IronFilm

Ah yes, I see: I overlooked that.

Are you going to do any mods to it? Like for the gear rings (is bonkers that Sirui doesn't include this! As after all this almost exclusively intended for cinematic usage). Or the 2x oval adapters. I think where these lenses will really shine is in more artistic/stylistic usage, like on music videos where you will deliberately mess around to play to its strengths(flaws). Backlight everything!

And that's reflected in their price! Their MFT are nearly five times the price. And their FF are over 10x the price.

Funny timing! I was just having a discussion in the Sony CineAlta facebook group about the SRW900PL, I linked to this for a possible buyer.

Merry Christmas from the future! Am eagerly looking forward to 2021 & filmmaking.

Get the Panasonic 25mm f1.7, is dirt cheap, is substantially faster than your f2.8 zoom while not losing too much light vs a f1.2 and the savings could easily afford for you to get a Panasonic 42.5mm f1.7 as well!

4K 100fps is a super ambitious spec, why not 4K 60fps max?? Panasonic EVA1 is worth a look. Ticks all those other boxes. Ditto secondhand Sony FS7 or F5 (as I really don't think using Metabones is a big deal?!). The Sony F55 would even allow you to exceed that 4K 100fps "requirement" (however, you'd need the R7!!). Giving up SDI & NDs in the Z Cam is quite a significant sacrifice I feel.

Sadly that is true across the spectrum of various interests, for instance ramps/jwsound are not what they were in their heydays, because of Facebook groups instead. I do worry that a decade or two in the future, none of those Facebook groups will be anywhere near as searchable as eoshd/ramps/jwsound/dvxuser/etc are

@PannySVHS none of your guesses were right, but one was very close. I came so very very close to doing exactly that. But then I didn't. Got the original that came with the GH4, plus a pack of 4 third party batteries. Overkill? Yes. Doubt even an weekend long hiking trip could make me run out of batteries. Yeah those first two negatives I don't mind terribly, not when it is merely for my YouTube channel. (which has an embarrassingly lot of content merely filmed with just an iPad or cellphone!) Honestly much rather have the IBIS and AF of the G9 than the 10bit or low light performance. But the GH5/G9 vs GH4 savings means I could put that money into other more "sensible" (stupid?) purchases such as this "other 4K camera" I just got.

There is now a SIRUI 24mm F2.8 1.33X Anamorphic Lens coming soon! https://cf.sirui.com/lens/Anamorphic/sr24mm.html I'll see how 2021 goes for me in terms of camera work / finances in general. But perhaps I'll get this 24mm, then the 50mm, and then finally fill out the middle gap in lens set with the 35mm somewhat later on.

No, there's nothing complex here. You just attach to the X-T3 (once TC box & field recorder are synced together), check you haven't completely screwed up levels, then you're done. Nothing more needs to be done while you're shooting, you don't have to do anything else when you're turning on/off or doing battery swaps or whatever.

Turns out the Panasonic GH4 wasn't the only 4K camera I purchased this year.... will do another update once the new camera arrives from the USA.

I 100% agreed with you right up until to the last moment, as I'd still take a Zoom F6 over a MixPre3mk2 for the same price. (slightly more actually) Then again if you never need more than 3x channels, the edge might swing back to the MixPre3mk2 again. Eh? You can jam the MixPre Gen2 / Tentacle to each other. Then you attach a Tentacle to the X-T3, and leave it there for the entire shoot. Easy. Done. (then in post, use Tentacle's own software for AuxLTC, or a NLE with this already built in such as AVID or DaVinci Resolve)

You might need to wait a little while to see it on eBay, it helps to keep looking across all the right places (jwsound/reverb/facebook/bblist/etc) and not just in the one place. Yeah, I'm gutted they discontinued the F4 and didn't bring out a Zoom F4n. Somehow they think the Zoom F6 is the appropriate replacement, which is absolutely not true! You only need the one (per camera), because any professional (and even semi-professional these days) field recorder will hold timecode accurately by itself. No, you only "need" at minimum the one (per camera. And using a "cine camera" won't save you from the need of one timecode box per camera, that's still required). Although yes, keeping an additional spare as master is handy. (but far from essential for low budget indie filmmaking) And yes, I do think this is cheap even in the context of indie filmmaking, just look at how much is spent on lights / camera / lenses / tripod / etc etc

Doing secondhand vs new isn't a fair comparison. Secondhand Tentacle Sync could be found for as cheap as roughly US$100ish, perhaps $150 max. NTG1 is a weak choice The Canon Rebel DSLR of the audio world. Both mics and TC boxes are needed on a film shoot. And you can get away with just one Tentacle. (the Zoom F Series and MixPre Gen2 hold TC by themselves)

