IronFilm

The reason they're so expensive is that anything for the higher cinema market is going to be very crazy expensive by that nature, then on top of that FZ mount is was a very small niche mount (just the three cameras for it, and only one native lens ever made) which will mean anything for it will be even more expensive due to poor economies of scale. (even so, I managed to buy each of my FZ mount adapters for only around US$100ish each) And the PL mount to FZ always comes with the camera you buy, so in a sense that costs "nothing". Exactly! This. We need to judge its "success" in the context of the wider JVC line up / brand , and the LS300 (at least on this forum, and most other such filmmaking forums) is the most "successful" camera JVC has made in recent years. No. I want MFT (or E mount) cameras so that I have greater choice in what lenses I use. Sometimes a native lens will be right (such as on a gimbal, or for run and gun) and other times an adapted lens will be right. It is better to have that choice, than to not have it at all!

Plenty of native MFT lenses which cover S35: Sigma, SLR Magic, Veydra, Fujinon, Rokinon, etc And it isn't about forcing people to use adapters, but about giving people greater choice of options (you can go native, or not, simple adapters or focal reducers). And who doesn't like more freedom of choices in their life? ? I've tried to explain this before, but I'll go again, because we seem to be seeing this from two completely different perspectives: 1) people talk a lot about this camera because it has a MFT mount 2) people don't buy it because it is a JVC brand (which has almost no brand recognition whatsoever in the filmmakers world in this day and age) That makes logical sense to me as why the LS300 wasn't a massive success. (but having a MFT mount did in my eyes surely help with its sales a little, not having a MFT mount likely would have lead to ever worse sales than it already had) You seem to think it is the other way round? 1) people talk a lot about this camera because it is a JVC camera 2) people don't buy it because it is a MFT mount camera That to me makes no sense at all. Thus I prefer believing the first explanation than the second way round.

Exactly. And this is why the 24MP body will not be a D5 replacement. I bet we will see a D6. Probably not a "D600" DX body though! (ha! Just look at how long the D300 to D500 cycle took.....) I bet we'll see another iteration from the D3x00/D5x00 series (but if both will? Dunno). And we'll see another iteration of the D7500 (probably will at least partially catch up to the D500, as we'll never see a D500mk2). We''ll also see another iteration or two forward for a FX DSLR body positioned under the D5/D6 series. Will there be however a second round of camera body iterations for these DSLRs lines? I dunno. Too hard to look that far into the future! But the long term prognosis for Nikon DSLRs will be like it has been in recent years for the Sony A mount, with few lines being updated, longer camera lifespan cycles, and eventually them dying out completely.

If it is a new mount then I'm 100% sure it will be "compatible" with Canon EF, but of course we'll need to wait for third party manufacturers to do this. But I bet they'll be very quick and on to it. My guess is the 24megapixel mirrorless (or 25MP) will be the mirrorless equivalent of the D600/D610/D750 (or you could see it as the a7mk3 equivalent). Although I hope they'll at least do a D750mk2 with 4K before they quit that line of DSLRs. This makes a lot more sense than making a D5 mirrorless, as they must have an "affordable" mirrorless for the masses (and a 45MP camera is not it!). And on average the D5 owner is more likely to want to stick with DSLRs for another generation than other camera body owners, as the D5 is a specialized niche DSLR camera for sports photographers and the like.

I don't think so. Nikon must pull this off for their sake. Not unless you feel Canon will fail at their pro mirrorless launch? Look at the pre-mirrorless DSLR World (when the photography market was much healthier than now! With our declining sales now). There was only space for the Canikon duopoly, with Pentax and Sony/Minolta lurking somewhere waaaay behind in the shadows without much success. I expect something similar to happen in the new mirrorless age. We will see two systems (maaaaaaybe three) take much of the glory, with mere crumbs left for everyone else. I'm hoping/betting Micro Four Thirds will be one of those two (three?) systems which thrive, due to their very wide range of support with lens and camera manufacturers. It far far surpasses any of the competing systems, and as technology progresses forward the disadvantages of a smaller sensor matter less and less. So you're left with just the advantages of it! Will that be enough to keep away the onslaught of the full frame mirrorless from Canikon? I hope so. This now leaves just one (or two?) open slots for another mirrorless system. And competition is tough with Sony and Fujifilm offering attractive options, that are getting better and better each year. With Canikon yet to make their "big splash". Thus Nikon has to pull off this mirrorless launch, otherwise they will become the Pentax of the new mirrorless era. Or even worse, Nikon might just disappear.

