IronFilm

When I saw the subject heading of "small chip" I assumed we were going to be discussing cellphone anamorphics! ("small sensor")

Remember, your real problem is the situation you're in. Gear alone won't solve anything, rather careful thinking and ingenuity is what is needed so as to make the best out of a very bad situation for audio.

Shoot more. Worry less. Remember, you've only used your current camera for 8 hours of shooting..... "Shoot more. Worry less. " would be a good mantra for you.

Maybe Panasonic will finally embrace the "mk2" style of naming, and call it the "G9 mk2"??

Am going to go against the grain here of what most in the forum think, and say that the two most important cameras for Nikon to release next are not the likes of a R5/S1H/a7Smk3/etc competitor, but instead: Nikon Z30 that is priced sub $400 (including a kit lens). Where is the rest of the specs of this dream "Nikon Z30" camera? The only spec about the Z30 that is important is that price, almost nothing else matters. Don't care if it is a 20 or a 28 megapixel sensor. Don't care if it has IBIS or not. Don't care if it even has a mic input or not. Don't even care if it has a flip out screen or an EVF or not. Shock horror, don't care at all if it has 4K or 120fps slow motion!! All the Nikon Z30 has to do is hit that sub $400 price point. Because the buyers of these cameras don't care about much else. And the harsh reality is cameras like the Canon T7/M6/M100/etc sell a lot! And any mount system which can get many many many new users into it, is going to be a healthy strong system into the long term. Nothing would make me happier about the Nikon Z system than to see a camera released which can match, or even undercut, Canon's low end pricing. Of course if Nikon can throw in even a couple of small extra specs as a cherry on top, like a mic input, 4K (even if it is D500/Z50 type 4K), and unlimited recording, then you'd get heaps and heaps of vloggers buying one for their studio camera, or 'hybrid weddingographers' (TM) buying one as their B / C Cams to use alongside their main Z6/D780 camera bodies. The most important lens the Z System to release next? That's a Z Mount version of their Nikon 35mm F1.8G DX, as that was a strongly compelling point in favor of Nikon DX over Canon EF-S. Because Canon completely lacked an affordable Normal FoV EF-S prime to start out with as your next starter lens purchase after your kit lens. (I'd argue Nikon's 2nd most important lens would be an affordable and compact 50mm f2 FF Z Mount, because their Nikon Z 50mm f/1.8 S Lens is huge in price, size, and quality. Some people want those first two to be really small, and don't mind compromising on the last point if that's what is required. An affordable compact 50mm would be welcomed by both Nikon Z6/Z7 owners looking for a small travel kit, and by newbie Z30 owners too) And the other camera which is important for Nikon to release for the Z System? Nikon Z50s, which is basically just a Z50 with IBIS and without the 4K crop the Z50 has. Nothing else is needed (although unlimited recording or 10bit output would be very welcome too, and a flip out screen instead of the silly flip down screen!). That would create the competitive "vlogging camera" that the Z50 (and G100!) was not. Not just the "vloggers", but the rest of us too, I think the Z50 surprised us that is largely was a D7500 in a mirorless body (awful crop + no IBIS) after the Z6 gave us no crop and IBIS. So just give us a Z50s with IBIS and without the crop!! That's all we want. (after all the likes of say an a6600 does that, yet lacks 10bit etc. At least Nikon be competitive against Sony's APS-C mirrorless, even if you're not beating the GH5/X-T4/etc of the world) Well at least no more is needed in a Z50s from our biased videographer perspective.... I think from a photographer's perspective the Z50s should be dual SD slot and other stuff that Nikon D7x00 (which is where the Z50 is priced at) users expected such as a Commander Mode from the internal Z50 flash that was missing.

