IronFilm

That is another big reason why companies get patents, so they can hopefully get the "mutually assured destruction" defense against any patent attacks from their competitors. Because they know if they attack, they'll get attacked right back themselves, and their vampire lawyers would destroy them both if they were to launch court cases at each other back and forth. Thus, peace is instead preferable.

I thought this was an insightful look into what one of the YouTubers I follow earns: https://www.cnbc.com/2019/11/21/how-graham-stephan-lives-in-los-angeles-on-1point6-million-a-year.html

That camera shoot out was one of the factors which pushed me towards buying the Panasonic GH1 (because I was too broke as a film school student to buy the new GH2). Is that the Tokina? Interesting, I hadn't heard of it before, the 60-120mm focal range is an unusual one for a f2.8 zoom! http://www.rokkorfiles.com/60-120mm.htm It is a pity that the flagship GH series no longer costs $700, instead it was released at 3x that price! Yes, please spend more on audio than on new camera bodies 😉

It is not unheard of for guys on bicycles to be carrying around a check for tens or even hundreds of thousands of dollars / pounds (or heck, even millions!). That's the beauty of modern day money, it can be practically weightless!

Bit different topic to Wisycom, but still stay relevant to the general topic of "professional wireless" so thought I'd post it here rather than making a new thread. As WOW! This seems like an unprecedented move for two wireless companies to collaborate, each using their own strengths to bring us something great. This is it. Like Microsoft entering in after years of Sega, Nintendo, and Sony going at it. https://www.sportsvideo.org/2020/05/12/shure-and-q5x-join-forces-for-a-wireless-transmitter-that-goes-anywhere/

I personally would be extremely skeptical about them being able to consistently get 100ft indoors, what if there is a wall or two between the actor and the receiver? What if there are multiple actors/extras between the TX and RX? What about other RF pollution on set from the camera/lighting departments?

Can you post a sample please?

What are you shooting? Just a simple straight to camera talking head, a single person? With switching to say a 2nd camera angle and an overhead product shot? If it is ok to have a mic in frame, then use the NT1 into the P4K (if it is cleaner than the ATEM? Which sounds like is maybe the case? You'll have to test). Next best option is the Rode VideoMic Pro+ just an half inch above the edge of frame (if your shot is too wide, you might be able to cut out the mic even though you're live streaming?). Otherwise, if your shot is wiiiiiiiiide (and the mic can't be removed out of shot) and/or your speaker sways around too much in his set rather than being still, use the lav.

It's ok, I won't kill you :-) As how/why you'll use anything is an important question to ask. Back in my first comment I said: "(although this would be sufficient for some purposes, such as vloggers who are never more than an arm length's away from their cameras)" Yes, even Rode Wireless GO etc have their place!

Don't think I've ever recently seen a product for the sound department get leaked so much before the manufacturer even says anything officially about it, there has been lots of chatter already about the Wisycom MCR54 on social media! As this a major new announcement, the first time ever that four channels of wireless has been squeezed into a SuperSlot receiver. (true diversity too, that's eight receiver boards crammed into there!! And all that only uses at max 2.5W) The pricing is cheaper than expected: https://www.raycom.co.uk/product/wisycom-mcr54-four-channel-slot-in-receiver/ £2,880.00 inc VAT (£2,400.00 exc VAT) Maaaybe this means it will come in just slightly under US$3K in the USA? https://www.raycom.co.uk/product/wisycom-mcr54-quad-4-channel-rx-with-4-x-tx-and-base/ £6,360.00 inc VAT (£5,300.00 exc VAT) for a kit.

The D5200 isn't that bad for making pretty pictures, the D5200 (and successors) would be one of the best 1080 Super35 DSLRs? (note my precise specifics... narrowing the niche down) Andrew Reid has spoken about the D5200 a few times, was a big factor as to why I purchased one myself: https://www.eoshd.com/review/nikon-d5200-review/ https://www.eoshd.com/news/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ https://www.eoshd.com/news/nikon-d5200-vs-canon-5d-mark-iii/ Tell them to clap twice at the start of each take. Then autosync by waveforms in post. They're bad. They're both underpowered anaemic 2.4GHz systems. (although this would be sufficient for some purposes, such as vloggers who are never more than an arm length's away from their cameras) And that's just for starters, the Wireless GO for instance lacks a locking connector for the lav! A major negative. It is all relative though, compared to the new prices for the usual run of the mill professional wireless in usage then the prosumer Sony wireless is a screaming good deal at a mere fraction of their price.

It doesn't just have a TC input, it has a TC output too! (unlike many other cameras which have a toggle switch for in/out, and one BNC connector is shared for all TC) Has Genlock too!