We can thank the Netflix gods for making 2020 the year which every cinema camera (even the entry level ones) got released with timecode functionality! Yup, and I'm a fan of the DR60D! (I momentarily had a DR60Dmk1 before I upgraded to a Sound Devices 552 fairly quickly, and the DR60Dmk2 is even a bit better than the mk1) I think at that price point, the Tascam DR60D is the best there is. (which is another reason why I'm so mad at Tascam for falling behind the times and not releasing anything in recent years!! As they've shown so much potential in the past) Yet even so, it is very hard to recommend strongly the Tascam DR60Dmk2, when for only a little bit more money you can get a Zoom F6/F4/F8 or Sound Devices MixPre3/6 which are going to be so so so so sooooo much better.

Yes, you could easily write both a AuxLTC and a scratch track if you were using a Tentacle Sync (yet another benefit of them). Otherwise, you'd need to create a custom cable (as I doubt the MixPre has this feature built in, but it would be a good feature request to send to Sound Devices!). And yes, it is advisable to do so as then the scratch track is your back up safety net for syncing. No, don't do this! They will drift apart. (cameras are universally hopeless at holding TC, with the rare exception of ARRI/Panavision sometimes, but even those I would rather not trust as they've proven to not always be perfect) Sadly the MixPre has no HDMI pass through (this is what the Tascam DR701D got right! Even if otherwise Tascam is quite irrelevant now in 2021, for goodness sake where are their modern day updates to their line up????). And sadly the Atomos Shinobi lacks an HDMI output (although, it might strip TC off if it did have one, you'd have to test that it doesn't). I don't know of any used mic that is cheaper than a used Tentacle Sync which I'd use as a primary boom. They're not even close in price, because that Tentacle is so cheap.

Yup, if you put the mic in the right place (at the right time) and kill any competing noise sources then you're most of the way to great sound! But that's often easier said than done. Is like saying "all you need to do is put the camera in the right place (at the right time) with the correct exposure across the scene and you've got great cinematography!" Aside from Panasonic's S1H and GH5S, there are zero hybrid mirrorless cameras which can accept timecode. The standard workaround hack is to drop the TC signal down from line level to mic level, and to write it to an audio track on the mirrorless camera. Then in post transform that into timecode for the files. Which once you've got this set up and done it before, is an easy workflow. But in your case you might have an even better option: an HDMI cord from your X-T3 to your MixPre3, then (assuming Fujifilm is sending out a record trigger that the MixPre3 can read) your MixPre will automatically start/stop with your X-T3 and already with the same timecode as is in the camera itself. From a recent historical context, the Tentacle Syncs are extremely small and extremely cheap compared to everything else that came before them! They were revolutionary game changers in their niche. And if you ever need your camera and field recorder to be disconnected from each other, then you must must must use a timecode box. Yes, "Update timecode from audio track" is exactly what you should do. Or use the supplied software that came with the Tentacle. (unfortunately Premiere is still stuck in the dark ages, even the dinosaur Avid has this feature)

If the light has no fans because the only fans are in the power brick, then that is a much better set up than everything self contained but having the noisy fans much closer to the talent.

Check out how the other side lives: https://socialbubble.so/

You could probably compromise a little and go a step down with say a Sirui tripod and an Aputure Amaran light and thus be able to afford both tripod and lights, rather than being forced to pick one or the other.

I will forever rant against Panasonic for the dumb decision of not making a Panasonic EVA1 MFT. Purchased a Sony FS7 the other day, and the EVA1 couldn't even be seriously considered because of its stupid EF Mount. Now I'm more likely to buy say an a6600 or a7mk3 in the future, than a GH5/GH6 just so that I can start sharing lenses with the FS7 This was a problem of Panasonic's own making. (and they could have delivery the Varicam LT with a MFT base mount too, like the Sony VENICE does. And ditto why was the Panasonic DVX200 never offered as a MFT option? The rot in the lack of partnership with the cinema vs consumer divisions has been going on for many years)

Sure, but there are also some people who absolutely love LOVE the sport of Triple Jump! (even though it looks totally absurd to you) Ditto trashy films.

Yes, but that wasn't the point I was making. It's a bit like laughing at an athlete because they didn't reach the olympics, that's a ridiculously high bar. Yup! Well so long as their investors made a profit, I'd call that a success. (although, doing a quick google suggests that was a bit iffy, perhaps not)