IronFilm

Panasonic did 240fps first with the Panasonic GH5S

HA! I've been there too. Bought something then completely forgotten you'd bought it. Happens far more often than I'd care to admit. Gets even worse when you buy it a SECOND TIME, because you want it, and thought you didn't have it.....

It is super super early days for the Nikon Z DX system. But yeah, is a pity the Nikon Z50 lacked IBIS or raw output, then it could have been a mini Z6 powerhouse! Perhaps the "Nikon Z60"?

I think many people could find a couple of things from that list (I left of so much, such as the big one: Unlimited recording!!) to still prefer the Panasonic GH5 Remember too, the GH5 has been out for a very long time. The GH5 is right at the very end of its life cycle, while the life cycle of the X-T4 hasn't even begun yet. So any MFT shooter would be wise to wait and see what happens, if a new GH6 or other MFT camera is coming along.

That's not the only reason easyrigs are used. They're used to redistribute the weight of the camera rig from the shoulder/back to your hips. They're also great for having fine control over height! You're not just stuck with whatever the height of your camera op's shoulder is. Makes for a very good tool indeed if you're abnormal! (too tall / too short) Canon C100mk2, Sony FS5, Panasonic EVA1 (only just!), UMP G2, JVC LS300 are all priced under the C200 The C100 and FS5 have been massive massive big sellers. I don't think that market should be ignored. (we all hope that Fujifilm won't ignore that market! Add XLR / NDs / SDI / TC to a X-T4 and add another grand or two to the price and we'd all be very happy!) If a C200 without raw (maybe with another feature or two removed, to further cripple it. Such as removing the C200's ethernet port. Maybe remove the 120fps HD option, cap it at 60fps even in HD. Even the 4K, limit it to 30fps rather than the C200's 60fps) was released at US$3K (the current C100mk2 price) then I can be certain such a camera would be a massive massive hit with all the canon fanboys!

It is very very easy to avoid dethroning the C300mk2, just release a C200 without raw and call it "C100 mk3" That is exactly what I've been suggesting since the start. The C100 mk3 then would lake both raw and 10bit, and lack all the usual pro I/O usually expected, there would be a MASSIVE gulf between it and the C300mk2

The X-T4 still misses out on a lot of key advantages of the GH5 which I feel are important: Proper headphone jack (no need for a USB adapter!) Seems like better weather sealing (proper weather sealing vs "drip proof") Waveform monitoring Full Size HDMI Option of using the Panasonic DMW-XLR1 XLR Microphone Adapter

Yet the GH5S has a greater crop factor than the JVC LS300? That's what I was wondering about, surely that gap in size between the two allows a bit of room to "float"

You stole my words out of my mouth. The C100 is waaaaaaaaaaaay overdue for an update. And the best odds is it will be almost identical to a C200, but without raw. Which will make the C100 mk3 more attractive than the C200 for many people. This is Canon. Bet the C100 mk3 will have 4K 8bit as its best quality option. That would kill off the C300mk2, would be a "C300mk3" Not happening. Beating on a C100mk3 I'd be SHOCKED if it was Canon who gave us the first cinema camera with IBIS. Don't worry, in 3.... 2.... 1... you'll get disappointed by Canon again! 😉

I wonder why they keep on not giving us 422? 1080 240fps should give the X-T4 a good rating on hispeedcams.com though

No it doesn't. Next is Large Format....

