IronFilm

Yup. Soon! Currently doing the festival circuit.

But is VC supported bythe URSA Mini? I heard one guy say it is not.

I was DoP for part of this: The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making! My Tascam DR60D has this feature. "Safety track"

The feature film trailer: ^ quote from vimeo. As you can see here: He comments in the above video: Interesting that Arri raw was chosen over ProRes. http://www.latimes.com/entertainment/movies/la-et-mn-laff-lights-out-david-sandberg-20160602-snap-story.html A squeal is already in the works: http://film-book.com/lights-out-2016-horror-film-to-get-sequel/

Mitch though is extremely open and helpful on the forums however. Such as DVXuser They allow specific 3rd party SSDs now

Doubt they'll have a 5Dmk4 with two different sensors but yes if they do then reusing the old 1D C sensor might be most likely

SmartLav+ is just a lav. Not wireless. So you can't monitor. RODE makes many different microphones, all at a low price. As they target the low end. The best one is the NTG3. I have the NTG2 which is much worse. I've thought if I'd do it again I might get the MKE600 instead? Don't know much about the NTG4 but seems to just be a slightly improved NTG2

MKE600 + 2x Saramonic UwMic10

Plus there is a fair amount of technical skill in operating a boom pole well, which nearly all "friends holding a boom pole into a Zoom" don't have. "Time" is still a crucial part of a low/no budget film. If anything... even more precious than on big budget films! As you can't just pay people to get more of their time. There is only so much of people's time you can ask them to give up for free (or even for very low pay). Thus one of the pitfalls I see of ADR on low/no budget productions is that you run out of "time" with actors to get them back to do ADR. As the logistics of herding cats is not easy.

Even if it is just "propaganda" it is still a positive sign! As a company doesn't bother to think up and put out propaganda if they don't at least have some thoughts about targeting that market segment. Better than totally ignoring it!

Every camera (especially with the well under $5K range) has its own little set of niggles. Even the famous and expensive 1D C has ***HEAPS*** of niggles. Even an Arri Alexa has some niggles, that is why they brought out the Amira and then the Alexa Mini. But with an external battery pack (or a pocket full of batteries... I've got 13! So I can go with either option, just internal or external as well) you can go for ages and ages. I did this a couple of weekends ago inside at a Motorsport Expo, using the BMPCC as a quick and dirty run and gun camera on a monopod shooting to Rec709 ProRes LT (as there would be a lot of footage, none of which I'd be editing). This shows you can even happily use a BMPCC for one of its most unconventional uses: run and gun! If I was doing this outdoors I'd have added a monitor (I've got a Feelworld FW759 now, but hopefully I'll get a nice little 5" or smaller one to add to it instead). The total size and weight would still be smaller than what a naked 1D C would be! And more functional. (1D C monitoring features are shit) GoPros have been around for many years longer than a BMPCC, for a long time they were the ONLY option. That is why they were used. GoPros would still be used now for their low cost , their widespread availability, waterproofness, extreme small size, and ease of use. But for when image quality really matters, productions will always be now reaching for a BMPCC/BMMCC over a GoPro. In many many cases 4K is not **NEEDED***. 4K is not needed for nearly all of my work. As AaronChicago just mentioned only a few comments before yours, he is really only using his URSA Mini 4.6K as FHD ProRes HQ and not 4K as that is all that is required for his needs. So yes, would be lovely if the BMPCC had 4K! But it absolutely does not have to be a deal breaker requirement for many of us. As for 60p.... that is solved, we have the BMMCC if a person must have that. Needs an external recorder however... if BMD had included that inside the design then it would be a lot bigger and no longer Micro, plus the price would leap up. This is however something I'd like to see! Could likely be sub $3K? With a URSA Micro (even a bit smaller than URSA Mini! But please please add internal NDs) design with a 1" (or 4/3") sensor doing 4K that gets recorded internal. NAB 2017? To ship in 2018! Haha I dunno, they would sell a **SHITLOAD** of Canon Rebel series DSLRs (and 60D/70D DSLRs too, only one step up) to people who never buy anything more than the kit lens it came with. Maaaybe a 50mm f1.8 and/or a walk around superzoom as well. The people who buy L series glass from Canon are a tiny proportion of that. But yes, if you excluded Rebel DSLR buyers from these figures, then I could agree with you. 5Dmk4 and 5D C having two very different sensors? Doesn't seem like a Canon thing to do! This seems unlikely to me.

I'm not seeing any real price difference on the secondhand market between ones with and without the paid s-log upgrade. And the BMD VA is heaps cheaper than the 7Q. Anyway, I can disagree but still respect a person could go either way on this

Yes. This. x100

Oh darn, that is a pity, hopefully in future firmware updates BMD will give support for that. I wonder what is the problem?

I'd go with FS5, the small size, slow motion, variable internal ND, features, all make it more attractive than a C500. Plus in many cases will be a better match with your A7r II as a B cam.

Ah! I see what you mean. But even ProRes HQ 10bit 422 is plenty I reckon for most cases I'm happy with my Atomos Samurai Blade!

Is sadly in 3rd place at least after Premiere and Final Cut.

F3 is not getting any new updates, F3 has been able with its upgrade to do 444 for many many years now

Yeah well that puts it at a big disadvantage for the price when compared to Atomos with an FS5/FS700

But is it capturing FSraw and downcoverting it to ProRes with the base unit? Or is it just for use with the uncompressed HDMI signal?

It is a bit like people complaining about how awful GoPro footage is vs from an F5, true!! But can be worth it for the little niche it serves and what it adds to the overall story. But yes, I won't disagree for a second, if you can afford the extra cost of a Gear 360 then get that instead. I've used the Gear 360 a lot as well:

Oh for sure, if you have more money then spend more! Though Jimmy also makes the good point as to why a person shouldn't spend too much, & instead just spend the minimal amount to dabble in this area. Which is what this is. I see this as serving two key areas: A) people brand new to 360VR and want to dip their toe into the water as cheaply as possible so they can get experimenting B) people who already have a bigger/better 360VR rig (such as myself) who want a smaller/cheaper/casual/disposable 360VR set up to use in small snippets of a longer 360VR shot (such as on a drone, or whitewater rafting).

That Lilliput Q5 has an estimated rough street price of US$475 which might make it an even more attractive option!

But you were saying the Odyssey with the F3? & in that combo it is overkill. As BMD VA & Samurai Blade already have SDI. And F3 can't do raw or 240fps.

GizChina put up a review of the Elecam 360, by far the most affordable entry point to 360VR filmmaking: http://www.gizchina.com/2016/07/26/elecam-360-review-360-budget/ http://www.aliexpress.com/item/EleCam-360-Video-Camera-WiFi-H-264-720-Degree-Panorama-Camera-Double-lens-1920-1080-Large/32695990603.html (US$120)