IronFilm

Plus a number of other benefits like option for USB powering, and true dual diversity with the receiver (unlike the G3) But with one of the tradeoffs being a VERY BULKY bodypack :-/

I'd be very surprised if we see high quality F4 primes (which are not telephoto lenses, such as a 300mm f4, or ultra wide like a 15mm f4). Maaaaybe see a f4 prime if it is a pancake, I'd very much welcome the likes of a 40mm f4 pancake lens for E / R / Z / L mount

If you have time to fluff around with wired cables and it won't be a nuisance for your clients, then sure, do it! However, I'd want to ask: Did you re-scan when you arrived? What location was this? Which "quality" wireless was this? (if it was G3 or lower, then it wasn't quality) Exactly. People too often forget about the practical benefits of real life shooting on actual productions. Heck, 95% of the TV and films you watch on the big screen probably even had their *boom mic* be wireless! Let alone the lavs as well. Because that is the real world we live in now. And that was why I recommended at the start something dirt cheap like the Aputure A.Lav, and save the rest of the money for later on buying a Sony UWP-D11 in the future. (and anybody else reading this thread should go straight to that or better if they can afford it)

I compared it to RED Raven / C300mk2 / F5. (which are low/mid range cameras, while the MAVO LF is attempting to target the highest end) You'll find that a kit (with enough batteries/media for raw for a whole day) for a new F5 or RED Raven will surely up costing more than a MAVO LF. No question about it. But I was being generous in my cost comparison (I could have listed EVA1/FS7/C200/UMP/etc as low end examples, but then people would point out they're a bit cheaper. So I went with listing low/mid range ones instead which are closer ish in price, but still more expensive than a MAVO LF) But it is not a "few thousand dollars" more. Kinefinity is positioning the MAVO LF against the RED MONSTRO / Canon C700 FF / ARRI ALEVA LF / Sony VENICE but as a much much lower cost alternative, as those cost tens of thousands of dollars more. Kinefinity (like BMD) is for the shooter who wants a higher end camera than they've got the budget for and in exchange is willing to be a bit adventurous. Good. So you agree these factors matter. In fact the lack of them can completely rule a camera out from a production.

I'd like $1300 off the price of a X-T3..... More seriously, I hope to see a big price slash on the Panasonic G85 which has been out for quite a fair while now. Which then hopefully will have a knock on effect with secondhand prices of the G85 on eBay before Christmas, as I'd like to get a G85 from eBay for myself.

I was speculating, I said "within a generation or two". But as it is, Z Cam already plans to offer ProRes with their current latest camera.

The Aputure A.Lav sounds the best, and is the one I use myself for lots of my YT vlogs (running straight into my Panasonic G6)

It is a music video :-P There are times when wired lavs make sense (for instance I run an Aputure A.Lav straight into my G6 for my vlogs, because a) it is just for with me b) I'm lazy c) it is compact/cheap), but for most people/situations wireless makes more sense unless utterly broke.

I think many people can make the mistake of lumping all these "expensive" or "premium" cameras into one big muddled up "high end" category which they then mistakenly think is all the same tier more or less as each other. When that is not at all the case, there are many tiers located within that big muddled up lot they've mixed them up into. Keep in mind what the competition looks like where the MAVO LF is priced at. We're talking cameras like the Canon C300 mk2, Sony PMW-F5, and the RED Raven. In the professional market we're very much talking about the low/mid end segment of the market. While the Kinefinity MAVO LF is trying to promise to compete up at the levels of a Sony VENICE / Canon C700 FF / RED MONSTRO / ARRI ALEVA FF / etc, which are all placed right right at the very top top end of the market and are much much much more expensive than the MAVO LF! Thus it is understandable if there are people out there who are willing to live with some of the trade offs of a Kinefinity camera if it means they can get a "high end" camera for a "low/mid end" price. The BMPCC4K no more makes the MAVO LF (or Terra 4K) irrelevant than it makes any ARRI or RED irrelevant (or many other cameras from low to high, like a Panasonic EVA1 or Sony FS7, etc... or even the other dirt cheap cameras, like a Fujifilm X-T3 or Panasonic GH5 are still relevant cameras to consider even in a world with the BMPCC4K shipping) Why? There is tonnes of competition in the mirrorless world. The likes of Yi and others have tried. (even Samsung! And gave up) Kinefinity is smart in the niche they've targeted, nobody else is in their little small niche area of higher end but at budget prices with the exception of the URSA Mini Pro (and some past attempts from other players, like the failed AJA CION. And some possible new entrants... Z Cam might be knocking on their door in another generation or two)

Eyecome S1 does indeed have quality similar to a Panasonic, this Panasonic:

Am I'm certain Kinefinity is working on their next camera too. So is Panasonic. So is Canon. So is Sony themselves. This is just normal business that everyone does. People are always working on their next product.

