IronFilm

This guy has much lower latency than the Russian videos! (assuming he is Russian.... wild guesses here! Apologies if he isn't) The hardware however looks the same in both videos, wouldn't want to pick the type with bad latency though :-o And I noticed this video is using VLC (as I was asuming would be a good choice), but the Russian guy was not using VLC? Wonder if it is the choice of software here that is making the latency differences rather than the underlying hardware. (which might be the same for both) This guy reviewed a different HDMI transmitter, which is also rather cheap indeed, and he has a fairly good opinion of it (6 frames of latency is quite tolerable for many of us, or at least if we're not needing to focus pull):

OH WOW! That delay seems to be MASSIVE? As in seconds and seconds worth of delay. Also looks fairly large (not something all cam ops would want to hang from their camera...) in the person's hands (or just by looking at it in the above video, how it dominates the small a7S below it).

That looks an awful lot bigger/heavier than the CAME-TV one, going too far in my view.

Stop robbing blind those poor Japanese folks and start a thread about then! Please. Pretty please. With a cheery on top. I've noticed there are also versions on Aliexpress so you can stream it over mobile broadband, but I don't see the point in spending extra for that dedicated feature unless you did it a *LOT* , such as a journalist. As you said, you could just use your phone instead for live streaming to the internet. What is difficult to do about the set up? How do you then view the stream on your tablet? With VLC or something else?

Only US$166: https://www.aliexpress.com/item/DHL-Free-Shipping-MPEG-4-AVC-H-264-WIFI-HDMI-Video-Encoder-HDMI-Transmitter-Live-Broadcast/32772367639.html Spend a teeny bit more (but still sub $200) and get the version with a battery plate on it (or even spend an extra hundred on top of that and get H.265 as well!): https://www.aliexpress.com/item/Best-H-264-H264-HDMI-To-IP-Encoder-IPTV-Live-Streaming-Encoder-Wireless-Video-Transmitter-Wifi/32815213971.html

CAME-TV has a new camera rig that just came out, comes with a big block at the bag (for powering, monitoring, and audio): https://www.came-tv.com/collections/came-terapin-rig/products/came-tv-terapin-rig-for-panasonic-gh4-and-gh5 Is it worth nearly six hundred bucks? (for the non-mattebox/FF version) Hmmmm.... dunno, but I guess if it makes the client impressed with your "big camera" (totally not a stills camera! ha) then I suppose so. Or if you actually need all the functionality there, then it can make a worthwhile value proposition to consider vs buying the components individually yourself and building it up.

Well you can jump onto Aliexpress and find something similar for probably sub two hundred or so, if cheap is really important. Not just a good joke, but a practical response! Love it. Ha This moment 25 seconds in is a perfect approach (just keep them busy on the phone with that while you're solving the real problem):

As soon as the HDSLR Revolution hit in 2008 that was the start of the death bell ringing for any ultra low budget indie film to ever shoot on film. Then when the BMCC launched in 2012 that was the final strokes of the clock counting down until it was time over for even more "mid budget" indie level films. This is not even counting the impact RED and ARRI had, and honestly today an indie film can totally shoot on a RED or ARRI camera if they really really want to. I've worked on plenty of ultra low budget films using a RED or ARRI. Of course the other impact RED and ARRI had, is as the bulk of the high end productions switched over to them and away from film, that then dried up the source of work for the film processing labs. Once the last film processing lab is gone in your country (like is the case in New Zealand. Park Road Post closed its film post-production facilities in 2013, that is a looooong time ago!) then it becomes very very hard to produce a film film. At least in the USA they're massive enough I think there is still a couple of commercial scale ones left. Another big impact upon indies this switch from film to digital at the high end is that in the past indie filmmakers would beg/borrow/steal/scrounge the ends of rolls of film, and thus at least have the raw beginning materials to make their film with (but have to work around the hassle of having incomplete rolls of film as they're short ends). Which would help bring down costs for them. Of course today there is much less opportunity to source these, as there simply are less of these film ends around. I looked up Jim's films: The Limits of Control (2009 released, so perhaps actually filmed a couple of years earlier in 2007? Maybe, could be more, could be less), then Only Lovers Left Alive (2013 release, but again the actual production would have been earlier). First of those two was filmed with an ARRI film camera, the 2nd of those two with an ARRI digital camera. And those two dates aligned up with my earlier comments about the timing of the transition. Am sure of that. An old RED ONE is practically free to rent. Heck even say a Scarlet MX (maybe even Dragon) you can get owner OPs throwing it in extra for nothing at all. Even at the highest end of RED cameras, they've always been cheaper than the high end latest ARRI digital cameras.

