IronFilm

Photos in the first half, were a totally different vibe, I am guessing you set up different lighting for that? The video quality in the 2nd half was miles ahead of the 1st half! Good stuff

Why not their latest Rode Go with internal recording? Do consider instead the Zoom F2-BT (or Tentacle Track E), they're still very very affordable, but all round much much better designed as bodypack recorders. Plus they've both got timecode functionality, making it easier (extra safety net) to sync it up with your timecode capable Panasonic S1H.

And an ergonomic awkward disaster deal breaker for other people.

If you're happy to change lens mount to Canon RF, then why not include more camera options in your list than just two? Such as Panasonic S5? And if we're waiting on unannounced cameras, why not include the Panasonic GH6 as well.

Awwwwkward! Wonder what mics they had pointed at them? He should have realized even stuff whispered under his breath might be picked up. (even worse now, with today's technology to clean up noise from an audio recording)

Sound Devices is already doing that... with their Sound Devices MixPre series! (honestly prefer the Zoom F8n over their first gen MixPre series at launch, but they're better now the second gen with all the latest firmware additions. But you're still paying a substantial price premium)

I didn't notice that? But then I do run Adblock full time. As always, my recommendation for low budget sub $1K prosumer wireless, is Sony UWP-D21 (better than Sennheiser G4). And if a person wants to spend a little more, upgrade stock lav mic to a Deity or OST. (plus accessories)

Yes, very lazy/cheap work to not be using a lav with the transmitter.

Can you link to that? I thought from memory its SDI was much lower

Just this is a big reason why a friend was considering a UMP12K recently (from a FS7), but went for a Sony FX9 instead.

Very different placements, no proper review, poor quality field being compared against, plus who knows what audio post processing might have been subtly done in the background. (got to always be a little suspicious of manufacturer comparisons, vs independent ones)

https://www.sounddevices.com/sound-devices-joins-audiotonix-group/ WHOA! Big news for our niche in just the last 24hrs. First we get the Union Strike going ahead in USA. Now today the biggest player in professional audio recording, for filmmakers, gets sold. Big news indeed! Wonder what this means for the future? Maybe the extra muscle, with their increased buying power / bigger network, means they might be able to fix some of the supply issues covid has caused (which is why they had to stop production of the 833 and MixPre3)

95% sure it was a videographer doing the audio themselves.

If you look at the number of the camera releases year on year, it has been slowing right down for years now. This is the extension of the general trend. And of course covid has only made that even tougher for manufacturers.

That last sentence segment is key. Let's say each shoot has a small $1K profit margin. Assume there is only a marginal 10% improvement on extra future business from that client or their network (let's assume we're starting with a baseline 1:1 ratio, of each well done job leads to another) because you shoot with an ALEXA vs showing up on location with a "mirrorless toy". You do fifty shoots per year (thus making a modest $50K/yr profit for you to live on). If an ARRI Alexa Classic costs $5K, then even under these very modest assumptions, you'll break even on that investment after just one single year of shooting.

It is a fisheye lens though. Would rather go with this: https://www.bhphotovideo.com/c/product/1387950-REG/7artisans_photoelectric_7a12f28se_12mm_f2_8_aps_c_for.html Or this if you need it even wider: https://www.bhphotovideo.com/c/product/1399998-REG/venus_optics_ve928se_laowa_9mm_f_2_8_zero_d.html And ideally, a Z Cam E2-S6 over a Sony QX1, for an action / crash cam. If you want bigger than GoPro sensor size, in ultra compact form factor, then you've got the 1" sensor in the Sony RX0 (and there is a mk2 now too).

It is very common in the audio world (and has uses for lighting too). That's a good analogy. Eh. Cable rattle is a thing you should figure out and solve long before you've even finished your first year as a Boom Op. This shouldn't be a big day to day concern for yourself. There is no wireless technology in the lav mic itself. That's rather instead in the bodypack transmitter.

What was the problem at customs? I export a LOT from the USA to NZ, but I've never tried to do the reverse.

