IronFilm

hahaha! Anyway, fun fact: I believe even Kinefinity's earliest cameras used the KineMount For this have to applaud Sony for getting it right and making in making their new VENICE with an E mount built in! :-o (even though a small part of me is sad as this signals the end has come for FZ Mount :-/ ) I guess "technically" you're wrong. But a sub mount like KineMount or FZ mount actually is a better/faster design to use in the field. Nope, native Sony lenses won't work: http://www.kinefinity.com/shop/k2e/?lang=en Rather it is designed for use with the massive wide range of adapters for E mount and the many tasty manual lenses for E mount, such as Veydra primes or Fujifilm zooms: Awesomely it is a locking E mount like on the FS7mk2 and VENICE! Imagine how great it would be if only more manufacturers did this, how would you like to use an URSA Mini Pro or Panasonic EVA1 with Fujifilm MK18-55, MK50-135 zooms or Veydra primes? You get a sense of how truly tiny the Terra body is when you see it next to the already small Fujinon zoom, the lens looks pretty big in comparison!

I dunno what was normal prices was back then, but that feels like a darn good deal to me! To get a pair of F900R for $11K.

I stumbled across this interesting but unlisted video of an Arri D21 (precursor to the Arri Alexa, very similar in a few ways) being used now in 2018:

Arguably the F5/F55 are very similar in this area as well, with a "boxy design" (but a bit longer, to have more built in) and a swappable front mount (thanks to their FZ mount).

I agree that many camera manufacturers also just don't "get it". As we've seen with the URSA Mini being only in EF (or PL/B4), but no mirrorless mount option (like BMD was very smart to do so with the BMCC! I'd never buy a BMCC EF, not even for US$500). And again with Panasonic with the EVA1 in only EF mount, not even using their own MFT mount! wtf

One of the reasons I like the BMPCC more than the original BMCC is the BMPCC had an active MFT mount, as it is nice to use a Panasonic lens now and then on my BMPCC. Name one camera that RED sold 20 years ago. A mighty long stretch to claim that!! No more so than BMD, or AJA, or Z Cam, or many others. 2006 is closer to a decade ago than two decades ago. Am curious, what did you end up going with instead? Back then that is.

There are plenty of small budget shoots with an Arri or a RED Dragon etc who'd love to see more affordable anamorphics as well.

That is why I didn't list any electronic E mount lenses in my comment:

E mount is a major advantage though, as that opens up a wealth of options. (for instance any of the zillions of E mount adapters, or many manual E mount lenses such as the Veydra cinema lenses!) RED Raven's "low" price + a MFT mount might have made it a too compelling option for RED buyers to instead get!

Generators, our mortal enemies! Today was a battle I lost. They wouldn't shut them up. Oh well, a problem for them now in post!

And Sony (and I'm sure others) did it even earlier than RED.

I'm comparing them in the sense they've all made a sensor in a box with a lens mount on it, just showing how ludicrous it is to think RED has a monopoly on this and should extract a thousand bucks royalty per camera. Exactly!! Tone1k gets it. (nice username btw!) My point is at the moment BMD has other focuses than auto focus (ha! A pun).

I rarely ever use my Zoom F4 as a USB audio interface, but had a friend asking for help so made a little video about it (the problem is if you're using this mode for the first time none of the tracks are armed! As it appears *none* of the settings you had before transfer over into the USB audio interface mode?!): The good news is the Zoom F8n does both USB and normal recording mode simultaneously, thus I would assume it wouldn't have this same quirk as my F4 has.

Wow. I thought your earlier comment was pretty borderline hardcore red fanboyism, but this takes the cake! Even this would be exceptionally rare to see on reduser.net Kinefinity doesn't owe them a dime. Neither do they deserve that vitriol. Be specific in what you're falsely accusing Kinefinity of "stealing" from RED. What, are you going to say Arri and Blackmagic Design also owes RED a thousand bucks of royalty per camera as well??? Putting a sensor in a box and putting a lens mount on it doesn't mean you get to call others "thieves", there is really nothing that special about that. RED themselves also benefited greatly from those who had came before them. Yes, it can't be denied that Kinefinity are innovating. Maybe Arri should collaborate with Olympus to get autofocus with their cameras? Your argument makes about as much logical sense.... ? That isn't BMD's target plans at this present time. (but who knows, the future might change, but not currently)

That is the kind of anti Kinefinity behavior I'd expect on reduser from the red fanboys instead! There is nothing inherently special about putting a sensor in a box. RED doesn't have a copyright on the form factor. And Kinefinity has done their own innovation as well.

Secondhand 7Q are selling for near to a grand ish. And hopefully Atomos brings out soon a Samuari V, you'll lose some features vs a 7Q but it would be very compact. You can almost find a FS700 for that price. That is what I'm waiting for?

RX1mk2

The UMP sits in an interesting position, I certainly don't think of it as "prosumer" and it has a similar ish price to a FS7 (the UMP could be argued is either cheaper or more expensive than the FS7), however because of the extreme levels of popularity of the Blackmagic Design brand of cameras in the amateur / indie / consumer world, that means "if" any one from that category is thinking of spending a lot more then the BMD UMP is likely to be near the top of their list of cameras to consider buying. So I bet the UMP has a higher proportion of "consumer" owners than the FS7, even though they're a similar ish price. Huh? I think you don't appreciate how long and deep the rich history of Kinefinity is. The Kinefinity KineRAW S35 and the BMCC both came out at around the same time in the year 2012 iirc Not just skill, but you'll need more time and a better lighting crew as well to really get the most out of an old smartphone.

Bet you were the coolest kid in town that day!

A full frame bridge camera would be HUGE both in size and in cost.

Yeah the C200 is picking up a bit of traction, but I'm surprised the C500 doesn't get discussed more seeing as you can pick it up for roughly half the price of a C200

Not really relevant to the OP, but I practice filmmaking by doing filmmaking.... a LOT! As in every single week, usually several times a week, sometimes even every day for weeks straight. But it helps to be doing it more often when you're being paid to do it :-) But what I did back when I was a student, is I was always carrying a camera with me at all times and would do a lot of photography. Like others here have mentioned. Although I rarely do that now :-/ Exactly. However working around others helps your own development a lot, especially if they're a lot more advanced than you. Even though I've kinda half given up on chasing the cinematographer dream, I feel like my understand and appreciation of it has still been growing and getting deeper thanks to being able to work closely alongside so many talented DoPs on many various sets as a soundie instead. Can learn a lot just from observing first hand! Although of course I'm still a long long long long way short of them, I'm going to stick to sound :-)

Although post isn't my specialist area, I've been doing a fair bit of ADR/foley recording on the side lately, did some ADR with Doug Brooks last night, and this vlog was some ADR & foley I did with Logan Marshall a couple of weeks ago:

Cheers @KnightsFan! Feeling good about my purchase, even though it hasn't arrived yet.

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