IronFilm

I've "only" been doing this for a little longer than a decade. Dunno if that's long enough to see the whole life cycle of a large sample of people entering and leaving the industry after having actually achieved anything in film first. (of course people entering for just a year or three then leaving is very very very common) For myself though, I'm doing another degree in Computer Science (my first degree was in Math/Physics), as my way out if/when the demand for Sound Mixing collapses as a job.

@Mark Romero 2, TC was added as a feature for the S1 in a firmware update: https://www.eoshd.com/news/firmware-update-turns-panasonic-s1-into-an-s1h-with-record-time-limit-in-demanding-modes-like-6k/

Just in terms of TC?? I don't believe there is any difference between the S1 and S1H

This video would explain it: Strangely / sadly the GH5mk2 does not 😞 Even though the GH5mk2 came out after the GH5S

It's been rumored I've been clean shaven once or twice before in my life. I think back when was born, but I'd have to ask mum to confirm this.

I guess that is the mechanical shutter limitation, as if the camera can record full sensor 60p raw video files, then it should be able to also do 60fps still images in electronic shutter mode

If you're a massively big tech nerd in your job as an editor / DIT / whatever, then doing a Graduate Diploma (so you have some credentials as "proof") plus spinning a good yarn about your background on your CV and in interviews, means you could target IT jobs. Alternatively, if you've been doing a lot on the producing side of things, and/or worked a lot in AD roles, then doing a GradDip in Project Management (or even going crazy all out with say an MBA???) could then (together with spinning a good yarn about your background on your CV and in interviews) make you a great fit for Project Manager roles. (especially if you sit and pass a few exams such as for PMP/CAPM/CSM/PRINCE2/PPM/SAFe/etc certifications) Everyone's pathway out of film would be different, and they need to look hard at what are their own unique strengths and background.

Exactly, even if you're totally incompetent and you get yourself into a job you don't deserve it because you've managed to do a good job at faking it, then after spending ten thousand hours doing it all the time it's pretty impossible to not become good at it! (either that, or you get spat out once they discover you were faking it, and thus you cease being a pro. Survival of the fittest!) I reckon if people are humble enough, they realize that is true for anything they learn about. The more they learn, the more they discover there is yet to know. I've got a degree in mathematics, yet after that I feel like there is more maths that I do not know than I thought existed before I started my degree! Are you me? Ha, I'm a member of that group too! I joined up to it a decade ago. I've made a couple of posts there, but nothing at all in recent years. I'm somewhere between 1/40 & 1/20

They both support timecode via the flash sync port, just like the GH5S and GH6 does.

They're simply better. True diversity + more features + slimmer bodypacks. But anyway, I quickly upgraded to Lectrosonics. Ahhh... I remember the Samsons C02, it was awful, yet I did all of my first feature film with it for anything indoors. Get a better shock mount?? The boom pole can't be that bad??? Nice, it's better than nothing!! nah, it will make you look high end 😉 Also a good option! I worked on an overseas Reality TV show where they used that a lot. Get the older secondhand generation of it?

Niiiice! If they have TC support too (even if via Atomos, ugh!) this would be sweet. Plus the insane pricing