I'm inclined to think this would be a better option: https://www.came-tv.com/collections/wireless-hd-transmitter/products/came-tv-wireless-hd-video-kit

You're not the first person to send that to me today! :-o But I came across it myself already quite a while ago ;-) I worked on a parody LotR web series a while ago in Wellington. And their "Gandalf" had an amazing beard for that purpose!

Nope, not even high end productions in my country get shot on film. Indie? Forget about it! It is mainly a weird and very rare niche that shooting on actual film lives in now. And even then, mainly stuff like S8/S16 for the weird artiness and novelty of it.

Ha! No. We're still just talking the GH5 camera, even with quite nice lenses and lots of other extra support gear it is hard to push it that high. We're talking maybe mid tens of thousands for the camera department gear, then low tens of thousands for my sound gear, plus some tens of thousands for the lighting gear, and I dunno for the make up department (mid thousands? I dunno, truly wild guesses here!) Anyway, is very easy to see how you end up going past $50K of gear used on that feature film. However I've been on short films with around a million ish (NZD) in camera department gear, once you factor using ARRI bodies with high end PL lenses and all the other support gear around that then everything adds up fast.

35-70 is still a 2x zoom. Same as the Sigma 50-100mm, and greater than (by a teeny amount!) the Sigma 18-35mm or Tokina 11-20mm f2.8 Hahaha. Maybe they really are? :-o

Quite easy to reach $50K of gear in total even when just shooting with GH5/a7Smk2/BMD cameras. I'm 100% certain the feature film I just finished up working on had greater than $50K worth of gear used on it, and this was an ultra low budget film shot with Panasonic GH5

$50K?! That is nothing. I've been on shoots where just a single lens costs that. And yeah, some folks coming from that world might do shoots they call "Situation D / C" yet from your perspective it very much "Situation A". So even simply classifying different types of shoots isn't always straight forward. And even within "Situation A" there is a tonne of variety, from shoots which might want to get a couple of dozen pages of dialogue done in a single day, vs others which are only aiming to complete a couple of pages worth per day.

As a sound recordist I love actors from a theater background! As they know how to project their voices, while too many of today's film actors give shit sound as they whisper and mumble their lines :-/ However yes, I've noticed often that directors need to remind actors from a theater background that they're not needing to play to the person way at the back of the hall, and rather instead that even small facial movements can be significant in conveying the scene when you're doing a close up of them which will look gigantic on the big screen. It is super handy for the camera/lighting/sound departments (and I'm sure others too, such as art department) to see the blocking as early as possible (even before starting the set up is nice, even if it is only a rough blocking with them only delivering the lines at 50% energy just so we can see the gist of it) NOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!! Do it at his volume instead please. Thanks.

No way to view that website :-/ Yup! Plus the room would have been full of non-audio experts.

Which only works for so long as YouTube doesn't move where the subscribe button is located....

Even when you'e taking about "raw" there is still a lot of processing / color science going on behind the scenes

4GB is fairly teeny for 2018, even for a small build why not start with 8GB? Or even 16GB.... or 32GB like some others have said.

This. Buy what you need right now (and in the near future, that is foreseeable). As everything becomes obsolete fairly quickly. Same principle applies to buying a camera, don't worry about if it is will be "future proof" in five years time. Minor side comment though: one thing I like about AMD, is that they do tend to stick with their CPU sockets for somewhat longer than Intel does, which is nice as you can often squeeze in a CPU upgrade or two more than you could with Intel.

Yeah I did a feature earlier this year and the DoP owned a Boltzen, and the fan kinda annoyed me :-/ But not as much as the RED ONE did.... Looking forward to this :-)

Be warned the C500 is bloody noisy. Although some people have had good luck with using an external fan which is much quieter so that the C500 doesn't get hot enough for the internal one to kick on.

If you're always working in house, and don't mind losing a channel of audio, then sure. But if you're working with others, this might not always be a workflow they prefer.

Indeed! Give me a heads up when you're in the area.