IronFilm

Ha! No, I think it might have just been the pressures and stress getting to me, of trying to shoot too many pages in too little time and the sunlight was going to rapidly disappear soon.

My camera isn't built up at the moment. But the principle is get the camera as far back on your shoulder as possible, most builds I see are far too front heavy. And I use arri rosettes as much as possible, as they firmly lock into place. Edit: Just found this picture of me from four years ago shooting a short film with the F3, this isn't how I'd rig it up today, but gives you at least a rough rough idea:

Use an external monitor/EVF, and shut the F3's monitor screen into its body. (but with the screen facing out! Not in)

And dealing with just one large battery at the end of the day is so much nicer than having to mess about with a dozen or more AA batteries.

Add up what I suggested, it still is cheaper than merely just what your camera body by itself cost! (let alone your entire camera kit) So in context, the price is very reasonably frugal and in proportion. (if anything... it's too cheap! And out of proportion in not being enough) Yup! Indeed, it's like that Although I say it is more accurately like someone asking "what sub $100 camera to get and you recommend a secondhand Panasonic G7 or even G6 with Chinese CCTV C Mount lenses". As I'm definitely not suggesting anything like a S1H!! And often there simply are no good sub $100 (or $200) cameras to recommend, thus if someone asks the best response is to tell them to up their budget or just keep on shooting with their cellphone, rather than wasting a hundred bucks on a disposable camera.

Been a few years since I've used Tascam DR60D so I can't remember exactly how long the AA batteries lasted me then, but all you needed to do is slap a USB powerbank on it and your worries are over. Although, it took a firmware update first: http://ironfilm.co.nz/firmware-update-for-tascam-dr-60d-mk1-fixes-recording-interruptions-when-running-on-external-usb-power-packs/ However, you don't need to do even that for the newer DR60Dmk2, works out of the box. For an ultra low budget talking head IVs, get this basic sound package: Oktava MK012 HC Deity S Mic 2 kit (get the kit, so you get the shockmount and wind protection for cheap too) C Stand & sandbag Boom Buddy Boom Pole (even an Alu pole would be fine, as you're never holding it. Although I'd usually always recommend a carbonfibre pole) Secondhand UWP-D11 / G3 Tascam DR60Dmk2 (but absolutely do stretch to a F4/F6/MixPre3 if you can) For when you're shooting handheld, keep it basic and just have a V-Mic D3 Pro on the camera.

You're happy to give up the IBIS of the G9 for the X-T3 instead, but how about if you did it the other way round, and gave up 10bit but kept IBIS? The Panasonic G85 would save you over 150 grams, and saves you money too. Or like @ac6000cw said, the GX80? Even lighter, but you give up the mic input and flip out screen of the G85

From my personal perspective, no. Go for the MixPre / F Series, the leap up from everything underneath it is so huge! Imagine if we live in a world where you could buy a Canon C300mk3 for only a five hundred extra bucks more than what the latest 5D cost, would anybody recommend a 5D for specifically filmmaking any longer? Nope! (well, except for some niche exceptions) That's what it is like in the audio world for filmmaking once the Zoom F Series was released! (and is why Sound Devices had to respond with their MixPre range) In a way the Zoom F8 was the "HDSLR Revolution" for us aspiring PSMs, just like the D90/5Dmk2/T2i/GH1 was. No point fussing around compromising with a "cheap" EX1 and a Letus35 adapter when you can get a 5Dmk2/GH1/etc cheap instead! But if I was absolutely 110% restricted to a sub $200 budget, then I'd get a Tascam DR60Dmk2. No, video recorders are not made with audio recording in mind. (with the exception of the Video Devices range of video recorders, but that's because they're a brand created by Sound Devices!!)

I don't think so. And if it does work, then you'd definitely need first a firmware update for the F4/F8/F8n to get the maximum out of it. (as heck, even at the moment the Zoom EXH-6 is pointless on the F8n! As it doesn't add any extra tracks to it, just replaces others. I was quite disappointed by this, oh well)

Yes most F3 specific accessories have ceased being made. And I wouldn't be surprised if back in the day the new price for the 3ality technica body armour was more than what a used F3 costs now! Yes, that's a common way to transport a cinema camera during a shoot, or on the AC's lap. Otherwise inside a really large camera bag. You might remove the monitor/EVF to make it easier to transport the camera, but otherwise leave it all rigged up as is.

Easily my favorite are the Remote Audio HN-7056 Nothing else gives you the same degree of passive isolation.

Am not sure about "ugly", but it definitely is... "unique" looking. Of course from my perspective it falls far short of the Zoom F Series. (even though it has a higher track count than even the F8n) But for many users they'll see this as "the best Zoom H Series ever". And it does have some unique features, such as: sound pads! ("The PODCAST App makes producing your podcast simple. With dedicated Sound Pads, use the touch screen to trigger sound effects, music beds and more. Choose from 13 high quality sounds or load your own via an SD card.") Also, I noticed it has a Noise Gate feature. Does this indicate the Zoom F Series might in the future get a firmware update for free which is a "low budget variant of the Sound Devices NoiseAssist plugin"?? I hope so.