Perhaps you're letting your personal history with a Z6 cloud your judgement of being objective with Nikon in general. This is like the Sony F35/F3 owners being pissed at Sony because of the drop in value/irrelevancy of their cameras, but that shouldn't be allowed to change the fact that the F35/F3 still are uniquely interesting and worthwhile cameras to check out even in 2020. Now that their price matches their value. Ditto myself with the Sound Devices 833 which I pre-ordered, definitely some of Sound Devices actions since then towards 833 owners I've been less than happy about to put it mildly. But all this stuff is in the past, and it would be unfair to be overly harshly judging their products currently priced in the market or their future products on what is now history. With how the Nikon Z6 is currently on eBay, I don't think there are any cheaper FF Mirrorless hybrids I'd choose over it. Canon EOS RP? Nope! Sony a7mk2? Nope! Sony a7mk3? Yeah ok, you could manage to find that one for just marginally less than a Z6 body. But would I pick it? Nope! Sigma FP? Again, only barely scrapes into the category of "cheaper than a Z6", however calling it a proper hybrid I feel is a real stretch. I'd say my point remains (at least from my perspective I'm looking from): "Don't think there are any cheaper FF Mirrorless hybrids on eBay I'd choose over a Nikon Z6. " Now of course we could perhaps look up, and stretch the budget, for around a couple of hundred more than a secondhand Z6 you could get a Panasonic S1. It is fairly close, but I'm still going to have to give the edge to the Z6. Now, if you got the SFU2 upgrade for the S1 to unlock 10bit, then hell yes, the Panasonic S1 steals the lead! But now you're talking about a $400 difference in price between what a Z6 currently goes for on eBay vs an upgraded Panasonic S1. Am afraid that does push them into two different price categories such that you can't quite fairly compare them head to head. Yes, exactly. Nikon Z6 was (half of) the first ever cameras for the new Nikon Z Mount system, before we rush to judge them, let them mature a little. It is a good thing Nikon is doing a quick refresh to respond to customer feedback, rather than letting them languish on a more typical four year cycle. And it will get really interesting in a couple more years time when they launch a proper 2nd Generation of Z Mount cameras.

Sounds like budget is very important to you, as you're quite tight with what you can spend, plus it seems you've got only a very limited kit (thus any spare money left over from buying the body would help out here). Thus I'd recommend you consider the Panasonic G9 (it has 4K 10bit too, like the GH5) or even the Panasonic G85! (only 8bit, but massively cheaper) The Fujifilm X-T3/X-T30/X-T200 are all worth a look too.

I don't have a broad enough overview of the industry to say which specific flavor would be most common (444? XQ?). Ask a DIT instead, or a 1st AC etc. And it also depends on what you mean by "high-end". (for instance I did the sound for a small series which was "merely" less than half a million dollars for their production budget, and they shoot in only ProRes 442, yes 422 not HQ, due to budget/space concerns) They might even pick and choose codecs depending on the scene. For instance do the bulk in ProRes HQ, but then switch to a higher codec for a scene which will have substantial VFX work.

Nikon Rumors is an extremely photography focused website, no surprise if they're light on the video spec details. Plus this is only the first ever leaked info about the Z6s, more info should be yet to come. Hopefully including the likes of internal N-Log / 10bit / etc! (and my own personal wishlist: TC input and waveforms!!) 1) I have slightly more faith in the future of Z Mount (which is backed by half of the historically dominant Canikon) than L Mount (which is supported by two super tiny niche camera body brands of Leica / Sigma, plus a small/midsized company which is Panasonic that has its interests split across at least two mounts already) 2) Nikon F mount lenses work far better on a Z6 than a S1 3) Z6 has the Z50 baby brother to share lenses with, the S1 doesn't. 4) the Z6 is cheaper secondhand than the S1 by a couple of hundred bucks (and much cheaper than an R6, will take a while until the R6 prices drift down really low onto the secondhand market seeing as how the R6 isn't even released yet)

As the odds of a "DVX300" with IBIS is low, wouldn't it be better for it to have the GH5S internals?

