IronFilm

Nice, FujiFilm is step by step making themselves a more competitive alternate option to Panasonic/Sony/BMD. They're now the clear choice at least ahead of Canikon for the average hybrid shooter, and that isn't something you could have easily said a few years ago.

Yup, exactly my point, the situation is MUCH better for H.265 than when the NX1 was released. But it still doesn't have widespread acceptance. However if you're doing all post in house then the Z Cam E2 having H.265 might be a massive feature for some folks over the GH5S/BMPCC4K.

I'd argue it is bigger than that! They're like the 5Dmk2 of sound. Actually, I'd argue it is even bigger than even that, it is like if a 5Dmk3/GH3 was the first HDSLR released! Imagine that world happening (rather than the GH1/5Dmk2/T2i/D90/etc instead that we got!).

I feel even ignoring the BMPCC4K release we're still creeping near to the "beginning of the end", with cameras such as the Panasonic GH5S. (arguably some people could even say that happened years ago with the GH2/5Dmk3/etc) Just like in the stills world, if you've got a D800 then you really can't fault the sensor performance. Instead it is all about usability/ergonomics/wifi/AF/IBIS/etc.. improvements that have came in since then, but the days of peering at test charts for of say a D300 vs D700 vs 5Dmk2 vs 50D vs etc are "over". The sensor performance from any affordable stills ILC released today in 2018 is going to be good enough, and you're better off worrying about "everything else" that it implements. My point is I think that day is not too far off for the video world with these affordable cameras as well, and likes of a GH5S/BMPCC4K are hinting at that day is nearing closer. I imagine for people trying to shoot with 4K on the BMPCC4K with an ultra frugal budget, that their shooting style will have a lot of similarities to the way RED ONE folks shoot (for those who don't have the SSD module, or only have a limited number of gigs on it). At least until CFast prices fall further. What they'll do is for the tripod shots they'll use their USB-C (just like RED ONEs using their RED-DRIVE for tripod shots) but then switch over to using their CFast card when handheld (again, just like how RED ONE owners would then switch over to CF or SSD when then going handheld).

So long as the delay is only a few milliseconds and is consistent across all inputs, then it might not be a dealbreaker (although I could understand if it is for some people, for instance if you're using the AVX wireless which itself already has a substantial delay you might not want to add even further more on top of that). Anyway, let's wait and see how it is implemented. It is still early days and we know barely anything about the details of the new Zoom F8n.

What I mean is although many NLEs (but not all) accept H.265, you still have most post houses who haven't dealt with it. So it is still early days. (but greatly improved since when the NX1 was released) Well, not at sub $1K price points per lens. I think in that regard Rokinons are quite unique.

Have you used an F4/F8? Remind me again what you're using currently?

Likely the only way you can find out is by trying it yourself! Or asking the manufacturer if they're passing timecode or not. As I'd imagine some external recorders would still be passing the record trigger through their HDMI output, but I bet there are some recorders which could end having stripped that out in the process.

haha, not in a good way! I think you're a little too harsh on the F series, I reckon they hold their own (or beat) the MixPre series (with the possible exception of limiters, but depends on how hard your style of shooting is pushing them, and depends on how much of improvement this look ahead style limiters will be).

In my view the Sony UWP-D11 are the "best" right now from all the "no budget wireless" (i.e. not Zaxcom/AudioLtd/Wisycom/Lectrosonics/etc). But G3/RodeLink are ok enough if you get a screaming good deal on them secondhand. If I was filming with a Panasonic GH5 by myself without a sound recordist, then I'd very seriously be considering a Panasonic DMW-XLR1 https://www.bhphotovideo.com/c/product/1304877-REG/panasonic_dmw_xlr1_xlr_microphone_adapter.html Other alternative is getting something like a Tascam DR60Dmk2 or MixPre3 etc to just wear on me while running with the GH5, to then later on sync up. (as for that H4n, just do the world a favor and chuck it in the bin)

Rather have lenses with interchangeable mounts for DSLR and PL mount as well. But if going for mirrorless only mounts, it seems Veydra instead is the ones to beat. I could imagine many people preferring H265 for the much smaller 4K 10bit file sizes, while raw would be huge. Especially as today is now years after the NX1 release (which unfortunately was "too early") and H265 is becoming a bit more accepted in some workflows.

Uses a portable recorder with a USB powerbank that is usually used by gamers to record their sessions, all for a total cost of under a hundred pounds. More info: https://nikonrumors.com/2018/04/08/breaking-the-30-minute-video-recording-limit-without-breaking-the-bank.aspx/ (you can tell someone was catching up with their NR reading this morning!)

https://nikonrumors.com/2018/04/05/nikon-at-the-2018-nab-show.aspx/

Watch his video, this is exactly his point, it is all these non-sensor / non-codec stuff which people need. But essentially the days of pixel peeping might soon be "over" (like it is in the stills world already, or so he claims).

Note I said: Because with 4K 60fps raw, and even greater HD slow motion, and pretty high DR and good lowlight, what really is left? Of course just like the folks in the stills world there is a never ending list of "more" wanted! But I reckon just like the stills world we might get soon to point we can worry less about the technical quality of the image, and more about everything else. (such as ergonomics, or having built in NDs, I/O options, TC, wireless, or focus tracking, etc)

I agree with him, in the photography still world the technical performance has plateaued out, with only incremental improvements now. When will we reach this in the video world? I reckon the BMPCC4K could be the beginning of the end.

Sony has 14bit raw (with for instance their F5/F55, which I've shot raw with, BIG files!). https://www.newsshooter.com/2014/03/11/shooting-raw-with-the-sony-f55-and-r5-recorder-just-how-good-is-it-asks-matt-allard/

People have an investment in their lens collection, and Metabones allows people to use that with a new camera without buying a whole new set of lenses.

They're still slower than built in ones. And you can't use it with a focal reducer, or with native lenses.

Hold your horses, too early to call this a "FS5mk2" release! Welllll... quite the opposite, we can say clearly this is *not* a FS5mk2 release! As there will be hardware improvements (while the FS5mk2 we can skeptical if there are any hardware changes....) Remember, this F8n is only a couple of hundred dollars more than the launch price of the F8, is that worth it for a handful of improvements? (some which are very much wanted, such as line/mic switchable XLR inputs and headphone amp improvement) I reckon that is worth it for a couple of hundred dollars. This. The F8n will probably have small cache, perhaps 10ms or less. So it can "look ahead". Some other recorders/software does that. Six hundred dollars more than the F8n, will it be worth it? I'm very skeptical if it will be. We'll find out soon enough!

I'm proud of the fact that I have now finally caught up and read EVERY post on this entire 50+ page thread.

I want to see the reaction on reduser when you share that image I'd rather have an internal eND than have 4K 60fps

Exactly my thoughts too, I'm expecting a smoother roll out than some other BMD camera launches. Yup, normal workflow again for cameras without the ability to apply LUTs. But a pity that a camera which can apply LUTs (this new Pocket) doesn't have an extra output option to fully make use of this (maybe the USB-C is an option here like someone else mentioned). Love they've got a full size HDMI output, but what if they'd had a full size HDMI *and* a micro HDMI output?! Interesting, does the UMP have "extended video"? I've never seen it on the BMCC/BMPCC. I am surprised they didn't just GLUE the cards into the slots on the cameras (as it is an easy part to replace themselves after the tradeshow).

That wouldn't be the CROWDs financing it. It would be a bank (or similar) doing the funding, and even then the funds are not given (like a kickstarter campaign is) but is simply loaned.

Hmmmm.... that is an interesting thought.