Gee, where has the sense of humor gone around here...

DPAF simply can not feel the emotion of a scene to tell the story like a 1st AC can. A 1st AC has far more fine detail over control of the focus so he can express what the DoP/Director wants. I can not recall the last time I was on a shoot that used AF. Guess sometime last year, perhaps?? Think there was a small corporate shoot I recall the cameraman using AF. Yes, there are people that use AF a lot, but you can't deny there is a huge amount of work being done that never even thinks to use AF. As not even Canon DPAF is optimal. "Upstream Color" was referenced to illustrate how MFT can do ridiculous levels of shallow DoF. There is no level of DoF in Jaws that MFT couldn't do if you so wished. He could even be an Egyptian dentistry student. Or his grandfather? Thank you. I'm not hiding anything, I'm easy to find/stalk! Thank you :-) Although I am indeed "that audio guy"! haha But also, I think I'm a bit more than "just an audio guy", am probably the most camera nerdy soundie there is. And just to be clear, I carry no ill will or animosity towards you! (or anybody else on this forum) Hopefully you can see I'm just very robustly debating the topic/facts/opinions, and not attacking (or at least, I hope not!) the person themselves. liftgammagain is like jwsoundgroup, in that the vast vast majority of the active users there are full time professionals with years and years of experience behind them. (except, one is colorists, and the other is production sound mixers) Reckon that is why they have the tone each do in their forums. Not sure I'd agree with that, I'd say for your average joe run of the mill working crew member on a film set who is making a good living, then having excellent social skills ranks quite highly. And you should aspire to being as friendly/agreeable/sociable as possible, and not an anti social intolerable asshole. Because networking is key in this industry.

But how do you define "run & gun"? As I've pointed out many times in this thread, it is a very broad definition. Had today a shoot which I'd call "run and gun". As certainly our DoP (and me too!) as definitely RUNNING and "gunning" to try and keep up with the pace of the shooting. The crew was: DoP with a Sony VENICE (and a PL Zoom lens) 1st AC (with wireless FF, and his monitor stand) 2nd AC Gaffer Drone Op BTS stills Director Producer (perhaps someone else I was forgetting, did we have a PA or two? I dunno. The shoot went by fast, lots going on, and it was just a half day shoot) That could be called a "run and gun" shoot with a small crew, just a self funded passion project by the director. GH6 that I want: Built in ND (3 stage at least! Ideally eND). TC input. 4 channels of audio (TA3F with P48, 3.5mm stereo & mic/line switchable, internal mic) 4K 120fps 10bit internal 1080/2K 240fps 10bit internal 6K raw output Full size HDMI and DIN output (and let each output operate independently, one could be v-log, and the other could have a LUT on it for the clients. One could be clean, the other could have camera info overlayed on top) If the GH6 had all this for sub $2K it would dominate that market segment as top choice for the next cycle of camera releases for sure.

You've missed my point once again. At the moment MFT does and has offered tremendous value for money! And often getting tech / features / advancements before APS-C / FF / MF cameras do. However it doesn't matter if we're getting twice as much for our $2K MFT camera, if the relative performance per dollar gap between then and other larger sensor systems has decreased. (due to economies of scales that has remained for APS-C/FF, but disappeared from MFT due to a shrinking market) Or even worse, if the gap has not shrunk but reversed itself! Then MFT would really be doomed to a gloomy future.

I might be kinda half joking :-P And perhaps it is a GOOD THING if the prices of the old Sony PMW-F3 bodies rise up by a couple of hundred bucks due to increased demand, as it will then make it easier for me to resist the temptation of buying another one myself. (which I really don't need! After all I can borrow the local Panavision F3 whenever for next to nothing when I need a second body for multi cam shoots, as I've done before in the past) Bingo. You've figured me out. Indeed, I think he's one of the "good guys" on YT.

