IronFilm

What mics were they? Certainly there exist mics with even worse SPL. And count this up to another reason to not use production supplied equipment! Perhaps I should have used the additional disclaimers of: "....or if using cheap gear" and "....or if doing music recordings" Oh yes, music productions can get to unhealthy loud levels! But I'd worry more first about your own hearing before the mic you're using....

Mics definitely do have self noise, my Sennheiser MKH60 for instance is much cleaner than my AKG Blueline HC

https://forums.cgsociety.org/ https://www.reddit.com/r/vfx/

Totally right. I'm 0.0001% of a "successful" YouTuber, but look at my first ever video (it is not even my 1st ever video, just my first video on this channel), it is utterly horrible: To be fair my latest videos are not much better! :-P haha I have no shame, just do it and share it!

To give a couple of examples: My Sanken CS3e has a max SPL of 120 My Sennheiser MKH60 has a max SPL or 134 Both of these figures OHSA recommends you spend zero minutes exposed to. You can see why I say that practically speaking I never come across scenarios extreme enough my gear can't handle that. Sure, it does happen for some people, but you're talking about rarefied air here of specialist SFX recordists.

I feel like through this conversation you've been getting confused by various terms / points / aspects. I'll try to clear up a few things: Mic self noise is not the same as mic pre amp self noise. The inherent self noise from either a mic or a pre amp is going to be the same when a person is whispering or shouting, BUT when a person whispers we're going to crank the gain up. Thus we're hearing more of the self noise due to the gain being cranked up. (the reverse is of course true when a person shouts, and you hear relatively less noise) This does NOT mean there is inherently more self noise in a system when a person is whispering, because of course what an actor does (be him/her shouting or whispering!) has no impact whatsoever over the electronics. It is what the sound mixer does which matters. The Zoom F6 is proposing that all these operations can be done in post, and you the operator doesn't need to touch the F6 at all. Thus it logically follows if your recorder is already good enough to record someone whispering or someone shouting (which the F4/F8 can easily do with even moderately good technique) then the F6 can do it without you needing to actively babysit the F6. Or so Zoom is claiming, and when you think through it like I have just done here explaining it to you, then you can see this isn't a totally unreasonable claim to make. And I'm looking forward to the reviews to see if they've pulled it off in all the details, if I was a betting man I'd say yes. The problems / exceptions to this only arise in scenarios when even if you're actively running your recorder then you still can't record the sound, which would be truly extreme examples like a flea farting or a space shuttle taking off. Again, look at camera examples if it helps you understand it: Realistically speaking if you're filming in a tunnel or a outdoors in summer, then they don't change what is inherently noisy in the image. But rather it is you as the camera operator who is responding to your external surroundings which leads to that noise seen. When in the tunnel you choose 12,800 ISO which makes the image noisy. But being in the tunnel itself doesn't mean the image is noisy. It was you choosing that ISO which made it noisy. Ok, I'm probably sounding weirdly philosophical at the moment, but maybe you're catching my drift? Imagine you could record ISO 100 / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 all at once?? Then you can choose which ISO you want in post. Thus like the F6 you wouldn't need to set your gain while shooting. And the end result would be just as good as if you had selected the right ISO on the day. (of course at any extreme, like filming on the surface of the sun, TOO BRIGHT, or filming next to a black hole, TOO DARK, then you'll have problems) This is kinda why some people have compared the F6 to doing "raw audio"

Well ok then, guess we can agree to disagree, I just thing it is mind boggling to think it is not misleading to say Deity/Rodelink are "the same", yet you also think it is misleading to say Sennheiser G3 / Lectrosonics LT/LR are "the same technology". In my view either both are "misleading", or neither of them are. 2.4GHz just means the frequency they're using. Just like UHF merely refers to the frequency band used. But there are a million different ways in the details as to how they could be implementing their usage of that frequency.

Do you accept though it is misleading to call RodeLink/Deity as using exactly the same technology? In the same way it is misleading to say a Sennheiser G1 and a Lectrosonics LT/LR are "the same technology", technically true, but definitely something which should be highlighted as potentially misleading. As there are many differences in features and in the manner of how they work, beyond simply sharing the same frequency. That has been my core point from the beginning of this tangent we've gone on in this thread.

Kinda odd, why didn't they whack in an ND filter? They're indoors, so it is not like the light is so strong they'd run out of NDs.

When they don't even put 4K into their products (hello C100, still stuck with merely a mk2 1080 one!) or "barely" do so (any product from Canon), then you can color me very skeptic when it comes to Canon and 8K Hahaha! Sigma and Leica will together ensure there are plenty of quality lens choices in the near future for the Panasonic S1/S1R!

