IronFilm

True, the C70 (plus others) limits greatly just how much a C200 mk2 could be crippled. Rather this is just a sign that the C300mk3 is on its way out, and a C300mk4 is coming next year??

So it is a C300 mk3 with a RF Mount? Sounds good! Better than the C200 mk1 was. But what will the cripple about the C200 mk2 so they can price it lower? Refuse to give us a middle codec again?

"reflecting" 🤣

well it would look the same as a 22mm FoV on FX Or the same as a 14.7mm lens on Super 35 / DX / APS-C

Definitely in the middle rather than in a corner, but all that matters far far less than having a quiet environment and getting the mic in close.

https://www.bhphotovideo.com/c/product/1634352-REG/ttartisan_a27b_21mm_f_1_5_lens_for.html https://www.bhphotovideo.com/c/product/1599218-REG/viltrox_pfu_rbmh_20mm_f1_8_asph_z_mount_pfu_rbmh_20mm_f_1_8.html Or get Nikon's own lens... for a fair bit more: https://www.bhphotovideo.com/c/product/1546136-REG/nikon_nikkor_z_20mm_f_1_8.html If you'd like a macro lens, and to adapt it from Nikon F: https://www.bhphotovideo.com/c/product/1307521-REG/mitakon_zhongyi_mtk20mf2ai_20mm_f_2_4_5x_super.html You could also consider adapting a rangefinder lens to your Z Mount: https://www.bhphotovideo.com/c/product/483740-REG/Voigtlander_BA211P_Color_Skopar_21mm_f_4_0_P.html https://www.bhphotovideo.com/c/product/1562299-REG/ttartisan_a03b_21mm_f_1_5_lens_for.html

The difference is huuuuuuuuuuuuuuuuge! When you're using an UWA then each millimeter can be quite substantial. Yeah, 13mm on DX is going to have the same FoV as 19.5mm on FX But if you put that 13mm on a FX camera (and, assuming you ignore / don't mind the vignetting effect, if perhaps it isn't too extreme with this particular lens) then it will have the FoV of a 13mm lens (because it is a 13mm lens!!), and will not behave like a 20mm lens. (not unless you choose to put the camera in DX mode)

Closer the better

@webrunner5 Wow! Is bonkers how dirt cheap the equipment from yesteryear has become.

I'd need to check, but couldn't with the Sony FX9 (that does four channel) you send a source to more than one track? Then set different gain levels. https://www.manua.ls/sony/pxw-fx9k/manual?p=95 Drop the bag in the corner / by the tripod? Monitor the audio with a Lectrosonics IFBlue, and use Deity TC1 for keeping everything in sync for an easy postproduction workflow.

A bunch of C Stands (maybe a couple of Combo Stands) and sandbags. together the frames and material from B&H. https://www.bhphotovideo.com/c/product/1174974-REG/westcott_1997_js_cine_4x8_floppy.html etc

Meh, as a crew person on a film I am very much a blue collar worker, just grinding out each day doing my job in service of the director's (and actors) vision. Not my own.

Perhaps. That's true to a certain point. If I say have hyper specialized to the point I'm only doing big budget international feature films which are coming to NZ (which isn't me, I'm very much a generalist "production sound" person), then I'll be certainly earning far more, but also I'll be more sensitive to any economic/political shocks which might happen that causes that source of work to be cut off. Much more so ever than a generalist wedding / corporate / generalist videographer would be, who'd have a diversified base of local work.

Sounds like you need to use cutters in the smaller/reflective rooms, so as to avoid the bounce.

I feel it is important to specialize. Be that was a Gaffer, or DoP, or Sound Mixer, or Grip, or whatever. We're on a camera forum, so of course we're going to obsess over the pros/cons of a P6K Pro vs a C70! Or the Sirui vs SLR Magic anamorphics. We're not going to be discussing on the merits of using Walmart's own brand of foundation vs using Maybelline's foundation. (but if you're a MUA, then yup, you think about that, and might use something different depending on if it is the Lead vs an Extra) This morning I spent a bit of time thinking about if I getting a Lectrosonics 200 series plug on transmitter is worth the cost savings vs a Lectro UH400A / HM ? (brief answer: if a UH200D? Yes, maybe. Anything else? Definitely not) But that type of minutiae level discussion about sound is not what I expect to see on EOSHD, that's what goes on over at JWSOUND instead. (well, except I couldn't find anything worthwhile over there discussing in the past the UH200D, as even for them that is too niche/old. Hoped to have better luck at R.A.M.P.S. but drew a blank there too) Each individual piece of minutiae obsession is unlikely to make any major impacts, but when you add up dozens of these 1% improvements, then add up every crew person also striving for these 1% gains (which hopefully they're all doing, as they're all specialists in their crafts striving to be the very best), then you're seeing some huge improvements overall for the film itself.

It is for family videos and travel, why on earth get a Canon 5D mk2 / mk3? Doesn't really seem compatible with your purposes. Get a Panasonic G9 (or heck, even a Fujfilm X-T30) and enjoy!

Unfortunately that can become a self-fulfilling prophecy.

Cameras such as the GH5/GH5S/Z6/G9/X-T3 can all be with luck easily found for sub US$1K Crazy to think that they're "old" cameras!

Maybe the wrong wording to use when discussing in a photography/video forum! 🤣

100%, the negative press is doing waaaaaaaaaaay more damage than their actual AF performance!

Not any longer! The G2 and Pro now have identical bodies, I think there is only a 36 gram difference? (the weight of the missing NDs)

Am sure BMD knows better than us if the P6K (non Pro) makes sense or not, as they've got all the sales data. They'll know how strong sales were for the P6K G1 was, if people were still frequently buying it because it was $500 cheaper (for some people that's a lot), even though P6K Pro was offering so much more (more than just NDs!). Whatever the P6K G1 was selling like, the G2 will only be selling even better.

That 10 stops of DR would be for photos, while for videos it would be less than that.

I don't recall ever having any other camera issues on that shoot. But of course there are tonnes of other reasons why the Director/1stAD will want to go again for a second (or 7th....) take.

Even for sports/wildlife, then the "old" Nikon D500 is still "the best" you can buy unless you want to spend literally four times as much (or more!). Although, the release of the Fujifilm X-H2S will shake that up once it is available. As it has a 15fps mechanical shutter with a deep buffer. (the Canon R7 will also shake it up even further, as although its buffer isn't as deep as the X-H2S, the R7 has enough for sports/wildlife. Impressive that the Nikon D500 has managed to hold onto the #1 crown all the way into mid 2022!!)