The one that is closest to the speaker's mouth

I wouldn't settle for anything less than a secondhand Sony UWP-D11 (or a Sennheiser G3, which is the same price pretty much secondhand, although in my opinion Sony is superior). There is also their newer models: Sony UWP-D21 and Sennheiser G4 (although, in my opinion the G4 isn't worth the extra value over the older cheaper G3 because the G4 isn't an update of note at all for their entry level). There is also the Deity Connect Wireless to consider, which provides better value on a per channel basis. From memory, didn't the D5200 have a somewhat hissy mic preamp? You might want to pick up a Tascam DR60Dmk2 as well. (or even better, a MixPre3mk2 if you can)

They've got a few other things going on than just DSLRs: https://www.nikon.com/about/corporate/businesses/

Although, I can't really comment much about the F3 vs FS700 from first hand experience as the one time I was DoP with a FS700 that was many years ago! (6 years ago?)

Yes I remember it dipping down low! Was mildly flirting with the temptation of getting with a 2nd BMPCC if it went any lower. Don't understand the rise in BMPCC prices, any theories?? Ditto the Sony PMW-F3, last year I noticed that it was common to see them selling for sub $600 with a couple even for sub $500!! Had decided next time I saw a sub $500 F3 camera I'd go for it to get myself a 2nd F3. But since then? Average prices seems seem to have come back up again for the F3. Currently the cheapest F3 on eBay are priced: $600, $700, $800, $850 (and from there it just getting more and more expensive, someone even has an F3 listed for $12K!!). Personally I find it hard to justify a barebones Sony F3 for $800 when now a FS700 costs a similar price (and an FS5 are sub $2K! But heck, I'm even more excited to see that FS7 bodies are now going for sub $3K, that tempts me to job back into being a camera op but would be dumb to spend $3K in this current economic environment).

Do you know why your nephew swapped from the a7Smk2 to a GH5 for real estate?

I imagine with where they're shooting that getting 100 extras is much much cheaper than doing this locally where I (or you) live. Ditto burning down that house, it's just a shack, would've been cheap. One of my favorites!

The main benefit of the stack in the future, will be once the next generation sensor is released in say another couple of years, then if it is compatible with this stack then all the years of software development and improvements for this camera system can be immediately ported over to the new camera with almost no trouble whatsoever.

Congratulations! All those years ago when I purchased my brand new BMPCC for US$500, I would have bet that by mid 2020 we could possibly buy a secondhand BMPCC for a couple of hundred bucks or less! But no, it took a long time before you could easily get a secondhand BMPCC for cheaper than what I paid for my new BMPCC! Took the release of the Pocket 4K to really give the prices a good shove down, but even that wasn't enough. Look at eBay currently: https://www.ebay.com/sch/625/i.html?_fsrp=1&LH_PrefLoc=2&_sop=15&_sacat=625&_nkw=pocket+blackmagic&_from=R40&rt=nc&LH_TitleDesc=0&LH_ItemCondition=1500|2000|2500|3000|7000|10 Only three pockets are listed for sub $500! And not by much, with the way bidding is going I expect they'll sell for more. Has my OG BMPCC held on to its value better than any other camera I've ever got??

Definitely there are lots of people would like it that way! (I too think I'd lean to preferring that) But the complaints from people do not like this approach would be huge. Many want to just to be able to pop in a card and a lens on the camera then be able to go with it! Thus my point, either which way Blackmagic went, they'd be damned for it. From a commercial perspective, they probably made the right choice? I bet the OG Pock sold many many many times more cameras than the Micro Cinema Camera sold.

They way I see it is Blackmagic had two main options for when making a "very small cinema camera": 1) the design they went with, with a big screen on the back 2) a Z Cam E2 / RED / ARRI Mini / boxy design Which is right, which is wrong? You'll get defenders of both sides, depends on your preferences.

My personal favorites (limited to those I've worked with / shot with): Best: I'd like to put the Panasonic EVA1 as #1, as it is a small compact cinema body at a reasonable moderate price, with all the I/O & features you'd expect. It is lightweight without feeling flimsy. (one reviewer joked "Maybe Panasonic fills the bodies with helium?") However the EF mount is just too much of a negative in my eyes, wish they'd offered a MFT version. So I'm giving the #1 spot to FS5/FS7mk2 instead (would put the FX9 here too if I could? But I've got no experience with it whatsoever. Kinda would like to give a shout out to the AMIRA too, but it is just so damn bulky/heavy) Best hybrid stills cameras: Panasonic GH5/G9 (wish I could include S1H/S1 here too, but I've never used them) and Nikon D500 (bit of a stretch though to call it a "hybrid"? Being perhaps the most stills focused of all the cameras in this thread)

That is a very good example, we were so sure the Nikon DL series was coming! It seemed it would be awesome The specs were released, and images of them, etc etc Then.... nothing, and it got cancelled. Arrrghhhh 😞 So don't ever count on a camera, until you're able to buy it immediately and have it in your hand!