Do you know about EtherCON? Last year I started getting an EtherCON set up that was planned for a specific need I had (running long distance, between multiple sets, with multiple channels of audio, in both directions, while filming simultaneously, with rock solid reliability, all on the cheap) for a planned feature film project (sadly it never happened). Would be nice if both DANTE and AES moved into the prosumer world (for instance if the Zoom F8n mk2 had it, and the URSA Mini Pro G3), then with time it would move into the consumer world too. There are already some pro mics which are digital, they've been around for years and years. But the problem is the digital standards shift and change over time. Now way would I want to invest thousands of dollars, or even hundreds of dollars, into a digital mic. However, I could get an ancient vintage mic from the 1960's or 70's, and with the simplest of simple mods I can be up running in moments recording amazing audio with my standard analogue XLR audio recorder that everyone on the planet has. It is best to centrally record and manage all the audio recordings. The company doing digital wireless the best right now is Shure, with their range of Shure Axient Digital wireless products.

Nice! Guessing the original ARRI ALEXA Classic, or maaaaybe an ALEXA Plus? With a high speed license? What accessories, SxS cards, the EVF, etc?

Surprisingly, it isn't even the cheapest I've seen for an ARRI! But that is a good price for that one, with the accessories it is coming with.

If we think of the S1H as their version of the a7Smk3 And then the BS1H is their version of the FX3. That means an EVA2 L Mount would be their version of a FX6? With a Varicam LT mk2 in the future as well to compete against the FX9? One can only dream!

Wonder why they couldn't they have developed a positive lock mount? Like Sony has for E Mount for their cinema cameras. Or Z Cam has done for Micro Four Thirds. Unfortunate that the BS1H doesn’t have internal ND filters, is the one thing missing (well, and IBIS....) to tip me over to buying a BS1H/BGH1 vs a GH5S/S1H as my next Panasonic upgrade. Does the BS1H do full sensor height anamorphic? (does S1H?) Could there be a Panasonic EVA2 in the works with L Mount? (I always thought the EVA1 should've been MFT Mount! Back then, L Mount didn't exist though) Their eND doesn't have 0ND which is a massive oversight. Z Cam E2-S6 (which is the direct competitor to the Panasonic BS1H) doesn't have 4K 120fps. Yes, have to use the HDMI for the external recording, but at least the external recorder is always on the camera, and you're not doing a long cable run to it like you might with going to a client / director's monitor over SDI. One small silver lining is at least you don't need to worry about your AC accidentally frying anything, which would've been the case if they'd included full resolutions options over SDI. Beneficial for gimbal usage too, as many gimbal ops are adding a monitor anyway. Guess it has small benefits elsewhere too, like for a car rig, sure a few grams saved is no big deal, but even a few grams saved still means there are less forces being applied stressing the car rig setup. Ohhhhh..... where did you read this about Nikon?? Same price as the current street S1H , but lower than the original release RRP of the S1H. Bit like the GH5mk2, it got released at a lower price than the GH5 was released at, but same as the current street price. Means that I am sure we can see more price drops in the years to come, as it is starting out from a lower price point. For some people this is a HUGE deal. Especially as it will likely mean you'll get much lower latency than using HDMI. Massive application here on film sets. They'll pick a BS1H in a heart beat over an a7 / S1 / EOS R type camera. And they'll prefer to trust in the brand name of Panasonic vs a small newcomer such as Blackmagic or Kinefinity. In their eyes, the Sony FX3 might be the closest competitor to the BS1H.

Just read this: https://twitter.com/nokishita_c/status/14451386468860887 and darn, you beat me by a few hours to sharing it! Yes, I expect the BS1H will be to the S1H, as the BGH1 was to the GH5S. If it is priced at US$3.5K (as the tweet I shared hinted at), who'd want to ever buy a Z Cam E2-F6 for US$3995?? I wouldn't. I hope/beg it has internal NDs! But I expect to be disappointed.

I expect the inflated prices of cards will last as long as this current covid era lasts. As there a lot of factors which have caused the high prices, but a major major factor is that covid messed up supply chains around the world (leading to greater costs of manufacture and delivery, and lower supplies) and that lots of people have been stuck at home (thus more inclined to splurge out on home entertainment, such as a new gaming PC, rather than spending that same money on an overseas holiday instead). None of what I just mentioned will change completely until covid is behind us. People won't tomorrow suddenly shift their spending from buying gaming PCs to going on overseas holidays. Neither are these supply chain screw ups and manufacturing issues going to resolve themselves speedily. Now for your question, will this ease up within the next six months or not? I can't answer that, but I think this Star Trek meme sums it up best: