IronFilm

LOL! Wellllll....... they are right, you acquire a lot of experience of failure over a hundred years!

Why not RED? Or Canon. Because the skintones & DR are not good? So is a smaller camera without IBIS? Thus in conclusion: a Sony (but not in s-log), or maybe a Panasonic?

Ha! Those guesses are all over the place. But you are right that it wasn't shot on an F3, or any other camera I own. As I had zero influence over camera choice. Well, as people talk so much about the inherent color science of one brand or another, I'll give a hint by narrowing it down to just a few brands it might be and see what people might rule out: RED Sony Canon Panasonic The camera was from one of those four. Random observation: We shot this over one single day. You can very obviously see how the ratio of internal to external light changed over the day by observing the kitchen window on the left.

This is the point I've been long making. That the feeder network of cameras matters a lot for sales success of the higher end cameras. Thus Panasonic made a massive blunder with their Panasonic EVA1. They have a massive success with their Panasonic GH series of the years. Then you have the Panasonic Varicam LT which is a top notch high end camera. The Panasonic EVA1 was the golden opportunity to build a bridge between those two worlds Panasonic has succeeded in!! & provide a pathway up for GH series owners. But Panasonic failed to have a MFT version of the Panasonic EVA1. While this is an area Sony is doing successfully. You could start out with say a NEX-5N or a5100, then move up to an a7Rmk2, then secondhand FS700 for 4K raw, then an FS7mk2, and then a VENICE!!! All the way along you get to stick with the same E mount throughout! Genius! Have you seen CHDK?? Magic Lantern was so successful because they got to build on top of that success. You won't see Magic Lantern for any other camera ever happening any time soon, without that massive amount of groundwork being laid beforehand.

Heh, & that is the same crop as a GH2 ;-) And 4K really isn't needed by many. I won't get a 4K camera until next year, or maybe even the year after!

No. That wasn't what I was saying. Plus a BMPCC / F3 / GH5 / FS700 / LS300 / etc are all very very good cameras in their own rights. Cameras with these capabilities that many indie filmmakers just a few short years ago would have given their kidney to get their hands on. Anyway, my core point is just to keep things in perspective. A camera is but a tiny part of the overall package you need to spend. Especially if you're an indie filmmaker just doing it for the love of it, there is a greater need you'll also have to have a comprehensive lighting + sound + etc kit as well. Vs if you're a professional owner op you might be able to get away with a bit more minimalistic kit, as you'll be hiring in crew people with that kit or having the budget to rent. And like another commentor said, if you go with a cinema camera such as a RED ONE then it will place heavy demands on the size of crew and lighting package needed. Either that, or you'll find yourself severely limited with only a R1. Also, if you're an indie filmmaker you'll be making relatively few films per year. Vs a professional who is using their camera day in day out every single week. Yet the likes of a brand new URSA Mini Pro will be experiencing very heavy depreciation over the coming years. Thus from the long term perspective I wouldn't recommend it. (Too often have I seen indie filmmakers blow the bank on an expensive camera that is the latest hot item such as say a brand new Sony EX1 or Panasonic AF100, only to sit sadly with it a few years down the track never having used it to its full potential) So once you think about the total cost of ownership both initially and over the years, it is a sizeable sum. Now if you're the guy who can drop tonnes of money on his hobbies (I think the analogy I gave before was spending $20K on golf clubs?!) then sure, go right ahead and buy an URSA Mini Pro! Or Kinefinity Terra 6K! Or a RED Raven! Or whatever. I have zero problem whatsoever with wealth, and people spending extravagantly if it is within their means. But I was just pointing out that for most people they don't have that kind of money to drop on a hobby, once you all add it up. Thus for most indie filmmakers an F3 / BMPCC / FS700 / GH5 / LS300 / etc are the max camera spend it makes sense to do. Note I said "most" and "max". Not "all". There are always exceptions! Note also, I said "max". As I'd also say for the bulk of indie filmmakers a GH1 to G80 is the range where they fit in. Not even a GH5. Too often I see new filmmakers with say a GH5 but only the kit lens! They'd be better off buying a Panasonic G80 and putting the spare money into a few Nikon F mount lenses + focal reducer + redhead kit + C stands & cutters / diff + a few LED lights.

