IronFilm

2012 was 4yrs after the first HDSLR was launched. So by then the concept of "DSLR filmmaking" was already firmly entrenched in the indie mindset. Imagine if the BMCC had launched well before the Nikon D90! Plus the BMCC EF was just the first generation of cheap cinema alternatives to HDSLRs. Currently the BMPCC / Z Cam E1 / Terra 4K are not the latest we have now, but they're still much more evolved than the BMCC EF was at launch and are cheaper and/or better than the BMCC EF was when announced. I think the path of indie/corporate/wedding filmmakers would have taken a very different route if we'd had access to what is currently the BMPCC / Z Cam E1 / Terra 4K (let alone the more advanced models we've got in 2020!) prior to even the Nikon D90 / Panasonic GH1 / Canon T2i / 5Dmk2 arriving.

Wedding videographers are not just underpaid for the work they do, but there is less demand for them too! For every wedding with a photographer, only some will have a wedding videographer too. Yet how many weddings with a videographer don't have a photographer? Practically none would ever dream of doing it the other way round!

I think the entire reason why people got into using Canon DSLRs (and Panasonic GH series, and Sony NEX, etc) for low budget filmmaking is because they were extremely affordable. Not because they could do stills too. If we'd had even just merely an OG BMPCC / Z Cam E1 / Terra 4K back in 2008/2009 then I expect very few people would have purchased the likes of a GH1/T2i/NEX-5/etc specifically to film with. Of course now we're spoiled with many more advancements: P6K / E2 series / Mavo / etc

Could use a price limit as the definition to be included or not? Instead of if it is or isn't a hybrid camera. Could even have two categories, such as: sub $5K (so would include the likes of a Z Cam E2-F6 alongside the Panasonic S1H) and sub $2K (E2 M4 vs P4K vs GH5 vs S1 vs Z6 etc)

Kinefinity does seem to be an outlier now, of course compared to the "big boys" (ARRI / RED / etc) then Kinefinity is priced very competitively! But against Blackmagic? (and now, Z Cam too) Then Kinefinity feels kinda "overpriced" In the past, I felt Kinefinity meshed in well "in between cycles" vs Blackmagic. In that they'd trade blows back and forth. Each time Blackmagic or Kinefinity released a camera, they'd seem to be offering a much more appealing option than the competition. Until the next round of cameras came out.... and they'd swap places again. Exactly. The multitude of options Z Cam offers is a good thing, you can choose whatever codec matches your needs best.

Go dual system! You could skip the cage, and just use your own phone as a screen. (or a cheap sub $200 monitor. Many people use an external monitor with their BMPCC4K anyway) They are going hard in making sure there are lots of accessories too!

I guess technically not completely 100% price drops across the board, E2C seems to be excluded and is remaining the same.

ha! Of course, I probably read it here on EOSHD: (quite likely I read it elsewhere too, others have also said they share the same sensor)

Just rating it differently I think? I'm pretty sure they're all using the "same" sensor (Sony IMX294), along with the Terra 4K too. Trying to dig up now where I read that.

E2 (and I presume E2 M4) is assumed to share the "same" sensor as in the GH5S and BMPCC4K

A few to add: Hasselblad H6D-100c Hasselblad H6D-400c Leica S (Typ 007) Olympus PEN E-PL9 Olympus PEN E-PL10 Yi Mi

Only because of the Pocket's price drop, if the Pocket6K hadn't had the price drop then they'd be the same price!

Z CAM E2-M4 @USD1,499 - Basically same as Z CAM E2 but without sync feature. - Exterior design same as Z CAM E2 Flagship Series. - Interchangeable MFT lens mount in standard package. - Optional interchangeable EF, PL and M mount. - Shipment will start first week of June. Z CAM E2 - the only model that supports multi-cam sync feature. - Price USD1,999 remains unchanged. Z CAM E2-S6 - Price changed from USD2,995 to USD2,499 Z CAM E2-F6 - Price changed from USD4,995 to USD3,999 All Z CAM E2 series will soon support direct RTMP, RTMPS and SRT live streaming, including but not limited to Facebook and YouTube, without going through a computer. With that price drop, I think the Z Cam E2 M4 is now more appealing than the BMPCC4K which is now only marginally cheaper.

https://www.androidauthority.com/sony-xperia-1-ii-price-release-date-1122281/ "Sony Xperia 1 II gets release date and absurdly high price" No thanks!

