IronFilm

Which will then push down UMP G1 prices 😉 Which will then push down UM4.6K prices! Yay, finally I can afford one. So yes, everyone please go buy a UMP 12K ASAP!

For now! But next month there is the BMPCC12K Disagree. We can check back in 5yrs time and see how much that URSA Mini 12K is worth. Hopefully a greater percentage than an AJA Cion or BMD Production Camera 4K was after 5yrs. Same! Although still, kinda curious that they went after 12K and gave FF a skip. It is a "bargain" in the sense that mainstream 12K cinema cameras do not exist. RED's 8K had been the biggest "mainstream" we had before. That's impressively good. Especially for 8K.

HA! Very true. But then again, maybe that was not the main source as to where they put out the video?? Here is another one, only 64 views: https://vimeo.com/71493770 Makes me think that Olympus were not promoting a vimeo video at all, seems too long for a TV advert though? Maybe was a clip on their website hosted by themselves. Surprising it isn't on YT.

Seems logical enough? Ha! As "$2K for 2K" has passed long ago, and ditto "$4K for 4K" has long ago been done too. Next up, $20K for 24K???

Oh, good point, sorry, did skim read your post too fast before replying! But still, my initial answer before is still relevant.... maybe? As I do wonder if Zaxcom might hold a patent related to this, but I don't recall this ever being mentioned as a specific feature that Zaxcom blocks from happening. And I've in the past browsed through the patents Zaxcom holds, and I don't recall seeing something like this. However, Zaxcom is the only company to make a recorder (the Zaxcom Nova) with receivers integrated inside it. I wouldn't be shocked if they hold a patent for it. Other companies have done tight recorder/receiver integration, but they're still kept external to each other. Such as a Sound Devices 833 / SL-2 (that's what I'll get one day for my 833!) or a Sound Devices 688 / SL-6. That's a very good use case, especially as so many entry level mirrorless/DSLRs lack a headphone jack (or even a mic input in the first place!). I've asked in the Deity Usergroup as to if this is a feature, and if not, could it be included in a firmware update. Have got a Deity BP-TRX on its way to me, I'll let you know.

Technically they're not patent trolls, because Zaxcom is a real and significant business in operation in this industry. (Zaxcom is #2 in pro field recorders after Sound Devices, and Zaxcom is #2 in pro wireless after Lectrosonics) Yes, Zaxcom is "not a patent troll" in the same logic that RED is also not one. Zaxcom is the RED of the Sound Department. Depends on your perspective as to if that is the biggest complement, or the biggest slur.

That's very weird phrasing you're using. And tricky to even understand what exactly you're saying. But I'm guessing: A Cam DoP is operating 1st AC - A Cam 2nd AC - A Cam B Cam B Cam Op 1st AC - B Cam 2nd AC - B Cam Now that seems normal enough to me.

When is the BMPCC12K going to drop?

Duclos sells lenses with the lens coatings intentionally removed: https://thecinelens.com/2013/02/26/duclos-lenses-introduces-rokinon•raw-primes/

Even better would be to pick up a couple of Tentacle Sync E, one for each of your recorder (unnecessary though if you have a Zoom F Series, or better) and your camera. Yes. Also the Tascam DR10CS is worth a look at too if you're outside of the USA.

Get a looong top handle, and side mount the shotgun (something like the Deity V-Mic D3 Pro, right?) so that you can still tilt the monitor forward. Make sure the mic has a decent shockmount.

Yes!!!! A repeat of the famous original Pocket sales, a Pocket for sub $500 again please. That's how I purchased my OG BMPCC, definitely would get the Pocket 4K if it was priced like that again.

Ohhhhh.... tell me more about the timecode syncing with GPS time?? This might be then a perfect match with this: https://www.newsshooter.com/2020/06/26/dish-tc-pro-universal-timecode/

That is exactly the point Thom Hogan makes over and over again! Where are the DX primes, where are the DX pro zooms? Aside from the 35mm f1.8 and 17-55mm f/2.8 (& I guess the Nikon 16-80mm f/2.8-4), the Nikon was very lacking in having any lenses to pair with the D500/D300/D7x00 cameras. Thank goodness Tokina and Sigma filled in the gaps with their 11-20 + 18-35 + 50-100/50-150 lenses.

