IronFilm

$750 for an F3 isn't an exceptional price for an F3 in 2020, but then again you'd struggle to find one substantially cheaper either without a lot of patience / hunting. And the inclusion of the viewfinder, charger/battery, & Nikon-FZ mount adapter are nice bonuses which makes this overall package lean into "a good deal" territory. As for the lack of the RGB upgrade, you've still got 10bit 422 and I don't think 422 vs 444 has to be a deal breaker. Perhaps the biggest negative for you might be not having 1080 60fps output, which needs the RGB upgrade. (you also can't use LUTs for on-set video monitoring without that paid upgrade as another one of the small differences) The number of hours on a digital camera these days is fairly meaningless, other than being perhaps maaaybe a hint at how much usage the camera has got. (but I'd rather take a camera which has seen 5yrs of usage in a photo studio, never going outside, vs 5 harsh months documenting the Syrian Civil War!) None of this has yet answered the question "should you get this F3?" Because only you can answer that. Does 4K matter to you? Do you care about how big and bulky a camera is? etc etc etc etc, countless questions like this which don't really have a "right" or "wrong" answer so much as they're subjective personal preference questions. However, I feel that for most people an alternative camera choice like a Panasonic G9/GH5, Fujifilm X-T3/X-T4, Nikon Z6, BMPCC4K (as any of these could be a similar ish price as a F3 / recorder setup will be in total) will instead be better buy for them unless they really really want a Sony PMW-F3 and are committed to it.

ah ha, cheers for clarifying that! Seems FF 90fps is the highest VENICE can do with v5 now: https://***URL not allowed***/sony-venice-firmware-v50-hfr-modes/

"Non-cropped internal recording 4K video capture – up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265)" So technically not quite 120fps? 😉

I think, maybe: Sony CineAlta VENICE https://pro.sony/en_BI/press/venice-high-frame-rate-4k-120fps-mea Z Cam E2-F6 4096 x 1728p up to 120 fps https://www.bhphotovideo.com/c/product/1496581-REG/z_cam_e2_f6_professional_full_frame_6k.html/specs I think that is it? Kinefinity Mavo LF can do FF 5K Wide at 86fps, but nothing else seems to get close to 120fps.

Yes, I think you could even do this with up to 5? As my impression is that you can do it up to a max of four receivers (with the fifth one being the transmitter). You need greater imagination 😉

You could definitely pair a BP-TRX with a DUO-RX! But could you at the same time pair the first BP-TRX with a second BP-TRX? I'm not so sure about that, as you might need to put it into IEM mode for this feature. And I don't know if the DUO-RX can be flashed with new firmware to be compatible with the IEM modes.

This is truly going to be a revolutionary product for the low budget world if it lives up to expectations. This packs so much into just one product (timecode! recorder! camera hop! IFB! etc), and all at a very very low price and small form factor. I can see a lot of people buying a couple of these to keep as spares in their sound kit to solve whatever random problem might pop up on sets unexpectedly. The biggest negative is that you can't pair a transmitter with more than four receivers, if you're like me a sound mixer then this low number can quickly become a problem. (although it would be good enough for "most" of the productions I work on, I'm not yet at the level when I'll regularly need dozens of comteks available to hand out on a regular basis!)

Z Cam E2-F8 is meant to be US$6K, thus if the Canon R6 is indeed sub $5K it would undercut even Z Cam! Quite impressive. Let's wait and see.

I don't know of any specific tutorial for this one. But my two tips for this specific recorder (beyond all the general recording which is true for everything you might use) is: 1) enable dual recording 2) buy a slim USB powerbank, and velcro it to the back of your DR60D, use this to power the recorder

Does it allow USB powering? Velcro a small slim USB powerbank to it.

Could at least do it for all future models developed. Plus, what legal problem is there for them to now release firmware to unlock record limits for European customers of their discontinued older models?