btw, any one want to take a guess as to what camera that web series was shot with that I did sound for? ;-)

Absolutely true, but I'd still argue there is greater potential to an upside from a feature film than a web series. Even though both could be potential a similar amount of work. Time and opportunity cost is still real factors to consider. And even a "no budget" production can run up into the thousands once you consider food / gas money etc

Looks like the camera to the far left is a Canon :-/

And only in the smallest of smallest nichey niche camera forum discussion threads. So by this logic, we should only buy cameras which have genlock? Edit: no wait, I read too hasty! You do NOT want cameras with genlock used?? :-/

It really is not such a big deal to be lacking 444 As to record 444 you need a fairly expensive recorder, which kinda defeats the purpose of buying this amazing camera on the cheap?! While it can still do great ProRes HQ with a very cheap HD recorder.

Yeah, the latest Samyang series is the same as the latest Rokinon series. Just different branding.

No brainer, the 4.5K sensor is better than the MX sensor. And the URSA Mini Pro has more features than the Scarlet. Also this is just my gut feeling, but I suspect once you look at the total cost of a Scarlet kit it will be notably more than an URSA Mini Pro? I strongly feel that in 2017 that 4K is not the right choice for a hobbyist who is not seeing a financial return from their investment. Exceptions: Mirrorless/DSLR 4K, they're pretty cheap (but even for someone starting out, I wouldn't recommend). JVC LS300, surprisingly cheap too. RED One MX / URSA Mini 4K / FS700 / BMPC4K, arguably these could be included, but they do have a heck of a pros/cons list you should carefully analyze before leaping in. However, if you're the kind of person who drops $20K on a set of a golf clubs... then I guess nothing wrong with spending $$$$ on your film hobby too. Do remember that 95% of an image is due to the operator / director / crew / post team. Not the camera! And 99% of GH5 owners lack that. Unlike your typical RED Weapon / Arri Alexa XT / Sony F65 / etc shoot. So yes, those *are* better cameras. For sure! But don't make the mistake of thinking too much less of the GH5 just because of the typical user video. (odds are if they were handed a RED it would be just as bad/good!). Exactly why you don't want to be spending $7K on a camera in 2017. People often look at just the camera body cost itself, and think they can stretch to buy it, but forget the total cost of the overall system. A couple of years ago I wrote a blog post based around a GH2 kit: http://ironfilm.co.nz/a-priced-out-gear-kit-for-a-newbie-to-filmmaking-using-the-panasonic-gh2/ Now the GH2 is a very *VERY* cheap camera to buy secondhand, but it is quite eyeopening the total cost once you add up everything else. Even if you try to penny pinch as much as you can in all the other areas too! Shows how often instead of a newbie considering say an a7S as their first camera (not the OP... just giving an example!) should instead be going for a 2ndhand GH2 otherwise they'll run out of budget. Don't stress over sensor size, it doesn't really matter much overall so long as you have a matching lens kit for it that makes sense.

I'd forget about 4K, and get yourself a Sony PMW-F3 and save yourself a TONNE OF MONEY in the process! :-D As $7K is a stupidly large amount of money to spend on a camera with no commercial return on it.

I'd suggest around 3 minutes (no more than double that! MAX), and around three to six episodes. If you were to stretch my suggestion to the max, but still stay within my limits, that is 6x 6 minute episodes. That is THIRTY SIX MINUTES of content created. That takes an awful lot of time/money to do, for what purpose? Have a web series you created credited to your name, is a worthwhile trophy to have. But does the effort match the rewards? And what if you make an hour's worth of content? Seriously, by that point in time you are much better off to have put your efforts/goodwill/monies into making a feature film instead! Which gets greater recognition, and has more commercial potential. Here is a web series I did sound for, that just got uploaded a few days ago: Each episode is only around 4 minutes long, and there are only three episodes in total.