Thank for your saying what I'd have said! Also, if you produce a film and expect one person to be your entire sound department, then "this" (monitoring without headphones) is kinda what is going on an uncomfortably large proportion of the time! As booming is right up there with the 1st AC as the two toughest technical crew jobs on set. So you'll have most of your focus on booming during a take (especially if it is something really tricky, such as an unrehearsed roving gimbal shot with lots of bouncing dialogue. Or worse, improv dialogue!), which doesn't leave much spare attention to focus in on listening to the headphones you're wearing. Also, the usual setup is boom into my left ear and all the wireless into my right ear (because you're listening out for completely different things on the boom channel vs wireless during a take, thus you separate them). Ever tried watching half a dozen video monitors displayed on a single monitor? No, not with a stack of neat little boxes within the monitor screen for each individual camera feed, this is with all six camera feeds overlaid on top of each other! A garbled mixed up picture. Sounds like total nonsense huh? How could you even judge exposure for each one individually, or know if it is framed precisely accurately, or if there is a stray coffee cup in the frame or not, or if the skin tones are good? Welcome to my world. Of course with a good base of theoretical knowledge (such as @Zach Goodwin2 started this thread about) and your gut feeling (built up over years of experience), then you can dial in your settings during setup pretty well and fly along on auto pilot. And the more expertise you pick up, the better your "auto pilot" can be during a take itself while booming it. For instance if I hear a spike in clothing rustle in my right ear (if I hear it in my left ear.... we've got a MAJOR costume issue! Which should've been addressed in pre-production ideally), should I freak out? Well, if I see out of the corner of my eye a couple of the actors hugging in the scene, but they were not the ones with dialogue during that same moment of clothing rustle, then I can probably feel confident the ISO track of the speaker at the moment was fine itself. (and if I've got the boom spot on, I can be even more confident there is nothing to worry about for the edit!) Plus between takes, when you've got free hands, you can be more attentively listening out for problems to nip them in the bud before it develops into a real issue. And you can be checking playback, doing PFL to check if the vital tracks are all sweet. Although.... if you're flying solo, you often might not have time to scrub through playback and listen to the parts you want to. As you're also got to be standing by ready, and able to respond to any changes. (this is also why sticking to on set protocols and not deviating from the usual patterns is important, for example I could be listening to playback of the previous take with my ears but my eyes are on the 1st AD. Waiting to see him say "turnover", but if this take the director or cam op decides to shout "roll sound" instead I might never know! I can't hear them. And I'm not looking at them either. So there I am standing looking like a deaf idiot due to not hearing them as they "wait on sound" because they didn't follow normal procedure of the 1st AD calling it out. Of course I'll eventually clue in, but it is quite frustrating & embarrassing. This could be avoided if boom op and sound mixer are kept as two separate roles) So, could one person be the entire sound department for a film? Well heck, you have old school street photographers shooting with film, relying on the theoretical and their gut instinct, not even needing light meters! So it is "doable", but is it a good idea? Nope. You wouldn't ever run the camera department like that in this day and age. If you wouldn't dream of rolling up cam op / 1st AC / gaffer all into one role, then please don't do this for sound either.

While an FS7 is going for a thousand bucks cheaper than that! Rather have a FS7, greater demand for that, and more versatile.

Battery life is pretty good with a big NP-F970 battery on the back which is the usual set up. Only if you need to power more things might you go with a bigger V Mount battery? And if you're putting a video transmitter, wireless follow focus, extra monitor, camera hop, etc... all to be powered by the camera battery, then you've probably got the Z Cam rigged out on rails with space to put that V Mount on it at the back now?

Any proof of that? Obviously if we squeeze a FF sensor into it then there won't be IBIS! ha But do we know if even a MAR MFT sensor is "going too far" for IBIS?

Good grief, someone was missing their morning coffee! Apologies. They're talking about the tough FF market , don't think they mean specifically MFT Camera ops sometimes now and then listen to internal audio, to check the scratch track is ok. Plus there are countless low budget shoots which are recording direct to camera, shoots for social media, or corporate interviews, and such.

https://www.eoshd.com/comments/topic/20260-how-i-got-scammed-through-ebrahim-saadawi/

Good grief!! That is a big backwards step. Can't you use a headphone jack over USB like the Fuji X-T30 / X-T200 does??

That's why they shunted off all discussion of Hydrogen into its own private forum, so it wouldn't pollute the environment of reduser Maybe they will do that again with Komodo? Am kinda forgetting what was the reaction to Raven? It was priced much higher than those other two of course, but it still was RED's cheapest product ever at that point in time and must have lead to a small influx of "the great unwashed" onto reduser

That is also an accurate guess at the price for Komodo! Somewhere between BMD Pocket pricing and "your dead mother's ashes" down payment

Wish the X-T4 had that! YAAAAAAAAY!!! Ohhhhhh.....

Ah I kinda assumed you meant the 18-55 and 50-135 cinema zooms

https://***URL removed***/news/0545723136/metabones-releases-nikon-f-mount-to-fujifilm-g-mount-adapter-with-1-26x-magnifaction A commentator says it is the "same" as this: https://www.venuslens.net/product/laowa-magic-format-converter-mfc/

Very little difference in size between a MAR MFT sensor and an APS-C/S35 sensor. But yes, I can predict the GH6 just increased its odds of copying features from the X-T4: dual recording to SD cards, line in for audio, etc

There are not too many search results, and I sent you a link with them already "sorted by most orders" Quite easy to quickly make a decision.