Ninja V recording ProResRaw 4.7K from the FX30 might be the ticket for you. (maybe with a little help uprezzing/sharpening in post) Do remember that often we can be far too critical on ourselves, and that local bakery you shot for or the local rally car team you film for, none of them are going to notice or care if you punched in on a 4K or 6K image. Yeah there is no point buying a Sony Venice if by the time you get to the level to justify having it, that a Venice 2, Burano, and even a FX9mk2 are out already! A bit of an extreme example, but it applies all the way down. Don't get an FX6 before you're ready, if a FX30 will do. Don't get an FX30 if an a6300 will do. Don't get an a6300 if a NEX5N will do. (I literally was having this conversation with someone local here in NZ last week. They're brand new with ZERO experience in filmmaking. Of course something like a FX30 would be fantastic for them! And maaaybe if they dropped all their money on it they could get a FX30 body and a kit lens. Some people seriously do that, all the money into the body. But I said they place they should be looking at is at the NEX5N to a6x00 level, secondhand. With more erring towards a NEX5N. Lots of times with pro grade cameras people will have an in between stage where they're kinda-ish an owner or at least a regular user, before they actually buy one itself. Let's say a producer you know is doing a reality tv production and they go "right, we need half a dozen camera ops with a FX6" Well, you'll just rent a FX6 for that production. Also maybe you start regularly being a wedding second shooter for a guy for a whole wedding season, and he uses a FX6/FX3/FX30 combo setup for the main cameras. So as you become buddy buddy with him, maybe he let's you borrow his FX6 when he doesn't need it? (or for a very cheap deal) Thus you then shoot a no budget short film on this freely loaned FX6, and you do a couple of local low budget videography jobs with his FX6 that he rents to you at a great deal. etc etc etc As you get more experience with the FX6 you then become comfortable advertising yourself as "an FX6 shooter" (no need to mention the little dirty secret you don't actually own one yourself...). Eventually you're doing enough of these FX6 jobs it makes financial sense to then buy your own. (or maybe by this point in time the FX6mk2 has came out! And you get that instead) You might even be borrowing/renting a FX6 for jobs that don't strictly need it, but you think both the job and yourself can benefit from it. That short film for instance might not have had the budget to rent a FX6, so perhaps strictly speaking you should have used your FX30. But because you believed in the director, and you have got the stars aligning that some of your other mates are going to join in too to be stellar a 1st AC and Gaffer for you on the crew, you decide to really push all out with this to get something amazing for the show reel. So you also use your connections to get the free loan of the FX6. Then for that local videography job where you just merely making a social media advert for some local nail saloon, it has just a low budget that sure the FX30 could have been just fine, but maybe there were aspects about it you thought "it would be nice to have a FX6" so you decided to swallow the costs for the discounted FX6 rental from a friend to use it on the shoot. That way both the production and yourself benefits from the experience of using it. I've seen this kind of progression / tactic play out many times with various crew members I know in the industry. I've done something rather similar myself with my own career as a Production Sound Mixer. Started out with just using my absolutely shitty / nonexistent equipment on my own short films or student films and such. (one of my first ever short films I used a monopod as a boom pole! With a Zoom H1 mounted at the end of it. Yes, it was that bad) Then I was doing some productions using other people's stuff, such as merely a crappy Zoom H4n (or a much better setup with a Sound Devices 302 going into Zoom H4n, still an awful setup though!). Or one particular film that will always stand out in my mind which was a Sound Devices 302 running into a Sound Devices 702T, which was very weird for me... as I was seemingly meant to be using 5x Sennheiser G2/G3 wireless with it???? And a boom! wtf Eventually as I got to know directors, they'd leave the equipment on loan with me. After all, if I was doing every single short film of theirs, why not just let me have the gear in between the shoots? Saves them having to remember to bring it to the shoots. So that's how I ended up getting a borrowed 416 shotgun and blimp plus crappy boom pole from one one director, and a borrowed Sennheiser G3 from another director, with a G2 & G1 wireless from another, getting an Oktava mk-012 hypercardioid boom mic from another, etc. That I just got to keep at home for myself, that I could also use on any another productions I'd do. Eventually I'd gradually upgrade and add to this equipment. Getting a better boom pole, getting my own Sanken CS3e shotgun, getting more of my own wireless (going with Sony UWP-D11 instead of Sennheiser G3 though), getting an AKG CK63 instead of the Oktava, etc etc etc (also would sometimes be renting in extra gear when needed to, such as extra Lectrosonics wireless from the rental house. Or even just simply better lav mics than the crappy stock lav mics I was using. Even for gigs that didn't request it, but I thought were paying me a good enough rate I better show up with the gear to justify it) I'd try to keep around the borrowed equipment from the directors even after I'd upgraded it, as it's always good to keep spare backups! But as my career progressed I'd get busier, and have to be saying "no" to these directors when they asked me to do sound on their short films because I would have actual paying jobs I needed to do so I couldn't do their freebies any longer. Thus of course if I wasn't working for them, it made no sense to keep on holding onto their gear, so I'd return it back to them. But it helped me get started onto the track to where I am today! (with a quarter million or so RRP of sound equipment!) Yeah I think in the vast majority of cases people shouldn't use a log profile if recording in 8bit, if they can avoid it. IKR!!!! I used to have an a5100, if you just simply stare at it too hard then the thing will have an heart attack and overheat. Eh? The FX30 is an APS-C / S35 camera. And Sony's APS-C line up seems to still be going strongly. (ok, not as much focus put into it as say Fujifilm does. And I wish there was a "Sony FX60"!!) As Sony has their a6x00 series of cameras and the FX30 too. (oh, and the Sony ZV-E10 too! Plus any others I'm forgetting??) Sony APS-C is definitely not going away any time soon.

