IronFilm

I'm disappointed nobody has brought out a "lock off" mode for IBIS, where they grip it in place so it doesn't move at all, not even a millimeter.

As a 1st AC (or heck, as a cameraman) my personal record is going through THIRTEEN batteries on a (not even long!) shoot with an original BMD Pocket Cinema Camera for a music video.

Exactly. Infamous for their weakness in low light. 99% of the time when newbies obsess over "low light" when choosing their next camera (such as FX30 vs FX3) they're being idiots, because even the one they think of as "bad in low light" is more than good enough! Fovean however... even their next generation sensor? Nah, not so confident about that!

I think we no longer see online the "MOAR MEGAPICKLES" desire we used to see a decade ago, or even as recently as say just five years ago. Once we got into the twenty plus megapixel range (with a few extreme thirty and forty plus options for those super megapickles nerds to splinter off into and leave the rest of us alone with our 24MP cameras) then I think the burning desire for more megapixels largely died away for many photographers. You even saw some cameras go backwards in terms of their resolution. Such as the Nikon D7200 to Nikon D7500 has less megapixels with the next camera than the one beforehand. A very clear sign that megapixels is no longer the #1 thing photographers look to when buying a camera like they used to. Who knows, maybe one day we too in the video world will experience this! Wouldn't totally 100% shock me if the X-H2 has "so-so" 8K but the X-H3 has stellar 6K as the max resolution it can do.

Redshark just put out their review of the FX30: https://www.redsharknews.com/sony-fx30-reviewed-a-gateway-drug-to-sonys-cinema-line Pentax has made attempts at the mirrorless market. But each have been a little odd. There was their Q Series (basically smartphone sized sensors, but with interchangeable lenses) and another "mirrorless camera" which was still using the K Mount!! (but mirrorless...) Sure, and in the stills worlds then they've always talked a lot about using native mount lenses. That has always been a lot more normal in those circles. But we're talking about forums such as EOSH/dvxuser/dvinfo/etc, where are video focused, it is only in more recent years that there has been a heavier push for users to go all in with native lenses. lol, yeah right, sometimes that is true! But very often it is all kinds of random chaoticness, and we just have to roll with the punches. There are many 1st ACs who never get focus marks these days, haven't in years. That's simply not the type of TV Series they work on. And all of those "real scenes" has been shot with manual focus for many many years. How do you think Reality TV for instance gets shot? Do you think they've been always using autofocus all these years? Do you think each of those cameramen get to have their own 1st AC?? No, and no.

Not sure if you're referring to yourself, or your wife. Ah, that clarifies it. I feel the same way about 32bit audio. What is next, are they going to market 64bit audio to gullible fools on youtube? Exactly! And give me a 4K camera with as much dynamic range as the ARRI 35, but without the price tag!

Hopefully you're not waiting for an APS-C L Mount camera.... seems like they're no longer: https://www.l-rumors.com/some-l-lenses-marked-as-discontinued-in-japan/ But maaaybe very very soon a new Sigma camera might be announced? Maybe: https://www.l-rumors.com/good-news-from-sigma-their-new-full-frame-foveon-sensor-will-be-ready-end-of-this-year/ Probably not the type of L Mount camera you're looking for though! The latest rumor of an L Mount camera that would interest you is unfortunately from way back in July, and no new rumors since then: https://www.l-rumors.com/first-rumors-about-a-possible-s5h/ (from the week beforehand: https://www.l-rumors.com/lumix-ambassador-makes-another-easter-egg-teases-the-launch-of-a-new-camera-with-sick-af/ )

Showing all the recording modes/ratios/crops for the S1H:

Maybe it is because in the earlier years of mirrorless then were were all doing manual focus. That was much more normal and accepted. But in the last few years there has been a growing rise of people (to Panasonic's detriment!) believing that autofocus ability is all that matters. And of course autofocus ability is usually better with native lenses, than with adapted lenses. That could be where the shift of "native is better". And maybe another small factor, is how even with purely manual lenses, in only recent years we're seen an explosion of fairly good and very cheap native mount manual lenses. Thus yet another reason to go native, rather than adapt lens.

You're missing a Pentax as well! Perhaps set a challenge to do a wedding with a pair of Pentax 645Z 😉 haha Nearly 8 years old, but still a good read: https://philipbloom.net/blog/pentax645z/ They do quite well at the high end (VENICE) and low/mid end (FX6/FX9) for cinema as well.

There are a few of these older consumer cameras with a CCD sensor which could do video (not many though, as the CMOS sensor were already starting to become much more popular by the time video was arriving as well). I wonder which might be the "best" of these CCD cameras that are video capable?

