IronFilm

If it is just sitting on a tripod then neither of these should matter much.

For most people the biggest question is raw vs 10bit? Which do they want. Then there are other factors such as the C200 leans more towards the prosumer C100 design than the pro C300, such as lacking timecode, for some people these will be dealbreakers, for others it will not be.

If this ends up happening we'll need to start believing all my other pet conspiracy theories too. Totally, agreed. I was just using "LS300mk2" as a generic placeholder name to mean "JVC's next cinema camera / large sensor camcorder".

It is very strange that a product so late in its life cycle is getting such a significant push behind it. I am going to put on my tin foil conspiracy hat (my favorite hat to wear!) and put forward a theory: The JVC LS300 mk2 is not too far away down the road... perhaps nearer the end of this year? However the JVC300 never saw the success it deserved, thus JVC is behind the scenes trying to give the LS300 one last push to gain attention for its efforts to then use as a platform of existing interest in JVC cinema cameras to build off from when they launch the LS300 mk2. Rather than letting the JVC300 languish and disappear, then having to restart again from scratch in getting people's attention to be interested in the new LS300 mk2. Just saying. Exactly.... it is so weird this sounds like a conspiracy! ;-)

Oh WOW, just WOW, what a tremendous fvck up by the post house. And it took a whole MONTH to resolve that?? They should be ashamed to call themselves a "post house". Unfortunately not only do most people not appreciate what goes into the sound department during the shoot, but they don't understand that it needs to also be properly handled in post as well. Just like what is shot in camera isn't magically the same as the final resulting video, but it needs to be carefully and skillfully edited together, and have a good color grade done, and VFX etc etc Likewise post sound is composed of a tonne of different distinct roles such as: Dialogue Editor ADR Recordist Foley Artist SFX Editor Composer Sound Designer Re-recording Mixer Etc etc Expecting your guy who cuts the visuals to also do the sound post is like expecting on set that your 1st AC would also be a great boom op. Likewise to expect your composer to be a great dialogue editor is like expecting your steadicam op would also be the best choice as a drone pilot. Sometimes people have skills in both areas, but it is totally wrong to assume that. Every year I greatly enjoy doing the 48HOUR film contest (during which you must make from scratch a complete short film in only 48hrs, from conception, to script, to filming, to editing, to submission by the deadline). 48HOURS is extremely popular across the country, with hundreds and hundreds of teams entering just in my city along, let alone the rest of the country: https://www.48hours.co.nz At the start of the competition each year (when the 48hours starts ticking down) each team gets given randomly an assigned genre along with certain requirement elements (props/sounds/actions/cast/lines/etc. You can see this year's here: https://www.48hours.co.nz/news/genre-elements-and-ultra-2018/) which must be in the final submitted film (there are also a bunch of other requirements which are the same for all teams, such as what fps / resolution / max length / etc that the film must be). Naturally such a format means you tend to have smaller teams with an extremely fast turn around (under forty eight hours!), thus of course a lot of compromises have to be made. However, I was bitterly disappointed in how the audio turned out last year on the team I was on. Because while we had a professional editor who does this full time as a job, he comes from a background of editing picture for reality tv (I heard some horror stories for sound from him!), thus his expectations/workflow/standards/mindset for sound is radically different from what you'd want for a narrative short film. This means when I got to experience our film for the first time (as I missed seeing it at the heats due to work) at the Auckland Finals (one of only a dozen films chosen) I got quite the shock (although those who had heard it in the heats did give me a heads up beforehand). I wondered if our editor had painted on ears? I dunno. Even so, at least it was good enough we made the Finals, and even into the Grand Finals of the entire country wide competition. So even if you have a great sound recordist on set, your final sound in the film will be far worse than what it can be if you don't take the same care with it as you do with the visuals. Thankfully they did teak the audio a little before putting it online, thus the audio wasn't quite as awful as I experienced in the cinema, this was our film from 48HOURS 2017: This year I thought I'd be missing out on 48HOURS for the first time, as I had to choose between those dates or being able to work on a feature film. Obviously I took on the feature and the paid work. However at around midnight on Thursday night I discovered Friday/Saturday/Sunday's shoots was cancelled! (due to rain) Thus I was in the strange position of having a weekend free for once, what to do? Then I remembered, of course, 48HOURS! So at the very last minute I looked around for a team to join as their sound recordist (I'd had heaps and heaps ask me in the weeks coming up to the competition, which I all sadly had to turn down due to the clash with the feature film I'm working on), and on Friday morning (the event starts on Friday! At 7pm) I got confirmed onto a team. I was hopeful this year would go differently, as I'd joined quite a good team, in fact they were the countrywide winners of the entire competition last year with their film "Under the Bridge": However after principle photography wrapped on Saturday night I realised from discussions with others on the team that the guy they had coming in to do post sound tomorrow morning after picture lock was someone primarily with a music/composing background and thus I was immediately starting to develop deep concerns about this year's dialogue editing as well. As a sound recordist your primary job on set is to "protect the dialogue", everything else in your job is secondary to capturing the best dialogue you can under the circumstances. So in a way I decided I better on carrying on protecting the dialogue another step further as it passes through post. Not ideal, as my practical experience as a dialogue editor is right next to zero (but I have been reading through a textbook on dialogue editing: "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art", dabbling a teeny teeny bit in a DAW: REAPER, and hanging out in various sound post forums. All of this significantly motivated by my bad experience last year, I didn't want to leave sound post at risk in someone else's hands again. But I'd been too busy and 48HOURS came around surprisingly earlier than usual this year, and so I hadn't got around to mastering dialogue editing at all in time). So I proposed that I (together with Josh our picture editor, who kinda had some spare time after picture lock, as he wasn't handling the grade at all, rather they had a specialist color grader coming in just for that do it in DaVinci Resolve with a BMD grading panel) focused specifically on doing the dialogue edit, while their post sound guy focused in on doing his composing together with the overall sound design and final sound mix. Really needed Josh's assistance though, as I have no experience with Premiere (what little video editing I do very occasionally do, is done in Vegas) and his computer was the only free computer there anyway to do editing on. But by guiding him along (read: "micro managing" :-P ) with identifying where the issues are and pointing him to how and where solutions existed (seriously, if not for me, I bet he'd never have even glanced once at my sound report file! Even though I gave him the heads up a sound report existed every time I offloaded files to him during Saturday's shooting). However in the end I only managed to do one very very quick and rough first pass through the dialogue of the film (ah well, better than nothing!), as in the end I got dragged away by the director herself as she instructed me to do foley and SFX that was needed (WHICH NEVER GOT USED!! Even though Josh & myself not once, not twice, but three times ran upstairs the files to him for the sound design / mix, but he claims he never got them?! I to this day do not know what was going on.... In the end I saw him recording with a handheld mic in his noisy room the extra sounds he wanted, and I just bit my tongue... as I knew my objections would just be overruled by him, the producer, and director. Plus we were running very short on time by then so anything I said that I knew wouldn't happen would just be wasting time and thus be bad for the team overall. Thus my best course of action would be to walk out of the room to keep my thoughts to myself. Although it sure feels good to let them out now....). Oh and btw, although I did the foley and SFX (which never got used....), there was no need for me to do any ADR! ;-) Because I'm awesome. (and modest) And that is the end of my tale about how sound post is important, don't neglect it! </rant> Addendum, I did some BTS videos during the weekend: Also from my SECOND team that I was on that weekend (this was done after principle photography wrapped on Saturday evening for my main team, and then I returned to their base on Sunday morning before picture lock), I must be just a little insane to chose to do such a thing, and I barely slept that night:

Too expensive to buy in Spain? Even though it seems the Cinemartin designer is spanish himself? Kinda weird

Agreed also with your original point that I got, I was just further expanding upon it :-)

If you're recording in an actual working active busy restaurant/nightclub then you are *FVCKED!!* for audio. However if it is closed for the day, then yeah if you have a bit of whispering from extras on hold in the next room over (the bane of my life a couple of days ago! The problems when you have 50+ people on set and no 2nd/3rd ADs, heck almost no 1st AD really!! Ditto no walkie talkies. Sigh) or have a bit noisy pre amps from an old H4n (ugh!) then you'll possibly be just fine once the busy soundscape is laid on top in post. (you might run into issues at quieter moments in the edit, such as when you're doing a tense close up and you want to drop down the background ambiance you've got in the sound design)

Q:What is better than being on a 48Hours Team? A: Being on *TWO* teams at once! As I worked late through the night and barely slept... But by my own choice, because I'm certifiably insane! As after we wrapped I then went and joined another team to do their sound through the night.... I must be mad. Then after a very late finish last night with the other team, I got up early in the morning to help on sound post for my main team for 48Hours! We're getting closer, the finish line is creeping up.

I'm vlogging during 48HOURS, which is a film contest in NZ that has been running since the dawn of time, that hundreds and hundreds and hundreds of teams across the country compete to make a complete short film in only 48hrs! :-o I'm on the team which won last year, "Cool Story Bro". https://www.48hours.co.nz

Did I ever share this recent video? Not only are we shooting with an Arri AMIRA in public, and I'm fully rigged up in my sound gear, but heck the producer even goes and asks the construction road workers to stop! You can "get away" with an awful lot.

If you're using any external recorder which is at least as good as say the cheapie Tascam DR60Dmk2 and it is set up right then you don't need to greatly worry about self noise for YT standards at all. Eneloops are your saviour when it comes to whatever audio gear it is you're using. Or close clone alternatives such as LADDA Rycote just makes the BEST shock mounts. And Rode licenses it from them.

