IronFilm

Spammers again :-(

Thanks! Am keen indeed for this. Could probably stick it on the director's monitor to then pass it to me so I get to keep a rough idea of framing (which is all I really need from it, it wouldn't be a dealbreaker even if it had a dozen frames of lag). Bonus! Looking forward to it!

Interesting, which DR100 is this? (as there have been a few) Have you compared it against a DR60Dmk2/DR70D?

Some of those comments are pretty harsh. Doesn't seem like this is a good solution now for productions. Better off going with something else, like say CAME-TV Crystal-800, which is what I'd do if I had seven hundred dollars to blow. (would be sooooo useful as a boom op!) https://www.came-tv.com/collections/wireless-hd-transmitter/products/came-tv-wireless-hd-video-kit

Can't rule out user error then. (such as not using TC boxes, which sounds likely) 0% surprised you had issues without TC boxes on them. As this is true for many many many camera. (close enough to just say "all") This exists, I own it, they call it :Blink Network https://www.timecodesystems.com/products-home/blink/ https://support.timecodesystems.com/hc/en-us/articles/115001332745--wave-and-the-BLINK-Network https://www.timecodesystems.com/products-home/blink-hub/

We do know the price: US$1200, that is significantly cheaper than the MixPre10T. I feel the current F8 is already a keen competitive alternative to the MixPre10T, so if the F8n gets the existing announced improvements plus a handful more then that is enough to make the choice clear cut for an F8n over a MixPre10T. (only because I already find myself hitting the channel limit of 6 inputs of my F4 on a regular basic, and I reckon a 688 is out of the question for me in the next 12 months) I regret buying my RodeLink Filmmakers Kit. Wasn't worth the small savings over just getting Sony UWP-D11 from the start. Have ranted at length before about RodeLinks, and today I'll add another reason: Reason #98 why I don't like RodeLinks: rf spill from them was so bad it interfered with my Sanken CUB-01! (vs my Sony UWP-D11 transmitters had to be almost touching the CUB before I'd notice anything near similar) Fair enough, for you it wasn't that significant. And I agree, it could have been bigger! But there was still enough at NAB to make me excited! :-D

Which timecode boxes, recorders, and cameras were you using together? Loud peaks such as slates means it can work its magic, but yeah if the scene is so quiet then nothing is being picked up on the other mics than the key one then yup it might struggle I was just chatting with a friend recently that this would be handy! Whoa, they're more expensive than a Tascam DR10L, or got them on sale?

Don't bother about it, he is a forum spammer.

A blatantly obvious spammer is a spammer.

A blatantly obvious spammer is a spammer.

Enough is unknown it might be more than just a "slightly" better F8. And the new Rode mic is groundbreaking as the cheapest ambisonic mic ever!

Tascam DR10L, or something similar? Maybe you do need Timecode then? Or at least use PluralEyes, or something similar built into your NLE already.

Working on a film with Arri Alexa XT, Panavision Primo Anamorphic full set of lenses, Arrihead 2, seated dolly / tracks, M18 HMI, etc etc Anyway, to answer the question: they sound the same as any other lens! ;-)

You'll likely find the Tascam DR60Dmk2 perfectly ok, if you're not using TC or wireless, for such ultra low budget shoots. So long as you have a boom op who knows what he is doing (although of course that is true for all gear).

Nifty! I hadn't heard of this before for the DR60D and some other Tascams

Link? As a quick google and I only found this (which isn't exactly relevant): https://github.com/mungewell/openDR-Remote Guess my point is there are a very wide range of entries to festivals, so it could mean anything without a qualifier

How?! Very fast reactions via a genetic mutation from an X-ray spider?

I'd buy a GH2 over and over all day long at $5 each!

If you're just doing unpaid web videos / amateur film festivals / etc then yes indeed the audio quality of the Tascam DR60Dmk2 (used correctly of course, but even a 688 would sound bad in the wrong hands!) is quite good enough. If a person is at the semi pro level specialising in sound then the F4 (or F8) is a smart buy, or if they just feel like a "luxury" item to enjoy. (after all lots of amateurs buy low end "cinema cameras" such as say a C100 or FS5, so why not enjoy also say a F4/MixPre10T/633? Nothing wrong with that at all!) Of course if your primary income is sound then just settle with one of the industry standards. So just think about where you are, and what are your future goals, then buy appropriately to match that.

F8/F4 TC last all day long, isn't that enough? Hirose and internal batteries, isn't that enough? Locking connectors... such as BNC/Hirose/XLR? Intermediate size.... ok got me there, going to take a mark off the F4/F8 for being "too small"? :-P ha The F8/F4 pre amps are excellent too. Don't automatically assume that analogue is the ONLY option and the only way to do it. After all Sonosax and Zaxcom don't use analogue limiters. Digital is the way of the future.

You say you own a DR60Dmk2, doesn't the difference between that and an H4n already feel like night and day.

Not much in sound.... are we talking about not the same NAB? I feel like maybe we were watching different ones

Totally, forums like gearslutz can get into deep wankery as to which is "better" sounding when really they're just splitting hairs or it is all just subjective anyway

"Best"?! It is a bit like the people who pop in and ask what is the "best" camera to film with...

Well damnnnn! Am jealous. But realistically an F8/F4/MixPre6 (if you don't mind the four channel limit when doing TC in the bag, but it *can* do TC)/MixPre10T could very likely have handled your needs just fine.