I agree, the huge delay did mean the Z6 squandered the majority of the lead it had over its competition. And least the good news is that the Nikon Z6s should have this enabled (and no need to be returned to the factory either!) from Day 1 of the camera launch. (and if it doesn't, that would be a major WTF!)

Think you're being too harsh on Nikon. Remember there was nothing else for sub $2K that was promising as much as the Nikon Z6 did at launch: FF 4K 10bit/raw output!! That was groundbreaking for its time in a hybrid. Nikon was the first. Of course since then the competition has moved forward themselves, such as the fantastic Panasonic S1H (but at a much higher price) or the Canon 1D X Mark III (at a waaaaaaaaaaay higher price. Or a GFX 100 for even waaaaaaaaaaaaaay more on top), plus also there are more cameras teasing us with the promise of what is just around the corner (the unreleased Sony a7Smk3 / Canon R6 / etc). But that is normal! Nobody stands still forever, and there is often this passing of the baton back and forth as to whoever is leading the race at a particular pin point in time. Although... when you think about the Nikon Z6 in terms of value for money, there still isn't a single other hybrid cameras that offers what the Z6 does (FF 4K raw output) for anywhere close to how little the Z6 costs! Maybe, when it comes to offering us enthusiasts affordable options, it is the likes of Sony/Panasonic/Canon who still need to play catch up with Nikon even now in 2020? All depends on what is important to the user. I agree, there is still a lot we'd all love to see in a Nikon Z series camera. (such as the 10bit/Anamorphic/6K/etc you mentioned, and others I'd add to that list like TC & Waveforms!) But let's not in the process forget what Nikon is doing right too. And if I was to buy a FF mirrorless camera today, it would be a close toss up between an S1 or a Z6 (probably go for the Z6, simply because I have greater faith in the Z Mount than L Mount, and because my Nikon lenses would work better on a Z6 than a S1)

Just go for the MARS one they've got in the likes of the GH5S/GH2 and give us full access to all the sensor size's potential.

Big Brother (and other similar reality productions) have: A purposely setup set for filming on (so it will hopefully be fairly quiet! Unlike when trying to get stealth recordings in open busy streets, yikes, that's noisy) All the talent wearing neck mics. Additional, they've likely put in a massive amount of work in carefully placing plant mics throughout the set. All of this isn't a possibility for @Amazeballs . Go for the Tascam DR10L (if you can't wait for the Tentacle Sync Track E), it is better than a phone with a lav because: Locking connector. Dual/safety level recordings. Better form factor. Especially for your purposes, either of those first two factors might come in super handy to save your ass. Thus my (almost) "no budget" recommendation for you, as the best of the worst options is this: Get a Tascam DR10L (or the Sync Track E if you can at all wait!), plus a 2nd DR10L (or Sync Track E) that you use as a "plant mic" that the interviewer carries with them. Ideas of where you could "plant" it: Inside a fake coffee cup? (as even if they're only holding the coffee cup a couple of feet away from their body, and closer to the subject, every inch counts!) The edge of a clipboard? (you could likely get the far side edge of the clipboard even closer than a coffee cup would) The point of an umbrella or the handle? If you can handle hiding the bulk, then a Tascam DR10X (or Deity HD-TX if you need P48) with a better mic than a lav would be an even better solution! This would require a lot of ingenuity on your part, coming up with a stealth way to hide this "plant mic" carried by the interviewer that is congruent with the style of the shoot. Every production is different. Likewise, you're going to need a skilled interviewer who is on their toes and committed to this as well. No point craftily hiding a mic built into a clipboard, only to have them be holding the clipboard hanging uselessly from their side. That would sound even worse from the subject than the interviewer's own lav!! Zoom's crappy add-ons should not influence your decision. And the screen doesn't matter 99% of the time, as the talent is wearing the bodypack. You'll change your mind about the benefits of timecode syncing when you're got hundreds of hours of footage across many days worth of recording to sync up manually. That's a recipe straight from hell. Sorry but I guess your ivory tower medical research bias is showing, in the real world this methodology for production can be surprisingly common. Especially on the likes of a documentary (and other forms of productions too, there are adverts made like this, or news comedy shows). Quite usual to have a field producer (or even just a PA) run after a person to get permission from them. (and of course, if you don't get permission, then you can't show them) They'll chase them down even in circumstances when it was extremely obvious you were filming them, such as when a cam op with a FS7 is in clear view nearby (or heck, the reporter is using a stick mic!). The reason is because you don't want to interrupt the natural flow by stopping the action to get signatures on release forms, you let it play out first and then you immediately follow up. There would have been countless adverts made for many different brands exactly like this. Asking what they prefer, then getting permission after filming. (although yes, there would be productions too which ask beforehand. Just depends on the agency/director/brief/etc as to what works best)