Noooooooooooooo..... I don't want him talking about it, that will push the price up on them!! :-o 　 Want to pick up a 2nd F3 myself one day 😉

Focal Reducers exist because want to use non-native glass with MFT cameras, which is part of the beauty of the MFT system! Its wonderful adaptability. You bring up not a negative about the MFT system, but a positive. That's like saying to you: "You don't own any Olympus gear, or even any MFT cameras, why are you in this thread?" I do own Olympus gear, and half a dozen MFT camera bodies! The Panasonic GH1 was the body which I started out my filmmaking career on which I did film school with. Of course why wouldn't I be interested in a thread about the future of MFT?? I like to think of it as a filmmakers forum. (although, perhaps you're closed to the truth!) If you need even more shallow DoF than the extreme used in Upstream Color, then yes, you're obsessed with super shallow DoF! And no wonder you hate upon MFT, just go buy yourself a Fujifilm GFX 100 instead. Indeed, and S16/16mm had been a standard for indie / doco / tv / premium news / music videos / etc for years. Clearly showing that "sensor size" is capable too. The MFT Mount embraces a range of sizes from S16 (BMPCC / BMMCC / E2G), to a little bigger (BMCC MFT), to 4/3", to very nearly S35/APS-C (P4K/GH2/E2/etc) to APS-C/S35 sized (JVC LS300). So? For film sets that's true for *ALL CAMERAS*. (unless you're a small minority who want to surrender to the machine and let Canon's DPAF do its guesswork, or something similar. And no, DPAF is not the same as having a professional 1st AC pulling focus) This is why you've got a 1st AC on all but the most micro of micro budget film sets. Last time I checked, 100% of A Cams of the Oscar winners didn't have IBIS. What's your point? That the P4K isn't right for you specifically? Of course, that's something only you can know and determine. But for countless other people the P4K is a fantastic camera! As I said in my comment which you replied to, that depends entirely on what is meant by "run and gun". This. x1000 Don't blame the entire camera ecosystem for the failings of a particular couple of cameramen/users. Bingo. (or even the GH1! Which was also ground breaking for its time, the first stills camera doing 1080 24p!)

Still would be a better experience manual focusing with the Olympus than the YI Xiaoyi 42.5mm F1.8! (which I had been considering beforehand as an even cheaper choice to get for a compact portrait lens) I see this mostly getting used for discrete BTS snapshots on films while I'm working, which it would be perfect for. Gives me more reach than any other MFT AF lens I own with that F Stop. (handy in the sometimes very dim / night conditions we work in, plus I'm using an old G6 body that could do with the help) Might use it for an occasional rare talking head YouTube video on my channel, as I've tried using my Sigma 60mm f2.8 as a longer option over the Panasonic 25mm f1.7, but 60mm is just "too much". (my lav cable can barely reach to the Panasonic G6 when I've got it that far set back with the 60mm on it!!) I miss my Panasonic GX1 that I lost while out partying years ago 😞 Tempted to buy another, but I think these days I could find a better bang for buck camera elsewhere. Like you said, those treasure trove of Olympus bodies in the years to come! Especially at the price I got mine! (NZ$160, or a hundred bucks USD) I shall add the Olympus 75mm 1.8 to my dream wishlist!

This is getting ridiculous, any very minor difference is of course due to practical realities of manufacturing / testing / measurement. And has nothing to do with the inherent properties of the sensor itself. You're displaying once again your basic lack of knowledge of optical physics, and while I studied that throughout my science degree, you don't need any thing but basic high school level of physics to understand this. It's very simple. Go back and read it again: https://www.yedlin.net/NerdyFilmTechStuff/MatchLensBlur.html And if that doesn't help, go back to High School: https://www.khanacademy.org/science/physics/geometric-optics Then move on to this: https://optics.byu.edu/textbook https://www.amazon.com/dp/0521642221 I'm deep into early pre-production of a feature film right now, and while an ARRI ALEXA will be the main A Cam (and probably B Cam? Or an URSA Mini Pro) the Panasonic GH5 is also top of our list right now to consider as an additional camera (which due to the nature of this horror film a quite large portion of the final footage would end up coming from the GH5).

The Panasonic can upload your videos without a PC: "The LUMIX G100 integrates both Bluetooth and Wi-Fi 2.4GHz (IEEE802.11b/g/n) connectivity for instant sharing. A dedicated upload button makes it quick and easy to transfer videos and photos to your smartphone ready for sharing on your favorite social networks" https://news.panasonic.co.uk/panasonic-announces-new-lumix-g100-camera-for-vlogging-and-creative-video/

2008 was a totally different world for cameras back then, it looked like, and they thought they were still in a growth phase. And if Olympus exits the game, so that the consequence is that demand for MFT sensors goes way down, then yes, the per cost of MFT sensors (relative to APS-C sensors for instance or FF, if perhaps not their absolute cost. Remember, it is all about competitive advantage! That matters far more than absolute cost) will go up. Lower production volume = higher cost per unit. This is a universal rule of thumb across manufacturing in almost all industries. When a sale of one half of the major players in MFT is discussed, then it is very natural to also touch upon discussing the most successful MFT camera there is. (who knows, maybe if Olympus had made their own "Olympus GH5" then they wouldn't be in the state right now?? I doubt it, but it would have helped)

It's because you completely 100% missed @noone's point, and tried to argue against him instead (even when you didn't even have an argument against him.... and you were kinda making his point instead). Smaller scales of economy = higher costs. It's a very simple rule.