IronFilm

Just realized I forgot one person! The person who was doing the BTS stills (she was the fiancé of one of the two actors). I just uploaded a few BTS photos from that shoot: https://www.instagram.com/p/CdIZm-Vv88N/?utm_source=ig_web_copy_link

Am certain there are more than 10 people on this forum who have worked at "the level" of a NZ$100K (or even $500K) indie movie!

Yeah, doing those big sweeping gimbal shots that run for ages and ages are a lot more work for EVERYONE. Art Dept, Director, Actors, Camera Dept, Sound Dept, etc etc I did late last year a very low low budget feature film (dunno about the budget, but I'd take a wild wild guess that it is probably to likely be sub $100K, but with all the favors pulled in we were "operating at" more like the $500K-ish level? Which is still ultra low budget level for a feature film). Bulk of it was shot on either a tripod or a dana dolly. (as a dana dolly gives you that movement in the scene, but also still allowing you a lot more fine control over the camera movement than anything else would. Well, anything else that is affordable that is!) A fair bit was shot handheld / easyrig as well. Oh and of course sometimes a high hat / sandbag / saddlebag. But perhaps a couple of times a week we'd get in a Steadicam Op, for particular scenes/days when camera movement made a lot of sense for the story. We also had at least three days of car shoots, of which two of those days were done with the car on lowrider being towed by a truck (with Director / AD / AC / Grip / DoP all in the back, in the truck bed. With myself, with my mixer & monitor, and the truck driver in the cab itself). Never used a crane. Never used a gimbal. Never used a drone. (although I wouldn't be surprised if there is a splinter unit done sometime after we wrapped main production which goes out to get some drone footage. Or perhaps they just use a bit of stock footage? I dunno) 100% shot on an ARRI Mini btw. The average YouTuber with a big following is totally disconnected to the reality of how the professional world works on film sets / tv productions / reality shoots / TVCs / etc

Depends on how you define "better" and for what purpose? 1) for the purpose of the OMB videographer who wants something to slap under their mirrorless/DSLR camera? Is almost impossible to beat the MixPre3, that's their BEST choice. 2) for anybody with any aspirations whatsoever in the Sound Department? Then the Zoom F8 / F8n / F4 / F6 will all be vastly better than a Zoom MixPre 3 or 6

Nah, wasn't twenty people. It was a microsized (almost)no budget production. Had: Director DoP MakeUp/Costume (same person! She handled props & art dept too) 2x PA / LX Assist (one of them had a fair bit of film set experience, but he's primarily focused on acting/directing and isn't professional tech crew person. The other person it was their first time on set! Just a teenage kid, because he was the brother of one of the two actors) Sound Mixer (me!) As I said, an extremely small production. The smallest I've been on this year. (or the last couple of years for that matter, when it comes to narrative productions)

Am not that old yet, I could still do this on my bike! (although, with a LOT of getting off and walking as I carry the bike down....)

I think the job of "drone pilot" peaked a few years back. Now in most cases it is merely just another tool in the cameraman's toolbox.

https://www.bhphotovideo.com/c/product/1679650-REG/tascam_ca_xlr2d_c_xlr_mic_adapter_for.html Seems like a great product, but at US$500 then if only you could find the Sound Devices MixPre3 mk2 in stock, it would be a so much better choice, for "only" a few hundred dollars more. It is a pity Zoom never made a direct competitor to the MixPre3, an F Series quality record/mixer in the super thin sandwich format for slipping under a camera. The Zoom F6 misses the mark, being neither a perfect replacement for the Zoom F4, or a direct competitor to the MixPre3 for the DSLR/mirrorless OMB shooter. And the Zoom F3 doesn't quite hit the mark either, aiming for a different niche instead.

Still very common, and still good movies get made that way. I worked on a short film this week, 100% filmed with a RED Gemini on a tripod

(yeah, the MTBing is pretty cool too)

ha! Niiiiiiice pick, but sympathies extended to your weak willpower. I understand.

No interest whatsoever in the DSR5P for me, it's only dual channel Do see I linked to the wrong one, I meant this: https://www.lectrosonics.com/dsr4.html I want that sexy quad channel DSR4! US$4.5K each. https://www.gothamsound.com/product/dsr4-four-channel-digital-slot-receiver-pre-order-deposit As for coffee, I'm a 20c coffee man.

@newfoundmass, I feel similar, I spent less than normal in 2021 on audio gear. And in 2022 I'm going to try really hard to not do any major new expenses. Spend much much less than I did even in 2021. For instance the brand new Lectrosonics DSR4 that just got announced would be perfect with the Sound Devices SL2 to pair with my Sound Devices 833 mixer! https://www.lectrosonics.com/dsr-dsr5p.html Exceptionally tempted by it! But nope, won't touch it. Maybe get it in 2023 or 2024 instead.