Hopefully they'll keep the 26MP sensor for a little while longer for the low / mid range cameras, as that will keep the price down. Or maybe they'll bring in the new 28MP sensor that is in the Sony FX30? As I think a lot of photographers will also prefer to not have the overkill 40MP sensor.

If only Samsung was here about to launch their Samsung NX3 with 8K 60fps 10bit h265 internal so as to push the limits once again of what mirrorless can do. (none can currently!)

But when you consider the prices of the XH2S/R6mk2 then neither of those are factoring in the cost of an XLR handle for those too. https://www.bhphotovideo.com/c/product/1679651-REG/tascam_ca_xlr2d_f_xlr_mic_adapter_for.html

Yes, Fuji has that, but only for the X-H2/X-H2S

The X-T3 / T-T4 have been so good, and well received by filmmakers, they're really what made a name for Fujifilm among mirrorless filmmakers (along with the X-H series). Hopefully the Fujifilm X-T5 carries on this tradition! Has a 40.2 megapixel sensor just like in the X-H2. Here are the movie recording specs: Weight is even lighter than the X-T3! The X-T5 is looking like a good choice for people who want a smaller/lighter/cheaper X-H2 (without 8K though, but you still have 6K), as price is meant to be the same as the X-T4 was ($1699). Found this to be an interesting article on what FujifilmRumors feels is the historical relationship between the X-T and X-H series: https://www.fujirumors.com/how-the-fujifilm-x-h-line-saved-the-fujifilm-x-t5/

Clearly external recorders for cameras is not something that is going to last forever, as many cameras get better and better internal recording options (4K 10bit internal is now becoming common place and expected in every camera). This fact will become even more true within a few years once RED's patents expire (or even sooner if they get overturned! As they should be). Thus from the perspective of long term planning for the company it makes a lot of sense if Atomos starts to use their extensive knowledge with recorders and codecs to make "a recorder with a sensor" (i.e. a camera!).

Hmmm... why does this news sound familiar? 🤔 😉 https://www.eoshd.com/comments/topic/66545-is-atomos-going-to-follow-in-blackmagics-footsteps-and-create-a-cinema-camera-as-well-they-just-announced-an-8k-sensor/

I definitely see people basing their entire purchasing decisions on if something has 32bit or not, even when it is not relevant at all. (even seeing decisions as crazy as choosing a MixPre10 over an 833 because "it doesn't have 32bit") Exactly, and I want to for balance to emphasis this point which I feel is rarely stated. Sure, for those who completely control the entire workflow from pre-production to post-production, such as those who do it all themselves and never need to work together with how other people do it, then in their circumstances experimenting with 32bit can make a lot more sense. Which is your situation.

Tomato - tomato! 🤣 The fact you say "the noise that comes from adding gain in post" makes me suspect it was more the issues with the equipment you used (low end consumer goods with noisy preamps) rather than the file format you used. The fact that everything with 32bit (MixPre series / Zoom F6 / etc) today has rather good preamps could lead you into thinking it was the file format which made the biggest difference rather than simply the general upgrade to newer modern semi-pro equipment. I disagree. Just because you're on a scripted drama series doesn't mean you necessarily get proper rehearsals, and neither are you able to go up to the 1st AD and ask "hey can we redo that because I blew up the mix?" (well, you could, but too many of those and you'll be out of a job!) Plus I work on plenty of documentary or reality tv shoots were there are no retakes and everything is totally uncontrolled surprises at times. I do try to keep that in mind, but I do work on a much more diverse range of productions than you think, not just larger budget productions but also a lot of "zero budget" shoots too. 24bits of audio has 144dB of dynamic range. When did you last record anything louder than 144dB? (120dB is already going past the limits of human hearing, at this point it can be painful and doing damage to you. The sound has been weaponised against you!) Thus my point before, it it like people having their Sony PMW-F55 with 16bit of raw and complaining it can't do 20bit raw instead? Errrr... isn't it already enough? I think a lot of desire for 32bit is really a desire for better equipment. Upgrading from an H4n to a Zoom F6 then you get the majority of the benefits from the quieter preamps (and TC/metadata/etc). If the original H4n had preamps as quiet as a F6, then people would likely peak their audio a lot less often than they did back then. Should a Sony PMW-F55 owner shoot their interviews in 16bit raw "just in case they get it wrong" because they're "also juggling audio and lighting themselves as well" so as to "give themselves a fighting chance"? It just seems to me like serious serious overkill, that's "fixing" problem that really shouldn't exist. If you're paying so little attention to your audio that you've got no idea at where even your very rough general levels are at, I just feel that there could be other serious issues happening as well! Just like if a cameraman can't even roughly get their exposure right (thus "needs" 16bit raw), you'd worry also about if they are framing in the subject at all, have they got focus at all, are things in the frame that shouldn't be? etc etc etc I'll happily record whatever they tell me to record in! And are paying for. But just like very very very few Sony F55 owners are ever being told to record in 16bit raw, but instead their bread and butter day to day shoots would likely be in 10bit, so the same is true for me. Will be many more years until the expectation changes from 24bit to 32bit audio files for me to record in. (am even a bit doubtful if this will ever happen in my life time. But "never say never", who knows, maybe in 2055 we'll all be filming even basic interviews in 32K of video resolution)