Yes, Atomos seems to have been very proactive in working together with lots of other recorder brands (Tascam Portacapture X8 is another model from Tascam as well that does Atomos only TC) and camera brands (Nikon, Fujifilm, etc) to be working together with just them. I really wish that others such as Deity and Tentacle would join in and make stuff compatible too. But I guess all of that costs manpower $$$$ True, we do indeed all so very easily forget about the Zoom M4 MicTrak. Another big feature about the M4 MicTrak is that it uses the same high quality preamps as are in the Zoom F Series If a person is a casual indie filmmaker who just uses a boom (maybe a lav) then the extra $150ish for a M4 MicTrack vs a H4essential is absolutely worth it for the better preamps and the better implementation of timecode. Of course, it's still vastly inferior to having even a Zoom F6 (but that's nearly double the cost). Hmmmm.... I might need to have a little think about it, but I wonder if maybe the M4 MicTrak might even be a better buy for some of the casual indie filmmakers than the Zoom F3 is??? (as after all, they have an almost identical price)

That's very worrying that there are all these TC incompatibilities with different bluetooth chipsets. Is why they should just use 3.5mm (or even better BNC) for timecode! As if you simply do it the good old way of hardwired, as everything should be for TC, then I could take a twenty year old timecode box and sync it up with a modern camera made today. Or I could take a modern timecode box made today and sync it up with a twenty year old camera!

oh that's right, it was skipping a generation, was a teenager and a grandfather (if you even believe it was two people behind that account, and not just one. I think the "two people are using this account" was just a way to excuse the lies they got trapped in)

Have you held an EVA1 before? It's shockingly light!!! Basically a lightweight feather. For a cinema camera... of course if you're comparing it against a Panasonic S5 you may have a different opinion! (the S5 is a third of the weight of an EVA1) Anyway, I know that 🙂 Am just teasing you, sorry!

If you're only filming outdoors, and away from street lights, that probably isn't a major deal breaker to film with shutter priority. But personally if I want an easy low fuss approach I'd use the 180 degree shutter rule (tweaked for if you're in a 60KHz or 50KHz country) with manual aperture and auto-ISO (preferably between a couple of limits, if I have the option to set that within the camera). That way you hopefully won't get that annoying flicker if you pop indoors for a moment, or shooting under street lamps at night.

Why would you use it? As a way to feed scratch ambience to the camera?? You'd prefer this over say a Shure VP83F on camera mic? I wish Tascam would hurry up and update their old Tascam HS-P82 / HD-P2 / DR680 / DR701D. But I am starting to feel I might as well be waiting for pigs to fly.

Cranky Camerman (one of the youtube channels I quite like, as he is very willing to show what life is like behind the curtains, the real world aspects of being a mid level working pro) just released a two part series of how 2023 was for him (goes into the financials too, as well as the gear aspects. He's saving up for a Sony BURANO next!) :

Don't forget his father too! (or was it an uncle? Man, was a few years ago, I'm forgetting all the juicy details!)

Would love it if @andy lee popped back to give us an update about the Panasonic G7 feature film! And what is he up to now?

