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IronFilm

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Everything posted by IronFilm

  1. "Traditional System", as in back during the bad old days of 16bit recordings? Or even longer ago than that? Back then you had a relatively narrow range you could record in, without either getting issues from the noise floor below or hitting the limiters above. That is no longer the case with modern pro equipment, you have a much larger "sweet spot" to aim for.
  2. You should still try to budget for what is half the film..... sound! As after all, good quality sound is waaaaaaay more than just the dynamic range. Just like a good looking film depends on waaaay more than just dynamic range of the camera itself, you also need: the skill of the camera operator, lighting, the location, etc etc
  3. A relevant blog post for those interested in the new Zoom F6, that gives a bit of an overview of the current Sonosax preamp design which incorporates post (dual) ADC gain and has an option to record 32bit files: http://rtsound.net/no-gain-no-pain-sonosax-r4-and-ad8-gain-structure/
  4. Yup, a lot of film crew work is basically blue collar manual work. Like being an electrician is, or a plumber, or a builder, etc I tend to agree, this progress will lead towards an even better society to live in. Nobody regrets combine harvesters doing the work instead of hundreds of us slaving away in fields with a sickle, and nobody now wishes the loom machines didn't exist so that we all made it by hand instead. The same will be true for other technological advances, it will lead to a higher standard of living for everyone. I agree
  5. Curtis Judd has an absolutely fantastic youtube channel, however he is primarily a corporate videographer (who just very very occasionally does work each year specifically as a location sound recordist) thus he does very occasionally say some things which seem a bit questionable to me. However when you remember the perspective he is coming from then it makes sense. At the moment the only people who are working professional location sound recordists and are regularily sharing BTS content on youtube are Matt, Rodolfo, Michael, and myself. And the only specialist boom op in the world who has a regular channel is Allen, thus his content is really special and very worthwhile checking out. Sadly these numbers are pretty teeny tiny when compared that to the dozens if not hundreds of youtube channels by videographers talking endlessly about new cameras/lenses/lights/etc
  6. I know for a fact Deity/Aputure has been working on bringing out a wireless for much much longer than just a couple of years, since before even Andrew Jones joined. This didn't just happen all "overnight".
  7. That is a nice dream! But I doubt it, and they'd be up against the very stiff competition of the Zoom F series
  8. I imagine RED/ARRI/Canon/Panasonic/Sony largely ignore Kinefinity :-/
  9. Got a 2K Tungsten Fresnel for fifty bucks NZD! (which in USD is.... nothing)
  10. First time with a timecode smart slate, the Deneke TS-3:
  11. You should tag them to bring them to the party in this thread!
  12. No, it is not. At least not in my world. Perhaps it is as a "game changer" for a certain market niche of people who are somewhat clueless at audio but are doing it themselves the entire workflow from start to finish. But in my line of work I'd be moving backwards from my very excellent Zoom F8n, and what would I get in return? Next to nothing. I'd "gain" a nonstandard file format which "solves" a problem I don't have. (I could easily come up with half a dozen things I'd rather see instead from Zoom first) At 32 bits, then even if you didn't have a limit with a microphone, you'd find life itself would be a limit to what you record with all 32 bits. To record from one extreme to the next at once would destroy you. It is like if you recorded a gazillion stops of dynamic range of light with your camera, it would be both so hot and so cold that you'd be DEAD.
  13. We both agree it is badly implemented. (I'm just giving Panasonic credit for trying..... they're the only stills camera which has even made half an effort) But we just disagree for why it is bad, I'm pointing out that it is because the GH5S never stays locked constantly to the external source, and you haven't quite caught onto the fact yet this is my key point?
  14. Not a big deal breaker though to send mic output which is what I always did with my F4 (as I never came across a scenario when I MUST do line level), is nice though to have line level in the F8n as another option. As for the screen.... I dunno, there are often times when I'm outdoors and I kinda wish I still had my F4 screen on my F8n!
  15. Indeed, when you shot in raw with the BMPCC then did NR it cleaned up pretty well. I know people with REDs who had a BMPCC as their "lowlight" camera
  16. I will believe it when I see it. TL;DR: No. I should have read to the end of the thread before replying.... But I see Canon behaved exactly how you'd expect Canon to behave!
  17. I shall remember now to always have motor oil with my pancakes, along with a side of cardboard
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