IronFilm

Another one bites the dust, as Disney fires again over some controversial statements: https://babylonbee.com/news/disney-fires-thanos-after-uncovering-controversial-statements/

OMG, well lol, sometimes you have such a way with words in summing it up! Rather shoot with a Sony PMW-F3 (sub $1K cameras!) than a RED ONE MX! The competition was not as intense back then. A side screen for camera op or AC would make more sense? I guess a top screen is a compromise between those two because they can't choose which of those two sides to go with?!

Just got back from a shoot and is late, but perhaps I'll do tomorrow a more detailed video for you of both my power supply options? But you can see here in today's video the battery I'm using for my Zoom F8n:

In some areas I have a very similar path of thinking to what Tone1k is expressing

I use Sony BP-U60 batteries as I have a battery plate for that with D tap and Hirose on it, along with heaps of BP-U batteries that I already own. But there are tonnes and tonnes of other options out there as well. NP-1 batteries has been the stock standard way most pros have been doing it for years. But in more recent years smart batteries have been rising in popularity (I suspect NP-1 is on the way out?! But still will be seen in use for many more years to come), such as Remote Audio Hi-Q or Audioroot eSMART batteries. (I'd probably go with one of these if starting over again from scratch) Personally I also additionally have a NP-F to V mount converter with D tap on it, that I have on stand by as an emergency back up option for use with NP-F batteries should I ever need it (almost did today! When I thought I'd lost my BP-U battery plate during my previous shoot..... :-o Until I found it again, in my mixing bag! lol, I'm such a moron sometimes)

USB and SDI are so totally basically like almost like the same ya know!

I'd rather stick to crew work. And not specialize in post. I feel I can never focus when at a PC (This forum sure doesn't help...) But Yes, I'm starting to dabble in it now a teeny bit to explore this area too.

I was just about to say "it is not plugged in" but I took a second look, that might be a power cord? The black one. But meh, whatever, it is still very common to use an external power source *and* use a V lock battery at the same time. (the V lock means while you're moving around and setting up the next shot you will not have to power down the camera)

For a super low budget shoot (as wireless is pricey!) this is not unusual at all.

The problem is if we just wave our hands and say "but it creates great images" then we could say the same about a BMPCC or even a GH2. Where does it end? Thus I try to be objective as well and look at their features/specs/value. Of course the C300 can still make nice images! And if a person handed one to me and told me to shoot with it then I'd happily do that. And heck, I'd even buy one if offered at the right price. (probably a sub US$1K price?) However at the current prices the C300mk1 has zero appeal to me, would I want *one* C300mk1 vs two FS700? Easy choice! Better than internal FS700?? Of course! But better than external 4K raw? Nope! Not as extensive HFR as the FS700 Exactly. The C500 body is more expensive and the whole set up with a recorder is more expensive as Atomos isn't as viable an option. If the total cost of ownership of a C500 with 4K was the same as a FS700 with 4K then I might maybe be able to overlook the negatives of the C500 and choose it over the FS700. However at the moment there is a massive price gulf in the difference between a C500 and a FS700 when you sum it up. Would probably go for a FS7 or F5 instead for only an extra grand ish more in total than a complete C500 4K package. I meant in terms of audible noise. You just can't record great usable sound with the C500 in 4K after a certain point in time. However there are DIY hack work arounds, but it still is a strike against the C500. Exactly. Are we talking AUD or USD? As if AUD that is less than 2x Pocket 4K cameras Plus add in external NDs, that will spread out the gap further. (ignoring the whole hassle factor.... plenty of reasons to prefer the camcorder/cinema form factor vs a DSLR/mirrorless/pocket approach)

Can your style of productions be suitable for an easyrig? As if you can use an easyrig then you could even use say a beefy F5 (well I say "beefy", but it is actually quite "lightweight" for a cinema camera) and your back can be fine with hours of handheld shooting. What mistakes have you personally made in the past? Often you can learn from your past to guide your future. Got plenty of lights then? As you need to use a fast shutter for HFR! And a more capable low light camera wouldn't be bad either.