Maybe. Depends. If you're not hiding the lav? Then yes I'd agree with you. But with the most mild amount of training ever (i.e. get the boom closer!! Have it only just barely barely above the frame line, and pointed at the subject), then a NTG2 on a C stand / boom pole / boombuddy will in most typical scenarios give better sound than a hidden RodeLink lav for an average skilled OPC camera person. Of course ideally you'll use both, and choose in post, that then reduces the risk as well of the camera person having screwed up all the audio. That is waaaaaaaay waaaaaaaaay waaaaaaaaaaaaaaay underrating the craft of lav placement. Unless you're just using an alligator clip on the shirt and don't give a sh*t about hiding it at all. To say he puts "time" and "effort" into it would be very generous. Probably just hits up the Amazon search, selects a few at random to slap into a web page to then get those sweet sweet affiliate marketing dollars from suckers who share his "work".

Well if you work as a Compositing and VFX Supervisor then I highly doubt you'll get the Gemni being rented often enough to justify it.

http://www.photobyrichard.com/reviewbyrichard/nikon-z6-vs-d750-review/

LOL! The long time relationship Sony has with overheating mirrorless cameras carries on.....

A little secret: this happens a lot more often than you think....... just this one time Fstoppers let the curtain slip and you got a peek inside. Often execution is more important than ideas.

Insta360 ONE X for $319 https://www.joybuy.com/600463705.html

Number 1 Rule of Thumb for Audio: get the mic closer! * (Note: with some minor exceptions, like if a mic has a strong proximity effect, or if the actor moves a lot and the boom is locked off. But honestly most audio newbies would do less harm if they ignored these exceptions and just followed Rule #1 to the max) Rule #2 is: kill any competing noise sources! (fridges/traffic/talking crew/background music/etc) Faster and less fuss. The number of times the interviewee will get up and walk off while still wired is many (creating at worst risk of damage to your audio gear and even camera it is wired to, and at best creating embarrassment/nuisance) Plus with wireless you can wire up the next person before they even sit down. On any commercial shoot it is foolish to compromise like this to save a few pennies by going with the cheaper wired option, not unless you're some ultra ultra ultra low budget OPC social media shoot. Yup. For long interviews of single subjects then have a locked off boom overhead with a lav as a back up.

Gets done all the time. Is very normal. This. I'd put the RodeLink though into the category of a "cheapo" one. But if I was generous, only borderline so. It is "ok ish" for some people, but it can be easy to outgrow it. Thus it feels like false economy to buy a RodeLink when a Sony UWP-D11 is only a couple of hundred bucks more.

I didn't once in this thread suggest a dedicated audio recorder. But you're right, it wouldn't be a bad idea... ? Everything I suggested in the post is cheaper than his camera. And what is so wrong with spending more on audio than a camera body? Many people seem to have a very imbalanced approach to filmmaking with misplaced priorities. G3 is the classic "no budget wireless". The UWP-D11 I mentioned is at the same price point. They are "cheap". They are very very much not "high dollar wireless". I know tonnes of indie filmmakers / youtubers / etc who own wireless kits. This should be no more unusual or surprising than people casually owning a 5D / GH5 / a7 / etc camera body. I did mention one of the cheapest options (Aputure A.Lav) in this entire thread , but with the context that is should just be a stop gap measure on the way to buying a wireless kit. Wolfcrow often doesn't even do a good job when sticking to cameras. Any wolfcrow link should come with an automatic red flag and a "reader beware" warning. (and 100x this if it is audio related!) Is much worse than cinema5D

webrunner, it would be fantastic if you stopped linking to wolfcrow. Especially with anything ever to do with audio.