There is a famous book in software engineering: https://en.wikipedia.org/wiki/The_Mythical_Man-Month https://www.amazon.com/Mythical-Man-Month-Software-Engineering-Anniversary/dp/0201835959 Keep in mind also that productions often have target deadlines to meet. But was that the fault of sensor/mount matching? Or the fault of the brand name it was released under? (JVC) None of us here would disagree that the JVC LS300 saw only limited success. But the question is did it see more or less success because of its mount/sensor combo? I'd say clearly it saw more success due to its mount. Often the only reason we talk about it is because of its MFT mount!! The LS300 would never ever have such a prominence n our minds if it had been just yet another EF mount camera wannabe. Not at all. You could override it manually if you wanted to capture more. (maybe say if you plan to do a wider crop in post than 16:9, or if you want the extra vignette as part of the look) Plus it is very very very common that cameras can crop in. So there is nothing "backwards" about offering the extra functionality of using a variable amount of the sensor. Often slow motion for instance is a crop of the sensor. Or look at the a7Rmk2 which offers a S35 4K crop as a way to get better quality sampled 4K video from the a7Rmk2 Or the fact that all Nikon FX DSLRs offer a DX mode as well. Plenty of examples of other cameras offering a cropped mode to give the user extra functionality! Sony FZ mount. The JVC LS300 wasn't only made to be used with adapted lenses, in fact I think in all the promotional material I saw for it from JVC it was always pictured with native mount lenses?

Nikon Rumors would be the most reliable site on the internet for Nikon rumors, 99% of the news you see on english speaking photo websites probably originally sourced their Nikon rumors from NR beforehand. NR has been around for many years, I follow the website fairly closely for news when I have spare time, as I'm a Nikon user. Color Science. Ability to extract the max out of a sensor (look how Sony and Nikon would use the same sensor, but Nikon would do it that little bit better). History of a deep understanding of photographers' need thus good ergonomics / design. Excellent design of lenses together with a massively massive back catalogue of lenses (although this will be less of a factor once they go with a new mount, unless they pull off a fabulously awesome implementation of their Nikon F adapter for their new mirrorless cameras. Which I'm sure they'll be trying their darn hardest to do!). NR says: "(some numbers could be slightly off or rounded)" Also stated: "Two mirrorless cameras: one with 24-25MP and one with 45MP (48MP is also a possibility)." So yeah, could very well be carrying on with using existing sensors. Which makes sense! One less crazy variable to try and control for as they embark on their most important roll out of new cameras they've done in decades and decades. Probably the most important launch of new cameras for Nikon ever in the entire digital age. This is do or die for Nikon. If Nikon gets it right they will cement their place in history as the #2 brand, maybe even grab the #1 spot if Canon screws up their mirrorless big pro launch and Sony's growth stagnates. But if Nikon fails at a mirrorless launch then this is doors shut on their camera division, and even Nikon's entire business. Who knows, maybe all this would be a reason why they'd go for a new sensor? So they can make the biggest splash possible with their new mirrorless line up of cameras. And it wouldn't be odd to me if their brand new sensors stuck with the roughly 20 ish and 40 ish megapixels size. As for people who don't obsess with megapixel count, then 20 something megapixels is a nice sweet spot of giving you very nice images that is plenty overkill resolution but still small ish file sizes. (as we saw with the D500 and D7500 even going "backwards" with their sensor resolution, as resolution doesn't really matter so much now for stills as we've got plenty of it!) And for the number geeks who do obsess about megapickles then even for them 40 something megapixels is a pretty good sweet spot. Do we really want a 60 megapixel full frame camera?! Certainly not for a mainstream launch, no.

It has arrived! :-o A bit of a rubbish video by myself, but meh! And my girlfriend, bless her heart, but I think a tripod would have done a better job as a camera person than she did! :-/

Hasselblad and Sony have a special relationship. A little like Leica and Panasonic, but more.

I'm glad to hear it is a new mount, as I want Nikon to go with a shallow mount, but it will mean a big big BIG risk for Nikon! Then need to pull off their adapter to their Nikon F lenses to be absolutely flawless, and introduce very quickly a strong range of compelling new lenses.

Ah, very interesting, so Sound was never your main focus but you got a lot of exposure to this for a few years along the path to becoming a DoP much later on. My short/medium term plan is to keep on almost exclusively focus on location sound (perhaps with getting into a little of post sound as well) as this is going well for me. But just keep up a little bit of camera stuff on the side very occassionally (when it comes along, not chasing it) such as short films with friends or a music video here or there. Then only if I get a lucky break such as maybe if I'm DoP for a small indie feature film (had a couple of offers come along but not pan out) which does ok then maybe I might try to make the jump back into focusing on being a "DoP" instead. But I doubt it, as the more and more successful I'm as a sound mixer the harder it would be to give that up to start again from the bottom elsewhere! Yeah I've noticed that how the Directors seem to just be interchangeable to an extent you'd never ever see for a feature film. Post is very expensive too, and can experience serious budget crunch as well (especially if they're starting to run out of money by this stage...).

Wow. That was a touching read. Thank you.