https://nikonrumors.com/2020/07/06/breaking-new-nikon-z6s-and-nikon-z7s-mirrorless-cameras-expected-later-this-year.aspx/ When even part of the Canikon duolopy has a cheap FF camera (the Nikon Z6s) with 4K 60fps, then Sony had better have it with the new a7Smk3! They can try to ignore the Panasonic with their S1 & 4K 60fps, but you can't ignore Nikon. You'd hope this also means the Sony a7mk4 will feel the need to have 4K 60fps in it as well. Likewise the GH5 will no longer be part of a small select group with 4K 60fps, the GH6 should for instance has 4K 120fps. (even if they were to stick with the same sensor for the GH6, the GH5 sensor is capable of it as we've seen with the Z Cam E2-M4 and 4K 160fps!)

What specifically makes you want to go back to a DSLR (just DSLRs, or do you include mirrorless too?) for shooting with? As this is kinda odd to want to go backwards to a DSLR (especially as you're not into photography). What exactly makes you "regret bitterly" that you bought the blackmagic? If you can nail down these answers, it would be easier to figure out what is the best cameras for you to consider.

No, you'd sync via timecode. Oh there are lots more available! From Zaxcom/AudioLtd/Lectrosonics/etc, but I'm going to take a wild guess than even secondhand these will be way way way outside @Amazeballs's budget. I agree this would be a great "no budget" solution for this to be using Tentacle Sync Track E recorders (if they were available! Meant to be shipping very "soon"), except @Amazeballs said he can only put a lav on one of the people, not both. (although the reasoning of this would be awesome if it was shared as to why...)

Congratulate them on making the first ever hybrid camera with a built in Timecode input! (the GH4 with its ugly YAGH doesn't count) This was the GH5S, although it wasn't implemented quite perfectly. (as the GH5S needs to constantly recheck the current TC input for every new file started, not just do it once then the user needing to manually redo it. As this been fixed yet via firmware?? Or was it strangely a hardware issue??) Hope the next GH6/S1mk2/G9mk2/etc also have timecode input support! (and done right too, not like the GH5S was at launch) Has Panasonic thought about working with companies like Timecode Systems Ltd or Tentacle Sync so that their cameras can have frame accurate timecode over bluetooth? Definitely many ultra-compact handheld shooters would appreciate having less AKS/cables on their camera. (and instead a Tentacle Sync E or a Timecode Systems UltraSync BLUE could be kept in their pocket) And on the topic of keeping things super small and compact, with a speedy setup, when will their mirrorless cameras get built in NDs? (at least 3 stages please! Or eND if possible) If their video focused bodies such as the GH5S/S1H had to drop their mechanical shutter so as to fit in NDs into the body, then most us would be perfectly fine with that compromise of no mechanical shutter. Also congratulate Panasonic on keeping the Panasonic DMW-XLR1 for the GH5 compatible as well with the GH5S/S1/S1R/S1H (the G9 didn't work with the DMW-XLR1 at launch, did a later firmware update fix that?). Ask Panasonic if they're planning on keeping the Panasonic DMW-XLR1 compatible with the future GH6/S1mk2/G9mk2/etc cameras as well? Lastly, the big question many of us want to know, is will Panasonic be releasing an EVA1 (or EVA2/EVA1mk2) with an L Mount or MFT Mount? Is sad that the Panasonic AF100 series was the last professional MFT video/cinema camera from Panasonic! This! Good questions. To give an example from the audio world, I was disappointingly saddened when Sound Devices had a change of tack with their product strategy, and started charging (very high!) prices for some firmware updates. Or when can we expect a "Varicam Mini"? (even if S35, that's fine) As the Varicam LT is still a beasty big beast! A Varicam in the form factor of an Arri Mini (or even smaller!) would be interesting, and help support the Varicam LT/S35 lineup as well. (yes there is the EVA1 which can arguably serve the role of a "Varicam Mini", but it's not quite the same thing)