Sounds like a package of Panasonics are perfect for you right now! Ah this is the problem then, what is right for you "now" isn't right for you now once you consider where you want to be in one, two or five years time. Meh, if you're shooting low budget stuff with mirrorless cameras then just punch in anyway then still use it in your timeline for an upscaled 4K export. Nobody else will notice or care, other than you being extra hard and finicky on yourself. As yeah, in the Sony world you'll need to spend at least Sony FX9 money to get yourself a 6K camera. Although.... the Sony FX30 does record to ProResRaw 4.7K, so if you just want "a little bit more than 4K" that might tick the box for you. Get the FX series cameras and you'll have TC support. (FX30/FX3/FX6/FX9) Just because a camera has great autofocus doesn't mean you have to use it all the time. If I got an FX30 I'd certainly be using the great autofocus on low budget videography jobs but then when I shoot a short film / music video with it then I'd be stealing/borrowing/begging a set of anamorphics for the day. Plus when Sony was #1 for the low/mid budget productions back just before I started, back in the era of Sony EX1 / EX3 then it wasn't #1 due to autofocus. When Sony slipped down to and held strongly the #2 position during the C100/C300mk1 vs FS100/FS700 era (& sort of F3 era), that had kinda almost nothing to do about Sony's autofocus performance. When Sony regained the #1 crown for the low/mid budget productions in the FS7 era (and kinda FS5 / F5 era, they played their part too) that also had nothing to do with their autofocus performance, as it had terrible AF (almost "none" for all practical purposes). Likewise, Sony is still #1 today in the Sony FX Era not purely due to its autofocus performance, but due to all the other factors being the primary reasons why. My suggestion is get the cheapest a7 you can get away with. If it's an original a7 secondhand, then fantastic! (I dunno how important stills are to you, and how much of your work you do as a stills photographer. If it's major, then of course you might need better than an a7mk1! Or is the a7mk4 a body you already have?) So that you've got as much cash free to get a Sony FX6. If you have any budget still left, then get one or two Sony FX30 bodies, otherwise just get it as soon as you can. Having an FX3 by itself as your "best" camera still unfortunately puts you in the same general category as someone shooting with say an a7mk3 or heck even an a6100 shooter. You get viewed as a mirrorless/hybrid shooter. Sure, you can pick up low/no budget shooter jobs as a second videographer for weddings or little short films or whatever. But if you want to have a shot at breaking into the more professional low/mid market, then an FX6 is the price of entry. (or at least say an FS7, although that's becoming rapidly old and irrelevant) Do however consider if you've got the right body of work / showreel / connections to have a real shot at making it up to that next left? If not, maybe buy the Sony FX30 bodies first. Then in a year or two get the FX6 (especially as they'll be even more affordable secondhand by then), and just rent an FX6 until then if you need it. Indeed it is you to a T! If the EVA1 could take photos would you get it?? 😛 🤣

A new model, the "Zoom H4essential" just got released today for US$199. Supports timecode, but only via the Atomos (formerly TCS Ltd) Ultrasync BLUE. The new Zoom H6essential (for US$299) also supports timecode via the same manner as well. Is interesting seeing even these very low end consumer products are now kinda supporting timecode too. https://www.newsshooter.com/2024/01/25/zoom-adds-three-new-models-to-its-lineup/

Sadly the S1H/BS1H and S1 are the only L Mount cameras which support timecode. There isn't a single Panasonic DPAF camera with timecode support (correct me if I'm wrong, but I'm pretty sure the G9mk2 doesn't have TC. Guess we have to wait for the GH7 and S1H mk2)

You can see what I mean about them not standing still; RED just announced this: https://www.newsshooter.com/2024/01/25/v-raptor-8k-vv-x-v-raptor-xl-8k-vv-x-global-shutter-cameras/ Has all of this: global shutter, mirrorless mount, 8K, TC, genlock, SDI, etc etc etc (you kinda sort of ish "have built in NDs", but not really. As the EF adapter can have NDs built into it, but you won't have the clear ND option. And of course no NDs if working with RF Mount lenses) Yeah ok, the RED V-RAPTOR 8K VV [X] is however a $30K camera. But it will still have a knock on domino effect pushing down the secondhand prices of all the RED models below it. Making it even harder for a future Panasonic BS2H / EVA2 (or Varicam LT mk2) to compete against it. My bad, I totally forgot about the box-ish style cameras with NDs which are: Sony VENICE (all versions) + Sony BURANO Still, it doesn't change my point much, as the cheapest of those is the BURANO at US$25K.