Could be worse, naming it "Maxx Headroom"

If you haven't had a play with them @Kisaha then I do recommend it! As these points are very subjective, and are sure to vary from person to person, and you really won't know for sure until you get your own hands on it. Certainly shifted some of my own views on the MixPre, but overall I left with the same broad opinion: am very happy to have my Zoom F8n instead! :-)

False. At least it certainly it is false in the sense you just called Deity and RodeLink the "same technology", if so, then heck so is a LT and a G1! Which is the point I'm making, it is a bit silly to call Deity and RodeLink exactly the same technology, as it is like claiming Senny G1 / Lectro LT are using the same tech too. Well I guess technically they are! Because they're both UHF, and RodeLinks and Deity use the same 2.4GHz. But I'm sure we'd all agree that it is silly to say a Sennheiser G1 and Lectrosonics LT is the "same technology" when the reality is it is so so so much more than just what frequency they're on, and this would be a gross simplification which is very misleading. Which is why I felt I must highlight this is a very inaccurate way to describe the situation with RodeLinks/Deity. Edit: if anything, it could be argued a Lectrosonics LT/LR (or whatever other latest Lectrosonics you might like to refer to) is actually MORE similar to a Sennheiser G series than Deity/RodeLink are similar to each other. As you can't ever mix and match Deity/RodeLinks to work with each other, but you certainly can use those Lectrosonics with Sennheiser G series receivers/transmitters! (not that I'd recommend it in most circumstances.... but you "could", and it does sometimes come in handy) Even secondhand, when you search completed auctions on eBay the cheapest completed auctions you can find are around a couple of hundred bucks. A long way to go until you hit "double digits" :-/ At that price point I reckon you are just far too close in price to a secondhand Sony UWP-D11 / Sennheiser G3

I'd say raw is overrated, especially for one man band stuff (i.e. low budget shoots), you're not needing raw now after all! As the C100 is a long long way from that.

It is not the wording that will be the biggest problem, it is easy enough to avoid the trademark for NeverClip, rather it is the patent which Zoom will want to dodge. (what they *MIGHT* do is take the Sonosax and Tascam approach, just ignore the USA market!) SO???? The inherent absolute self noise of a mic is the same if a person is whispering or shouting. Which is why I was saying under extremely extreme scenarios the only "gotcha" you likely need to then worry about is the max SPL of the mic, but if you're worrying about the SPL rating of your mic then you've playing in some very rarefied exotic circumstances here when it comes to doing sound effects recordings! Not a problem people need to ever usually worry about. (for example: I'm a professional sound recordist and in the last few years I've never come across a scenario in which the max SPL of my mic was a problem for me, you really need to be some kind of specialist SFX recordist for this to be a big concern for you)

That is because they're not using the lens on a PL mount. I'm more worried about how noisy they are! As they're loud in that video

Why not the super popular FS7? They're very affordable on ebay too if you're ok with secondhand. Plus there are the less popular choices of Panasonic EVA1 and UMP G2 worth considering as well. Bingo, if/when the C100mk3 happens then it probably will be 4K 30fps 8bit with no SDI or TC

So long as the jet engine doesn't exceed the mic's SPL then yes, you could of course record both at once at the same time. (welll... hopefully with a small gap between the two, as of course the leafs will get drowned out by the jet!) It does indeed sound like that is what he is saying, and I reckon it is technically possible (but I'll wait for the reviews before I know for sure they've pulled this off in a practical sense, but they seem to believe so!). Assuming of course that noise on the aircraft carrier is below the max SPL of your mic, which depending on where you're standing on the aircraft carrier might be the case. (oh and the other "gotcha" is maybe you might need an inline pad, but heck even the likes of higher end pro recorders can require these as well for very extreme scenarios like close mic-ing a jet engine!) Anyway, what you're describing is a truly extreme example which falls under specialist SFX recording scenarios. A more reasonable "extreme" scenario is a NYC street vs bedroom pillow talk. And yes, Zoom seems to think the F6 can handle this and I'm willing to give them the benefit of the doubt until reviews come out to prove them otherwise.

Depending on where you live, and where you travel to, you might find it worthwhile considering buying a good 2.4GHz wireless system (which is hopefully what this new Deity product will be) as a way of being diversified from being only with your UHF products. I agree if you're on a budget and want to buy today a cheap but good lav than OST is the way to go. I would very very strongly disagree with the statement that RodeLink is the "same technology". No, they're just merely on the same frequency. It is like saying a Sennheiser G1 and a Lectrosonics LT is "the same technology" just because they're perhaps using the same frequency. Nope, there is a lot lot lot more going on in the background. And that is before we even begin to touch on the extra feature benefits Deity has over a RodeLink.

Had a play around with the MixPre10T yesterday for a good length of time, the teeny tiny touch screen annoyed me much less than I was expecting, but oh boy, that menu knob on the side.... annoyed me waaaaaaaaaaay more than I thought it would! Ugh. Maybe if only the headphone input was elsewhere to give your fingers a little bit more room around the knob then perhaps I'd have found the location "tolerable". But as it is not, I'm inclined to feel like the knobs location is "almost a dealbreaker" for me when you need to use it so much during a day.

I don't think the Zoom spokesperson (Samuel Greene) is outright lying at all.