I'd take recording onto a FX30/FX3 directly over using a Nagra D! Four channels of 24bit audio with the FX30: https://www.bhphotovideo.com/c/product/1729318-REG/sony_fx30_digital_cinema_camera.html MixPre6 & Wisycom MCR54 could fit under your jacket without anybody noticing, and there is four channels of lavs being recorded with ease. I'd imagine the Marantz PMD661 rarely gets used now you've got the Zoom F4. Am not sure if I'd even bother with a MixPre6 if your Zoom F4 is working fine for you. I'd rather aim a step higher and get a Zoom F8n, or a MixPre10. (or if doing this professionally... an 833 / Nova2 / Cantar Mini ) Couple of points to keep in mind: 1) the professional market moves at a slower cycle than the consumer orientated market, look at how a new "Sony a7 something" comes out every time we blink, while the Aaton Cantar X3 is 8 years old (well, depending on how you count it... is over 8 years since it got shown off in early 2014, but orders didn't ship until later on in 2014 I believe) and yet the X3 remains today the very best you can get! A bit like ARRI who saw success so long with their original ALEXA sensor, only just recently bringing out the new ARRI 35 sensor. 2) the Sound Dept moves on even a bit slower cycles than the Camera Dept does So yes, that's why even ancient recorders like the Sound Devices 788T can still be relevant today (especially if you're not working on the higher end productions. In which case, it is high time you upgrade to a Cantar! Or at least a Scorpio or 888).

I can't possibly understand why a person would want to use a Nagra D in late 2022, for anything than purely nostalgic purposes. As practically speaking a cheap Zoom F8n would be massively superior to use on a production.

ah well, nobody who is a Sound Recordist has been recording in 16bit this decade or last decade! It was only a relatively short period in history when 16bit recording was a thing, during the era of DAT recording? (although, right at the end of the DAT era then a few could do 24bit to DAT tapes) Even the original Zaxcom Deva could record 24bit. Heck, the Nagra D could do 24bit! (released in 1992! well, 20bit, but later updated to 24bit) https://www.nagraaudio.com/product/nagra-d-and-dii/ https://www.stereophile.com/hirezplayers/461/index.html https://www.nagraaudio.com/wp-content/uploads/2019/03/NAGRA_DII1.pdf http://www.stardustfilm.com/Articles/Gangs Of New York.htm Photos of the Nagra D : https://www.therookies.co/entries/17133

Soooo... what you're saying is that a 100% video camera such as the FX30 could find a role in your kit that would make sense? Brings me back to the question of.... why not a FX6? I think if it was me I'd get: a7Rmk5, a7mk4 (or a6600), FX6, FX30. But I wouldn't be mad enough to try and do both at a wedding. Instead it would be, stills shoot: a7Rmk5 + a7mk4 (FX30 emergency back up). Filming day: FX6 and FX30 (a7Rmk5 backup). But if I was trying to do both , I'd still take a similar approach, just I'd be context switching physically and mentally once per hour or so. Spend a while roaming with the FX6 with the a6600 on my hip should I spot a few photos I wish to grab. Then switch over to the a7Rmk5 for a while, focusing on photos, but with the FX30 on my hip should I wish to grab some video here or there.

Fingers crossed for all of these (or at least a few of it): Varicam series update (not this please: https://ymcinema.com/2022/10/21/panasonic-announces-5-7k-super-35-cinematic-studio-camera/ ) and/or a real price price discount on the Varicam LT (not this nonsense: https://ymcinema.com/2022/10/25/panasonic-offers-massive-savings-on-varicam-lt-but-to-higher-price/ ) Panasonic EVA2 with L Mount (won't be MFT sadly, that's dreaming) Another Panasonic S series update (it's been a while... give us either a S1 mk2, or something similar) Panasonic G85 mk2 (no, neither the G100 or G90 was that!!), because the Panasonic MFT was famous for fantastic filming cameras at very low prices. But I feel with the upwards price creep of the GH series then Panasonic is losing that. And the lower priced Panasonic G85 is so very old, it is losing its relevance in late 2022.