This. We have seen it from cameras like the URSA Mini and even bizarrely from Panasonic themselves with their EVA1!!

Sometimes I wonder if people are doing something else which are making them look dodgy and creates attention. As heck, I'll happily shoot in public on the street with a my "big" PMW-F3 rigged up with mattebox etc and a boom op and a gaffer, without a second thought. No big deal.

https://edictzero.wordpress.com Ah right, I glossed over the word *audio* in "audio dramas". That was an unexpected twist, because this is not exactly relevant to what we're discussing here, which is audio for picture.

Or just pick up the Behringer UMC22 for twenty bucks ish. No. Neither can the F8 (in fact it seems like it would always be an entirely dumb idea to use the EXH6 with the F8! As you loose two tracks. Maybe the F8n would allow 10 channel recording... I'd hope so!) I'm 100% positive some part of that sentence is false. Citation please. Extraordinary claims need extraordinary proof.

Nah, not really at all, because it doesn't provide phantom power. Sooooo.... you'd still need to lug in something like say a MixPreD, defeating the entire purpose of trying to use the EXH6?! Or at least in that situation. Having said that, I do indeed own a EXH6, as it is quite useful for a totally different purpose (accessing 5/6 on the F4). "Reviews" be default tend to be quite positive, especially when it is a flashy new toy. And yeah, people get wowed by its "swiss army knife" nature. Yet in reality I think it would have been better off if it tried to do just one thing WELL, and take head on the DR10L/PDR. Smaller, size is everything with a bodypack recorder. Also no safety track. (arguably essential if you're unable to monitor the audio!) A deadly double blow to the F1. New the H6 is $350, new the F4 at B&H is $450. That difference is nothing when you think about what a steal the F4 is.

The F1 is fundamentally a bodyback recorder, everything else is a bit gimmicky, and in my eyes the DR10L (or DR10CS) is clearly a better choice as a bodypack recorder. H6. But why buy it when the Zoom F4 is shockingly only one hundred dollars more? Seriously, that is insanely crazy cheap when in context like that!!! wtf, as the F4 and H6 are galaxies apart, as the F4 is so far ahead. You'd almost wonder if they're made by the same company or not... :-P (for sure if they had the "Sound Devices" brand name on them but otherwise the same, you'd find people heaping praise on them!) Or the Tascam DR70D / Marantz PMD706 can be found cheaper, and are much more ergonomically bag friendly (than the H6) for a boom op juggling all the jobs in their department.

Pro tip when passing through airports, or interacting with cops in general, do not refer to your BOOM pole or your SHOTGUN mic. (but me being me, I've done both of these things)

Go for the newer DR60Dmk2 over the old DR40 And if you don't have money for both a field recorder and bodypack recorders, then just get the bodypack recorders (and go for DR10L over F1). As it seems it is better suited for your needs. (and sacrifice a goat on a hilltop at full moon to the gods, in the hope everything will go well, as you're essentially shooting this deaf without monitoring what you're doing)

To many spammers hiding away in this subforums :-(

Your cops must be a hell of a lot more bored than mine. Where are you, the USA? I've heard of how the USA is becoming more of a "police state", but come on that is just ridiculous!

By a bit of a coincidence, I stumbled across today someone else who mentions the Saramonic recorder. He has one word for it: "horrible". http://jwsoundgroup.net/index.php?/topic/31502-best-small-format-recorders-for-planting/&do=findComment&comment=347253

It isn't line out, it is a mic level output. I'd rather have the slimmer Tascam DR10L as talent bodypacks than the bulkier Zoom F1 In the article (as I state at the start) I'm almost exclusively focusing on field recorders for the aspiring PSM, thus only looking at the low end options (with barely a brief glance at some low-mid options such as 633 getting a quick mention).

I don't understand this either... why does it have to be solo? Ask around, find someone else in the indie scene, or drag in a relative/friend, or heck even use a spare actor as a helping hand for the crew! Filmmaking is fundamentally a collaborative team effort, to try and always do it solo is like someone always training at rugby solo then wondering why he struggles to play rugby effectively?! Gee, no surprises there as to why mate. But if you're firmly stuck in your ways, I'd suggest finding whatever cheap secondhand G3/UWP-D11/RodeLink/etc that you can find, together with a Tascam DR60D (or Marantz PMD-706 if you really need more channels). Or just get a few Tascam DR10L on sale. Or even simply one Tentacle Sync E plus a few Aputure A.Lavs, as the ultra low budget way to do it with a relatively easy workflow. (if each actor has an iPhone available to use, or just buy a few rough looking secondhand iPod Touch for around the same as a Tascam DR10L if not even less. https://itunes.apple.com/nz/app/timecode-audio-recorder/id1322011386?mt=8) Good, so no need at all for the recorder(s) to be connected to the camera at all.