Set up means any substantial change. You move the tripod over by a few feet? That is a new set up. Go from easyrig to handleheld? That is a new set up. Swap lenses? That is a new set up. Change the lighting from late morning to an early evening look? That is a new set up. Etc Etc Etc

Exactly this! When I've seen an Arri Alexa Classic for $8K it seems madness to spend $5K or $6K ish on a D21

Phew! :-) Good to hear, it makes a massive difference when the DoP (and director, and 1st AD etc) work with sound instead of against sound. OH! WOW! I had no idea you had one of the first Deva recorders! What a pioneer. After you gave that RAMPS link I looked around and read a few more: https://groups.google.com/d/msg/rec.arts.movies.production.sound/IFhNAzhv73k/KfWPgfOTAsYJ That is incredible, I had no idea you used to specialize in being a sound mixer instead, how did you find yourself transitioning from that to now becoming a successful DoP? Am quite curious as I entered film school with the desire to be a "DoP" (and prior to film my interest had been in photography as a hobby) and in the earliest years I was focused on just the camera department, but a few years ago I decided I'm better off doing more sound work and it has got to the point I now almost exclusively work in the sound department. (maybe only once a month I'll "play at being a DoP' and do a little short film with friends, or film a music artist, or a few episodes of a web series, but that now is the limit of my camera work usually)

Has been for a while now I believe, as the old KineMAX had ProRes. Their newest Kinefinity cameras are going to get ProRes Raw as well (Z Cam E2 is going to get ProRes Raw as well). Once you set up the Terra (or MAVO) with the KineGrip then I reckon it is quite similar in operation to say a BMPCC/GH5/etc and comfy to be fondled by human hands. (certainly not as bad as a BMD Micro is at first)

Agreed with you about lacking timecode with the FS5 and C200, but the FS7 (with the XDCA) and the EVA1 both support timecode. And all (except FS5) have SDI outputs and 10bit 4K internal. Although yes, I imagine ProRes is a big draw for the UMP (although Kinefinity also does ProRes as well).

Ouch. I weep for sound! Are there two boom ops on the show, or just one? (plus of course there would be a mixer. Does he have a sound utility too?) That is impressively quick! Especially for the quality you put out. What do you mean by "11-1"? (did you mean "11-16"? The Tokina) What made you go for SLR Magic for the Micro rather than other manual MFT lenses such as Voigtlander or Veydra? JB, have you seriously considered Kinefinity as one of the cameras you use? The Kinefinity Terra 4K is very compact and has been doing well, plus there is coming soon the new Kinefinity MAVO S35 and MAVO LF. The FS7/FS5 (because of their shallow E mount, and their FS7mk2 version has a locking E mount too), EVA1 (thanks to Wooden Camera) and C200 (as an option from Canon) all can use PL lenses, which JB has access to. So I'd guess JB has at least giving a small amount of thought to possibly using them on a show? But the UMP won out.

Not just Kinefinity and JVC, even the behemoth that is Sony used the FZ Mount which made it a breeze to swap over your main mount during a shoot. (for instance you might use mostly PL lenses, then just for that one shot or two switch over to a DSLR mount so you can get that super macro shot, or that super long 400mm tele shot) Although sadly it seems Sony has killed off FZ Mount (as I own a fair few FZ adapters :-/ ah well), but still is holding true to the same general principle of including a shallow mount option on their cinema cameras by having a locking E mount in their new VENICE camera. JVC had smart scaling with their LS300 so you could use native lenses which only covered 4/3" Plus there are numerous MFT mount lenses which do cover an entire S35 sensor, such as the Sigma MFT primes, Veydra primes, Fujinon MK zooms, etc

It doesn't have to be used with the Fujinon MK zooms, but even so it is a hell of a lot cheaper than buying an anamorphic zoom lens!

All Kinefinity S35 cameras use a KineMount (and thus can have an E mount). And I expect the new Kinefinity MAVO LF will also use KineMount. While so few cinema cameras lack a shallow sub mount (like Kinemount or FZ mount) then hopefully we'll see more cinema lens manufacturer's over lenses with swappable mounts. Although often it will be options like PL or EF, still leaving Nikon out in the cold. Nikon needs to make a "N100" or "N300" cinema camera (their take on the C100/C300 that is) to keep themselves relevant.

Thanks, imagine if a few companies banded together on a new shallow cinema mount standard such as KineMount. Perhaps if Z Cam, AJA, and BMD had got on board. It would be like MFT is with their wide ranging support of manufacturers which helps makes MFT one of the most appealing mirrorless systems to invest into.

From the top of my head it was around 5 grand I think

Tried doing a vlog in 4K for the first time with my Samsung S7 Active, nope! The 2nd half of this video had very very mangled audio, so much so I had to crop that last segment of the video out after uploading it. Wonder why, maybe the Micro SD card it is recording to is too slow?!

I saw it on an expired eBay listing for the camera.