You know to load/unload the slog firmware from an F3 requires a pincode? And in the process it removes the firmware update from the camera.

Matt Price / Sound Rolling is my top recommendation: https://www.youtube.com/user/ThatWasSound The reason why? He is the *only* professional sound recordist on YouTub who is putting out regular and informative content in this niche!! (every other channel in this subject niche is either a brand instead, or a retail store, or a non-specialist) One last recommendation, and this one is ever so slightly biased.... *me*: https://www.youtube.com/channel/UCniNTuAtkFiSCQNfIaw9SJw Although I have only a tiny tiny fraction of the amount of content that Matt Price has! Plus I haven't been doing it for anywhere near as long as he has.

Last weekend in a single evening I did a skit/advert film (vblog coming soon!) where I did all of camera + lighting + sound all by myself! & the director was also the actor, BOTH actors! :-o He even did a fight scene with himself.

When the DR70D is also so compact, and these other options don't have a better pre-amp (as Don has just pointed out), then I don't see the point in spending extra money to buy one of these pre amps plus a DR70D.

Good! :-) Even the DR60Dmk2 or MixPre3 is too big?! The likes of the Beachtek is hardly much smaller if at all!

What camera were they demonstrating with? As yeah, some are really bad. Anyway, don't bother with one of those under camera pre amps like the Beachtek. I reckon the price of them is so "high" (well, they're not, but relatively speaking....) and the DR60Dmk2/DR70D is so dirt dirt CHEAP, that you're better off getting that instead! :-D As yes, you can just use those Tascams exactly the same way, not even recording with them, but just for their "good" (relatively speaking, certainly good relative to Beachtek!) pre amps and mixing functions to feed into your camera (which will have auto gain turned off, and manual gain turned way down). Nooooooooo..... Not the Zoom H4! Not the H4n either. As for the H4n Pro? Meh. Tascam DR60Dmk2 or Tascam DR70D or Zoom F4 is the three I recommend you look at the most closely. And which one you go for just depends entirely on your budget/needs/want. Was this a retail store? My experience with retail store workers at camera or audio stores has generally always been they have very very very very very very very poor knowledge about the products. Or was this a recording studio such as for music and such? Then their experiences are totally different to your needs! It is like asking a swimmer what bicycle should you buy to race on the track. Like all the threads in this forum, we get sidetracked easily! ;-)

That is around double the price, and is less easy to use than an F4 (or F8) & is less inputs. You really need to pair it with a mixer front end, which further drives up the cost and weight. Yeah I'm pretty calm and chill, is water off a duck's back for me. But the hostility (to n00bs) on pro location sound forums is quite unlike other forums, and it also means you're not likely to get constructive answers instead of just flaming. I love google! :-D

Agreed. Except, why have you put an Oktava in blimp? Its best usage is usually indoors. What kind of windy indoor location are you using? :-o Personally I use my Oktava MK012 HC with this (plus just a small foam softie): https://www.bhphotovideo.com/c/product/554999-REG/Rycote_041107_INV_7_InVision_Indoor_Microphone.html True true, I reckon their range PIX-E5 etc camera recorders helped further bring 4K recording to the masses as is kinda similar priced to Atomos ones. (PIX-E5 is still the the smallest 4K recorder/monitor on the market!) Not the F4?? (or F8?) Until someone makes a 3.5mm TC (or BNC) to HDMI adapter cable/box then the MixPre6 has zero appeal to me. (and even then, I'd still not bother as being an existing owner of an F4 it would be a mostly sideways movement for me. I'd rather move on up! To a 633, or even 688. Or from one of the other big competitors like a Zaxcom Nomad 12 or Sonosax SX-R4+) Yes, out of all the other companies who might respond to the F4/F8/MixPre6, I think Tascam is the most likely one. But also, it wouldn't be surprising to me if they don't. Could go either way.

