IronFilm

Nope, I got that double wrong. Which makes a right! ha The C300mk2 is one dollar under $10K And the RED Raven is under, but with the expander back it puts it a few hundred dollars over, which is close but debatable as to if the Raven counts or not.

Only C300mk2 and RED Raven Apologizes! My full focus isn't on the forum.... is a friday night here :-)

Well ok, you got me, be mere hundreds of dollars over the $10K threshold! :-P

Still is sub $10K Like I said before:

You said: oh wait... I see, you said "at a price point" Meh, I will disagree and say that is perfectly reasonable. What high speed camera is acceptable above the $100K price point? Possibly only the Phantoms. What sound recorder is acceptable above the US$14K price point? Only Aaton. Ditto if you go DOWN, what is the only acceptable timecode recorder under $500? Only Zoom of course. What is the best slow motion camera with built in lens under $700? Probably Sony. If you make a narrow enough definition you might be left with only one brand. That is Savannah Miller thinks he (she? Don't want to assume gender! :-P ) has done. But I dunno, I'd disagree. But I don't feel the general principle of the claim is unreasonable to make in itself. Yeah but like I'm saying , 10bit 422 is plenty for many. Each production can have a bit different needs. But it does 422, and "usable kit" can start to make definitions even more vague! Let's avoid that please.

96% of shots (figures sourced from: my ass!) on a tv show are not green screen.

Although some of these like say the AJA CION or URSA 4K have other flaws, and would only get a serious consideration if say it was a very small network show on a tight budget and you're offering them a killer package deal.

Who has said that? JB and others here have said a wide range of cameras are acceptable such as: ARRI / RED Weapon / UMP / Sony / etc (Savannah Miller is just talking about under a specific price point. Heck, no different from if I claimed that under $100 there are NO CAMERAS that are suitable! haha) Just that the C200 specifically has got some flaws holding it back (probably intentionally so!) from big network tv shows. Really? I think 10bit 422 can pass mustard for many shoots even at the ten thousand dollar plus per day level of shows (heh, although that is way under his budget level I'm sure). Cam op monitor + 1st AC + video village Easy to quickly run out of video feeds. You can work around it, this I think is not a deal breaker, but it does place another strike against it if you only have one SDI output. I'd count under $10K (that do 4K? As if we stick to 1080/2K that opens up many more doors! And as many are not shooting 4K anyway...): C300mk2 FS7mk2 + XDCA Terra 4K / 6K Kinefinity MAVO RED Raven URSA Mini Pro URSA Mini 4K / 4.6K URSA 4K AJA CION And now if you count secondhand cameras: Arri Alexa Classic (oops, not 4K!) Sony PMW-F5 Sony PMW-F55 Canon C500 etc

Z Cam E2? Go for Sony FS7mk2 (or a bargain mk1 on ebay) or a Panasonic EVA1 As seriously the hassle of the recorder with the FS5mk2 is not worth it, unless you are happy to do a lot more of your work in FHD in years to come.

https://www.searchenginejournal.com/youtube-on-desktop-now-plays-vertical-videos-without-black-bars/263649/ @OzNimbus has the solution: "Let's change the world for the better!"

I won't judge you for your taste in porn

Maybe they tried that last time and are why they're getting me now ?

Yes but they had to do this all the time with the VENICE due to flaws with the camera itself, but a bet a firmware update will soon fix this camera. And people think you need high ISO cameras to shoot night scenes! The E-M5 mkII had a minor usage, so production could live with its flaws. But for one of the main cameras then you'd expect more from the C200 and not be so crippled, a C300mk2 would probably suit JB better than a C200.

Ah so he never did anything for the Sony PMW-F3?

Yes it is. And like I said, this is why I'd recommend it. But it something you want to clear with production first before using it. The C200 or a Tentacle Sync E? Either way... google is your friend! No. Nope, nope, nope! Not for when audio really matters and you've got someone dedicated to sound.

You only change a lens a few times during a day, and often with relatively full concentration on the task at hand. But shooting? You're doing that constantly, and you're looking through the EVF so blind as to where your hands are, while juggling framing/exposore/directing/etc to grab the right moment to capture. I think Nikon did this perfectly right, have the lens release on the left, have the other important buttons at your finger tips for your right hand just next to where your hand has curled round to. It is better to compromise (not that I even see it as a compromise) something you do rarely than to compromise something you do frequently.

Nice! If they're going to follow anything existing from mirrorless then the G9 but with a FF sensor is a good start.

As a plant mic inside a cage, or in a car, or other confined space (so that the actor is then predictably staying in one space) that is a handy use for them, as result will be a little more predictable once you remove the clothing factor from the equation.

Was chatting on Facebook about this music video shot (just around the corner from where I live! I've been to this studio before) with a Samsung S9: As the person was asking how good does it look? Well to me it is blatantly obvious it was shot with a cellphone!

But that is how it is done on every indie low budget production I have ever been on. This Is Not Unusual. So it is a bit unfair to say "but Maxbrand's real true budget is $xxx,xxx,xxx" or whatever, as no, rather that is just how life and the world works. People beg/borrow/steal/etc what they can to get it made. And if you're a nice person, and are active and busy in the scene, it isn't at all hard to get it done. (ok, I might not be able to borrow a RED Dragon! But I could for instance borrow a second Sony PMW-F3 for free on a shoot I did last month, and I organized that in mere hours beforehand. I was holding out hope I might be able to source a F5/FS700/FS7 instead! And if I'd had more time to hunt around I might have made it happen. As I've certainly been on shoots which have had an F5/FS700 for free. Although yes money was spent, but it was spent on lights rental and on other stuff, not on renting the 2nd F3)

I seriously am suspecting that Nikon might make their new mirrorless mount big enough to leave the door open for one day in the future putting a medium format sensor inside their new mirrorless cameras. (which would be the opposite approach to Sony? Who I think started out a bit too small as they only had APS-C in mind, but then years later squeezed in a FF sensor for their a7 series) I seriously hope it does not mean over a hundred megapixels!! That is just beyond overkill for all mere mortals. More megapixels are meaningless if you don't have ultra steady hands with insane IBIS and super high shutter speeds.

I was last weekend working on a short film with a RED Dragon. And done a feature film this year shot with an ARRI AMIRA, and also worked on a feature film shot with 2x REDs earlier this year. You'd be surprised how cheaply some DoPs might work on narrative, and what deals can be found for gear. Whoops! I agree. Damn, wireless follow focus + set of NDs + mattebox for under a hundred bucks? Impressed. Then again that is USD, but still.

I've done tonnes of vlogs and weddings without ever once using AutoFocus. And I'm 100% certain many corporate shooters will use the BMPCC4K, and some doco shooters too.

Seems even in 2018 there are still very high end cameras out there which require you to reload the media and batteries again on a very frequent basis: http://jwsoundgroup.net/?app=core&module=system&controller=content&do=find&content_class=forums_Topic&content_id=31876&content_commentid=350277

Zero surprise "full compatibility with existing lenses" is #1. Surprised high resolution sensor is #2?! Maybe the megapixel wars are not over yet.... Or maybe it is just a symptom of DPR. Bingo. 97% of the capital costs and costs from ordering from economies of scale and costs spread out from R&D are carried by the stills shooters so us 3% video geeks can reap the benefits :-) Cameras like a FS5 or EVA1 can not spread those costs around so far, thus part of the reason why they cost so much more. Am 100% sure there will be third party adapters coming out very soon, but for Nikon to hit these new cameras out of the ballpark then they need their own very high quality adapter from day 1 that is specifically for their Nikon F mount lenses.