Zaxcom lawyers say NOOOOOOOOOOOOOOOO!

Of course you could have the option to do moderate gentle crops in to use native MFT lenses. And the reason for MFT is because it is actually doable! While an active Sony E Mount has no chance in hell (I honestly think a Nikon Z Mount from BMD is more likely than E Mount).

Useful video about setting up the F3 if you're new to the camera and external recording.

Or even Micro Cinema Camera 6K with a MFT Mount! They could squeeze it in there, just like JVC did.

@Andrew ReidWhat did you study at Uni? Do you still do commercial work now, or plan to? (also, what type of commercial work? That's an extremely broad area)

Saw a Sony FX9 in the wild on a shoot for the first time:

They "could", but they haven't. Filmmaking itself is inherently political. Hypothetically speaking, put your imaginary producer hat on for a moment: Imagine two otherwise identical DoPs you're considering hiring, you're reading though their gear list... one has Schneider lenses, the other has SLR Magic / Meike lenses. Which are you going to lean towards hiring? (all else assumed equal) Thus my point, if you're in the position to buy a low/mid end set of cinema lenses then it is quite compelling to go for these Schneider lenses over SLR Magic / Meike / etc

Perhaps. However Schneider has a massively better reputation / longer history than any of those other brands. I mean, Schneider has won a technical Oscar after all their lenses! A win that none of those other brands are even close to ever claiming.

Panasonic seems to be making steady progress (but too slow progress for some) with improving AF, as the latest firmware for the G9/GH5 shows. I reckon if Panasonic really focused (ha!) on nailing down the best performance they can for the sub 2m range of focusing (how about if there was an option to set the max focus distance during AF? That would fix the error of how sometimes AF snaps to the background instead of yourself) this would at least make happy 90% of the YouTubers / social influencers / reviewers, and do wonders to help marketing the push for the new GH6 (a pity it is too late and they missed the boat with the G100). So true, and often people obsessively focus on a system's "weakest link" (ignoring the overall big picture), and AF seems to be Panasonic's "weakest link" so any improvement at all here will for many people lift in their eyes their opinion of the entire system. No point even bringing out crazy 16K 60fps (won't happen! But just saying) if people stay obsessively focused on your "weakest link" in all the reviews.

It is not a bad idea to recommend going out and shooting more with the BMPCC4K, perhaps @boukmanmutt can fall in love again with the BMPCC4K? If so, then would it be such a crazy idea to own *two* cameras?? Could then pick up a compact GX850 for just a hundred bucks (or at least, sub $200) to handle the stills needs. (and a little bit of casual shooting too) And the lenses can easily be shared between both the P4K and the Panasonic.

Panasonic doesn't necessarily have to leap ahead of the competition, like they did with the GH4 & GH5. If Panasonic can simply broadly meet the challenge of the R5/a7Smk3 (so doesn't necessarily have to have 8K, but say give us 6K to appease the "K obsessed fanatics", better slow motion of 4K 160fps with lots of trigger record options, and work with Atomos for ProResRAW. All of these easily achievable even with their current GH5 sensor! Doesn't need a radical leap forward by Panasonic), then Panasonic can have a hit on their hands even against the tough 2020/2021 competition so long as they keep the GH6 priced sub $2K. (ideally I'd say they should even price it a little lower than simply $1995, say $1.8K so that it is closer in price to the Fuji X-T4) As many of us would happily take an epic Panasonic GH6 for sub $2K vs a $4K Canon/Sony Plus remember there are great things in the GH5/GH5S (and thus the GH6) that I bet not even all the new Sony/Canons will match: Timecode, full size HDMI, waveform monitoring, DMW-XLR1, compactness, anamorphic features, excellent IBIS, etc Not giving up in believing in Panasonic yet!