True, although 24-70 and 70-200 are very close to 3x! (and there are lenses which are basically kinda the equivalent, and do match that 3x zoom exactly: such as the newly announced Tokina 25-75mm, or the Tamron 70-210mm) Short zoom ranges are less of a problem for photographers, it isn't unusual to see a news/wedding/event photographer with two camera bodies slung from their body, each body with a different lens on it. Yet to see anybody running around carrying 2x EVA1/FS7/C300/whatever bodies at once! I went to go look up what dream "all purpose" zoom lens would I get instead of a Fujifilm GF 45-100mm f/4, but wow... I had to look up its price first! (so I'd pick a lens with a matching price) https://www.bhphotovideo.com/c/search?Ntt=45-100mm&N=0 For a brand new medium format lens, $2.3K is surprisingly "cheap"! :-o Wasn't expecting it to be that "affordable". (as that is the other problem with medium format, not only are their bodies expensive, but so is their glass! Body prices are coming down, wonder how long until digital medium format is cheap enough for Sigma or one of the chinese third parties to jump in and make 3rd Party AF medium format lenses on the cheap?) Guess that rules out me mentioning even the "cheap" Canon 18-80mm T4.4 instead as my desirable lens! Even the cheap Fujinon MK18-55mm T2.9 is a bit out of range. There is a dearth of choices of 3x+ cinema zooms cheaper than that Fujifilm GF lens! The DZOFilm DZO 20-70mm T2.9 I suppose.

For a zoom that isn't even 3x? Naaaahhhhh.... there will also be that "next combo" to lust over.

H265 is more taxing usually on the editing system

https://www.provideocoalition.com/tokina-introduces-all-new-25-75mm-t2-9-cinema-zoom/ A nice setup with the 11-20 / 25-75 / 50-135 all T2.9, you could shoot almost anything with this. It is a pity the 25-75 is "S35+", as I'd rather they dropped the "+" and made an 18-75 S35 lens. Would be nice to have that small overlap with the 11-20 instead of leaving a gap. Or have made the 25-75 have FF coverage.

And RED has been proven to often lie....

Sonosax is super niche, they're the 4th ranked player, even if they doubled their sales they wouldn't be making much of an impact on Sound Devices. What seems to be happening is a fair sized chunk of the market (let's call them the "633 / ENG Mixers") are going for Zaxcom Nova over the 833. While those at the higher end are leaking to the Aaton Cantar X3, rather than a Sound Devices Scorpio (I wonder if the Sound Devices CL-16 will reverse the trend?). Anyway, that's just the general gut feeling I get for the trend based on the chatter I see online from what people are using and are interested in. Hope so! But might be a long wait? Or it might not be. Let's see what happens with the Zoom F10

There are a few different post tools which people can do during the edit for noise reduction. The main two "industry standards" for years have been CEDAR and iZotope. (I've got a Cedar DNS-2 myself)

StudioFest is having a series "Demystified" where they're going to do a deep dive into the whole filmmaking process for a feature film, including such areas as financing/distribution/casting "name actors"/etc: And while on the topic of indie films, I reckon the new Unreal Engine 5 is going to be a game changer for Indie Films on a shoestring budget: https://www.provideocoalition.com/unreal-engine-5-photorealism-on-par-with-movie-cg-and-real-life/

His last update was "Part 6" from last year: Only a few are showing the behind the scenes though of the process getting up and running (Alex Proyas isn't a total random no name indie director, but has a track record behind him). Kinda wish he'd done more BTS YT videos!

Yes. I've got some mixed feelings about this. My Cedar DNS-2 might have just dropped in half with its resale value! Hmmm...... Of course. That still applies! Noise Reduction is never totally perfect, even in the examples Sound Devices gave you can hear issues with artifacts. Not right now. At US$600 (for its "introductory price" too!!) this is waaaaaaay overpriced. They're setting a record here in charging for a firmware update / plugin / whatchamacallit. (yes, even beating out Aaton by a nose) Which I feel is worthwhile highlighting, as it signals a radical change in business strategy by Sound Devices. (although, like I said, perhaps not a total surprise after all, as their MixPre series could've been a clue) As in the past you'd buy a recorder (such as say a Sound Devices 688) and over the years of its life cycle, Sound Devices would keep their product relevant and keep the sales up (and also build up a loyal fanbase of their existing customers, who thus serve as great marketing tool to promote the product) by releasing new cool updates / bonuses / accessories to it. Other companies would approach it with a different business strategy, for instance Tascam would go with the strategy of slashing the price of its products later on their life cycle. (look at how much cheaper the Tascam HS-P82 was at launch vs at the end when they discontinued it, or at the opposite extreme the Tascam DR60D at launch vs on sale) So it seems Sound Devices has shifted to a new strategy, in which they sell us hardware as the gateway drug to then keep on upselling us with new software purchases being offered. With hindsight, if I'd known that a Sound Devices 833 is buying into an ecosystem with a series of $600 paid firmware updates, then I'm not sure if an 833 would've made as much sense at all. Something to be aware of if anybody is considering buying into Sound Devices, it seems the Sound Devices of the future is no longer the Sound Devices of the past. As one other sound mixer said in response to this news: "I just feel like they've opened pandora's box. I'm disappointed" Where will it end, are we going to get charged for 32bits? Charged for ambisonics? Charged to unlock all the features with the new SL-2? Did we dodge a bullet that the EQ firmware update wasn't instead a paid plugin?? Etc etc etc.... heck, by the end of its 5 year life cycle are we going to have ended up spending more on firmware upgrades than on the recorder itself???? Yes, their other products don't have the raw power (3x FPGAs) to do this.

https://store.sounddevices.com/product/noiseassist/