Yes, I was recording on the Atomos Samurai (I've got two! For those few times when I shoot with 2x F3 cameras).

All companies exist to make a profit, be they big, medium or small sized. To not do so would be unsustainable, and result in every one of their employees losing their jobs. This would also result in all their creditors being screwed too. That's very irresponsible of the managing directors! (is why many countries, such as here in NZ, have it as a requirement in law for the company directors to look out for the shareholders' interests, and can be taken to court if they fail to do so) Yes, different companies take different strategies to achieve this goal. Sony is leveraging their brand and willing to sacrifice volume of sales in exchange for a higher valued product. While Sigma is going for cut price and sheer volume of sales they hope. Also you're not comparing apples with apples here, 12-24mm vs 14-24mm are two quite different lenses. Might seem like "only" 2mm difference, but 2mm at the very widest of wide ends is significant! That explains a large part of the price premium. Plus the Sony 12-24mm is not even shipping yet, let's wait and see for the reviews, perhaps its quality is deserving of the price.

Many many big budget productions are recording directly to ProRes

H266 offers some nice advantages, and has broad industry support with major companies backing it. We want see H266 used by many immediately overnight, or even within the next couple of years, but it likely will happen. I already watch quite a decent chunk of what I download in H265 Does H266 use middle out compression? https://youtu.be/uFYy3oEnzVg

Here you go, the film has a grand total of 8 views, go make it be 9! Forgot that Jackson was there for of the days! He's "Grip" in the credits, but that I feel is totally inaccurate. General lighting (holding a flecky) / camera assistant is more accurate.

That's because Sokani/Rode are cheap junk, you shouldn't have high expectations of them working well except in easy limited situations. That's because the other person is not wearing a lav....... easy solution here: put a lav on them! Or is there some reason they can't? Would help a lot of you explained specifically the details of what you're filming. The normal solution here when you can't put a lav on every single subject, is for the interviewer you refer to, to be using an Electro-Voice RE50 (or similar, and if they're skilled... a Sennheiser MD46! Just got one of these myself last week). But if you want this mic to be hidden from shot all the time and you can't use a lav on everyone?? (and of course you can't boom it either) Wellllllll....... your questions are starting to sound like if you asked a cameraman, "how can we shoot in total darkness while underwater??" You're not going to like the answers! As the answers will involve heavy compromises / lots of expenses / lots of setup time / inconvenient / constraining / ugly / all of the above & more!

Yes dvxuser is really good for F35/F3 info. (or the FS7, their work on getting the best look out of SGamut3.cine/SLog3 I think cancels out some of the "sony look" arguments against the FS7) I messaged the director for a link of that film we did, I can't even remember what the name of it was! Was a pretty basic no budget kind of shoot, think I even pressganged my GF into being the boom op for one day as we had no other crew aside from myself and the director for that shoot day. (although I had a friend who actually has some experience, do sound for the other day. Was partly because of her that inspired me into doing sound full time, sadly she is no longer working in film as she found the industry too tough) Yup, the days seem to never be long enough! One of the reasons productions try to shoot in summer if they can, no only do you get better weather, but you get longer days too. Yup! And if that sounds rough, try doing it for weeks on end for a feature or a series.