I too once used that as well! Was my first ever audio recorder the H1

Anyway, to cover recorders up to the "mid budget" price point, you have, once you go past the price point of Zoom's offerings: Very low budget: 1) Sound Devices MixPre1 (the Gen2 version), basically it doesn't beat a Zoom F8n Pro even though it is a lot more expensive. At best it is "equivalent" to an F8n, but "different". So people might prefer that, just like some people prefer the flavor of hokey pokey icecream over chocolate icecream. Entry level professional: 1) Sound Devices 833, part of their 8 Series and basically the "633 mk2" (the 633 for years was the standard staple for many professional sound mixers, thanks to its affordable price and compact size) however with the tonnes of capability the 833 has it could for many people be all they ever need! (unlike the 633, which is totally unsuitable for mixing drama productions, especially back at launch of the 633) The 833 is out performing the former "high end" products from Sound Sound Devices (788T/688). 2) Zaxcom Nova, a bit like the F8n vs MixPre10 discussion, I wouldn't say the Nova is "better" than the 833, just "different". However to fully get all the benefits of the Nova you really must also buy into the Zaxcom wireless system as well, so don't get a Nova if you're not going to do that. Plus Zaxcom is very much like the "RED of the audio world", rather controversial with a lot of cons lurking under the surface. So while they're a strong choice, and very innovative, don't go in without your eyes being wide open. 3) Sonosax SX-R4+, while I think when the SX-R4+ was released it was probably "the best" in this niche, it was also the first of "the new generation" (i.e. Nova / Deva 24 / 8 Series / Cantar X3 / etc came afterwards), thus I think in 2022 it is much harder to make a strong case for the SX-R4+. Mid budget: 1) Sound Devices 888: this is basically the 833 but with DANTE! And an extra fader. And a few more outputs. And 4 more tracks. 2) Cantar Mini: if I could afford it, I'd get a Cantar Mini in a heart beat, no doubt about it. Many of the top pros in the drama world are switching over to Cantar as they've taken the leader in terms of capabilities / workflow / responsiveness to users / etc High end budget: 1) Sound Devices Scorpio: same as the 833 / 888, but with MORE!! More outputs, more inputs, more faders, more tracks. But fundamentally the same software/features as any other 8 Series. 2) Zaxcom Deva 24: it is a Zaxcom, enough said. (if you are not in the Zaxcom ecosystem, this probably isn't for you. If you are.... then this should be #1 at the top of your shopping list to consider) 3) Cantar X3: The King.

I still do approve of the F8 (or any of the F8 series). The Zoom F8 was a major major major game changer for the no budget / indie / student / aspiring Production Sound Mixer. Bring incredible features/ergonomics/features/specs at a mere fraction of the price of what they used to be. Just like the Canon 5D mk2 / Nikon D90 / Panasonic GH1 was for any of the DoPs / videographers / cameramen like that back at the dawn of the HDSLR Era. Am just very very disappointed that Zoom has dropped the ball, and that the F8 => F8n => F8n Pro progression only gave us extremely small improvements. Not bigger sized leaps such as say happened with the 5Dmk2 => 5Dmk3 => 5Dmk4 However, the competition is such that the Zoom F8n Pro is still the best that you can buy at that price point.

Also would add: https://brusfri.com/

Any "schedules" companies have had, got thrown out the window when covid hit (and kept on hitting, and hitting, and hitting).

In this day and age, anybody who is having serious issues with the Tascam DR10CS in 2022, I'd recommend they just ditch it in the bin, as we've got so many other affordable and great options. It isn't like back then years ago when the Tascam was the only option! Well, either that or: JuicedLink, bullied by Zaxcom to exit completely the industry. Zoom H1 zombie rig, horrible no-budget setup not suitable for the purpose. Zaxcom, which you have to pay through the nose for.

Looks like Nikon is gunning to retake back the throne as top dog of the DSLR/Mirrorless Cameras for filmmaking with. That is a killer list of features they're adding for the Z9 Firmware 2.0 Nikon is even bringing out a Remote Grip for shooting with! Having access to all those features at your fingertips will be super useful for people who are shooting with the camera mounted on their shoulder (such as you'd do with a Sony FS7/FX9, and the Nikon MC-N10 Remote Grip is kinda-ish like the FS7 removable grip) https://www.newsshooter.com/2022/04/14/nikon-mc-n10-remote-grip/ Now all we need is for Nikon to develop a Nikon F to Z adapter with an integrated eND filter!

Fair point, I guess the Mini "feels" bigger to me as I only ever see it rigged up!!

Plus a much smaller range of native RF Mount lenses vs FE Mount. Yes!

Probably not quite that small, perhaps C70/FX6 size we could dream of? Maybe Yup, still using V Locks!

Maaaaaybe once ARRI has released a handful of cameras with their new 4K S35 tech, they might release an extra mini camera with the "old" sensor, like the current Arri Mini but even smaller.

C70 probably is the biggest threat to the FX6 becoming "the next FS7 camera default" (for the low/mid market). Think the C300mk3 has a similar problem as the FX9: fails to come under that magical "$10K barrier". But it is those little things like a lack of SDI which I think will put a limit on just how widespread its appeal will be.