown your X-T3 on the Ronin S and done everything that the a6500 did, aside from perhaps a difference in AF in some situations. The Fujis are certainly going to give you better AF than the S5, and the latest firmware increases the AF to X-T4 levels.

For really reliable AF you are stuck with either Sony or Canon. The Sony A7s3 is 3 or 4 times the price of what you already have and in my eyes doesn't have as nice an image of either the pocket 4k or Fuji. Sony A73 is cheaper but limited to 8 bit and similar quality to the a6500 you had Canon R6 is cheaper but still way above the cost of your current cameras and has overheating issues in 4k and again I prefer the image from what you already have. I have had success using the Fuji XT3 with gimbal whilst using AF but that is only a small amount of the time, I don't rely on AF like you want to. Can't think of any decent alternatives other than maybe Nikon Z6 (AF seems ok but am no expert on using auto focus), hopefully other folk will chip in

I work in a factory running cnc machines and lately a waterjet. I dabble in video for a hobby. I got laid off, not long after covid hit here in aus and nearly everything got shut down. Spent about six- eight months off work. Ended up withdrawing 20k out of my super, as allowed by the government at the time. Paid the mortgage off and bought a 3 year old Mitsubishi outlander. Some might say I haven't had it too tough, and I can't say that I blame them for thinking that. Here in Australia we haven't experienced the death rates in other countries. Whether that's due to the government initiatives or a smaller population more spread out or dumb luck, I couldn't tell. But I am however grateful as I have some rare bug called sarcoidosis which would probably not play well with covid, if I were to catch it. While covid hasn't had the same impact here mortality wise, financially it's probably near crippled a lot of people, families, government. Long time ago I remember a saying ask not what your country can do for you, but rather, what can you do for your country. Personally I think it might the time to focus a bit less on myself and some more on where I can help others,and maybe video something along the way.

If you can live with M43, then add the Panasonic G9 to the list - 10 bit video support and excellent IBIS, with 1080p and 4k video quality comparable to the GH5 (albeit without All-I codecs and limited to 30 minutes - 10 min for 4k60 - record time). It's a bargain for what you get...around £700 used, £900 new in the UK at the moment.

Hi everyone! I've been working on selling my Samsung NX 500 mirrorless camera (28.2mp white) on Ebay and FB marketplace in hopes to invest in a new camera that will do the job for both vlogging and photography. I have a relatively new YouTube channel (called J and Ray) and wanted to slightly upgrade my camera to have some features I find more important. [I've been using my Samsung S20 for vlogs thus far]. Some requirements I have for a better camera include a decent megapixel count, good autofocus, option for external mic (3.5mm headphone jack), wifi/Bluetooth capability preferred, 1080p and 4k (hopefully not a big crop, and with decent autofocus), a flip out screen, and I guess an aesthetically pleasing camera under $1k. I've been watching and reading reviews on these cameras: Sony ZV-1 Canon EOS M50 Canon G7X Mark iii Sony A6100 Fujifilm TX200 I'm currently really actively eyeing the Sony ZV-1 and Canon EOS M50, and can't decide on the tradeoffs of interchangeable lens, higher MP, uncropped 4K, user friendliness, etc. Any recommendations or advice about these 2 and which one would be better, OR recs for other camera choices, would be greatly appreciated and super helpful!!