Yes. And the problem is broader than that, just in general people just don't give any time into sound post or bother finding or respecting the skills needed to it Too many directors/producers just leave it up to their visual editor to do it, just doing a tweak here or there to the levels if that. Or nearly just as bad, they *do* attempt to take sound post "seriously" and find someone different dedicated just to the task of sound post. But many producers/directors seem to think just because someone is an expert musician / DJ / music producer / whatever, then they'd be good at sound post! Nope, they're radically different fields. On a proper budgeted film they might have a team of just sound dialogue editors and assistants as part of the wider sound post team. (just look at the credits for the size of the sound post teams, often bigger than for the visual edit!! If you exclude CGI etc. Just out of my own curiosity I thought I'd go double check my gut feeling on this by looking at half a dozen of the most recent on IMDB's top 100. And yup, in every case the post sound department is a little bit larger than the editorial department! Of course I'm not counting VFX people here, which is a HUGE number on modern films!! But then again I'm not counting the music department either, which can be a length credit list for some films) It is like thinking a photographer would be a good cinematographer! lol. Or visa versa. Yes, they have some overlap with their skills, but in the end they're each their own deeply specialized fields and are totally different to each other overall. And you're just taking a pot luck random shot at luck as to if one will be competent at the other (and you're extremely unlikely either will be great at the other's job, but until they get some experience under their belt first). Unfortunately I've lately been hit over and over again with experiencing crap craptastic sound post, quite demoralizing when I put all this work into crafting the most golden possible sound files I can under the conditions of the shoot. But of course at wrap I then must hand them over, and it is out of my control. Only to much later on see and hear the final product, which leaves me wondering wtf happened??

No. It can not be. (or at least I highly doubt it) But the Ninja V has an accessory port which can be used for various purposes, and one of those Atomos mentioned is adding an extra SDI port to their Ninja V recorder. Behind how?! Look at Canon's competitor of the time: C300 mk1 Would I buy it now??? Hell no!! (not unless you offered it to me for an insane sub $1K price) But the FS700 is still competitive enough for me to consider even 2018, but a C300mk1 is completely out of the picture. Even vs the modern cameras, I could happily use a FS700 raw if on a tripod alongside a F5 or FS7 no problem. But what if it is AU$2K + AU$1K? Now we're talking about a set up which is a whole grand cheaper, more appealing now? I would, but a C500 lacks the HFR, is noisy, has unfortunately an EF mount (or PL), and the worst deal breaker: is still much more expensive!

This is why I hope for a "Samurai V" (of a SDI accessory for the Ninja V) to make the FS raw configuration simpler/cheaper. FS700 was a great lowlight camera for its time (although the F3 took the edge over it). But yeah, interesting to see how it is against the modern generation of lowlight cameras. I suspect the new sensor in the GH5S/BMPCC4K/Terra4K will be clearly better. (any head to to head 4K raw FS700 vs GH5S out there? I assume the GH5S comes out ahead)

I like they had the CS3e in that video. Love my Sanken CS3e, sometimes it is pure magical, but this (the DPReview video) shows how even the greatest mic is going to be terrible if in a bad position at a bad location!

What is wrong with Linux/Windows Chrome or Firefox?

Is why I said "POUNCE" on it! Don't wait around.

It is a nice change reading something on topic for once!

I was specifically referring to internal from the FS700. Which is why you need the Odyssey or similar. Not too late? Just too late for the FS700 early adopters! For years Convergent Design was almost the only game in town as the "affordable" option. But Atomos looks perfect for us late adopters of the FS700?

What ever a person has to do to earn a dollar, I don't judge.

NIIIIICE!!!

Oh I'm just offering specifically because this is non-commercial.

Am thinking if you export to an OMF (how big is it?) then maaaaybe (no promises! I'm a total n00b at post audio, but willing to take a shot at it) I might do some audio tweaks for you? Clean up a little bit of some spots of dialogue. As I've been thinking AATranslator might be worthwhile for me to spend on.