I was quite skeptical beforehand too, also had never been a great fan of any Zoom product beforehand (didn't help either I'd just got a Tascam DR680 just before the F8 came out!). What used Sound Devices gear??? You either need to go for something very old like a 744 or 552 (and you'd still be buy double or triple what a F8 is! And even more than an F4). If you're looking at something more modern like a 688 or 633, they're almost impossible to find easily secondhand, and when they do appear they disappear very quickly and only at a very small discount to buying new (thus you're still spending thousands more than an F8 would cost). If Sound Devices depreciated at the same rate as used cameras, and had as many easily to be found on the secondhand market as there are cameras, then I'd agree it makes sense to go secondhand for a Sound Devices. Actually their are not heaps and heaps of great audio forums out there when it comes to location sound recordist's needs. Those general audio forums have users whose needs and wants are so far off the mark from what a location sound recordist experiences that getting advice from there can be just as bad as getting it from video forums!! But yes, you can find useful info their if you remember they're seeing (hearing!) things from a totally different perspective than yourself! Thus take everything they say with one big grain of salt! Even so, I enjoy reading them and hanging out there for what crumbs of relevant info you can pick up. However in the end, jwsoundgroup is the *ONLY* forum dedicated to location sound recordist (since my shift in focus to sound, I now spend more time there than on EOSHD! Sorry :-/ ). But the environment there to newbie/hobbyist sound recordists is very hostile. A thread like this about DR70D vs H5 would run a high risk of just being mercilessly ripped into. So in the end, the amount of info there is for the newbie/hobbyist/semi-pro location sound recordist is somewhat limited and scattered (one of the reasons why I started up my youtube channel to vblog on this topic, to encourage more discussion of it, and help further spread more good info on this).

The big question we have however, is this the new norm or will we be returning to the average. So will the hectic pace of the last couple of years keep up and will it spread to other areas in location audio? I suspect the answer is probably no and no. :-/ Sadly. Because it really is just in recorders that we've seen so much progress in the low end over the last couple of years. But in other areas such as microphones / boom poles / cables / wireless / shock mounts / blimps / etc... technology is moving forward relatively slowly and prices are not coming down radically. (although yes, progress is still happen, look at the new Rycote Cyclone!!). With one key exception: time code boxes, we've also seen some breathtaking advances here over the last couple of years or so. Now, with recorders, the questions are: 1) are we going to see Tascam / Roland / Behringer (???) / someone else / etc respond with a product of their own? Unlikely, I wouldn't hold your breath (although I heard rumors Tascam is developing something. And who knows if some wildcard might come in and surprise us!). 2) Will Zoom or Sound Devices release another sub $1K device soon? Very doubtful. Sound Devices certainly will not within the next half decade or so, probably even longer. I wasn't expecting the Zoom F4 from Zoom so quickly after the F8, maybe they'll surprise me again? Personally I'd rather see Zoom concentrate on improving their little family of recorders they now have of the F4/F8, plenty of firmware updates they could still bring to them. And just generally make the ecosystem around them work better together with the F4/F8. For instance they need to update their Zoom EXH-6 accessory. And work with other companies such as Movie Slate / Time Code Systems to get integration with their products (like Sound Devices has done). Plus releasing a superslot equivalent would be cool too! 3) Will Zaxcom / Sonosax / Aaton / etc be releasing a sub $1K recorder/mixer as well? I'd say the odds respectively are: very very unlikely, very very very very very unlikely, and next to impossible. Was a massive surprise when Sound Devices did it! Very strongly doubt any of those other similar tier brands will be following along and doing it themselves as well. But who knows, never say never? So what will be seeing in the future as technology moves forward? Here is my optimistic expectations for happening within the next five years: We'll see more technology integrated into smaller packages. For example, we had automixing included in the 688, then there was the big update for the 633 when it got Dugan too! :-o Maybe sometime in the coming years there will be a firmware update for the F8 which has this too? One can wish and hope! Another possible example is the amazing new product at NAB this year, the CEDAR DNS2!! Will this also get included into recorders/mixers too just like Dugan has been too? Doubt it will happen soon, not even in the next release of 600 series from Sound Series, but hey maybe in the next generation after that?