What is your issue? Are you clapping twice at the start of each take & using the NLE's built in features to sync by audio waveform? In general, I would not recommend anybody buy new a mixer only in 2020, not when dedicated field recorders are so affordable. The DR60Dmk2 is only roughly an inch bigger in each direction than the Beachtek DXA-MICRO-PRO PLUS you referenced before. (plus the DR60Dmk2 isn't as long as the H6, and also the Tascam has much better ergonomics to be mounted with the camera than the Zoom H6. The Tascam DR60Dmk2 is better ergonomics too if you wish to work independently from camera as a boom op with a field mixing bag) There is also the Tascam DR70D (only twenty bucks more than the Beachtek DXA-MICRO-PRO PLUS), which is a smaller height than the DR60D. Audio field recorders have a slower refresh rate than the constant update cycle of new mirrorless cameras. They're more similar to the refresh rate of cinema cameras. None the less, we've seen some impressive new innovations in recent years! Here is what we've got just in the last three years: On the high end: Sound Devices Scorpio (the first really high end premium recorder from Sound Devices? At least, this is priced even higher than the 788T or 970 was!), Aaton Cantar Mini (the goodness of the X3 but in a smaller/cheaper package!), and Zaxcom Deva 24 (has the usual futuristic Zaxcom technologies such as MixAhead™) In the low/mid range: Sound Devices 833 (a "mini Scorpio" at a cheaper price! But with some I/O stripped out, such as no DANTE) + 888 (the recorder that finally made the 788T diehard holdouts upgrade!), and the Zaxcom Nova (their most futuristic product ever?? "The Future: Now!") In the "no budget" arena: Zoom F8n (an update to their revolutionary F8!) + F6 (their smallest F series ever, and the first with 32bit), and the Sound Devices MixPre Gen2 series (finally the MixPre series has the firmware and hardware updates to make them worthy contenders to the mighty Zoom F series). MIA: Tascam and Roland. For yourself, like the Sound Devices MixPre3 is the right pick for you I'd guess.

But the EOS R5 misses heaps of what the C300mk3 has, they're aimed at very different markets. The C300mk1 sold in era when 10bit internal was a rarity in the low/mid tier professional productions. Who else did??? RED didn't, they did raw internal (and for this market niche, many didn't want to touch 4K raw back then). ARRI did, but they were priced for an entirely different end of the market. There was BMD, but it was a baby company still having teething issues. The C300mk1 sold like hotcakes because it had a great 1080 8bit image, with a 50Mb/s industry standard broadcast codec (that was the downful of the otherwise superior Sony PMW-F3, only 35Mb/s internal). Together with all the other expected features (NDs/SDI/TC/etc) at a great price. They do care care about image quality, but also put a just as high priority on workflows, both on set and for post. For many types of shoots they do the R5 fails there to be the primary camera. The C300mk3 just might maybe capture a bigger share of the low/mid end cinema market (defined as: priced over $6K but under $25K) than the EOS R5 will capture of the high end FF stills market. (defined as: FF cameras primarily for stills which are priced over $2.5K)

If so, I'd have expected Canon to have pushed to give the new C300 an RF Mount option, to show that Canon supports RF Mount all the way up to the top! After all Sony of course uses E Mount for FX9 and even for VENICE! Imagine if you could pair that VND with the NDs of the C300mk3, if it had an RF Mount, you could shot even on the hottest day in the Sahara Desert at f0.7! Just whack in all that ND at once.

That ended in 2018. The day that ended the companies should have released firmware to remove this restriction!! http://www.europarl.europa.eu/sides/getAllAnswers.do?reference=E-2016-001277&language=LT https://www.consilium.europa.eu/en/press/press-releases/2016/06/17/agreement-on-trade-in-it-products/

When you posted this yesterday, I'd have mostly agreed with you! "The FX9 will prove to be more popular than the C500mk2" The C500mk2 is priced too high above the FX9, and the C500m2 won't be stealing many jobs away from the high end ARRI. This is the problem, you've got the likes of the FS7 which is "good enough" to get the typical run of the mill professional job done (corporate / reality tv / doco / etc) and you've got the premium high end. Anything in between is a tough spot to live. This is why the C500mk2 won't be a big smash hit, it is too much more expensive than the FX9. This factor might even prevent the FX9 from being a smash hit. Is better AF, FF, built in TC, etc in the FX9 enough to justify the higher cost of a FX9 over the cheapie FS7 which still "gets the job done"? I'm skeptical. This isn't just a problem with cinema cameras, this problem of a weak middle ground inflicts a range of other products. For instance with audio wireless you have: 1) the entry level wireless which is "good enough" to just get the job done for videographers/cameramen/students, such as Sennheiser G4 / Sony UWP-D21 / Deity Connect 2) you have the high end premium gear used by audio professionals, Wisycom/Zaxcom/AudioLtd/Lectrosonics What is there in between these two? The middle ground doesn't exist! If I want to buy good wireless that is cheaper than the latest cutting edge gear then basically my only option is to buy the cutting edge gear from the previous generation (a Lectro SMQV from ebay instead of a new Lectro SMDWB). Of course, when discussing if FX9 will take the throne we need to also address the big elephant in the room which has arrived since yesterday: Canon C300mk3. That's an even bigger threat to the FX9 taking the throne as the #1 cinema camera for low budget pro projects. FX9 vs C300mk3: Identical price. (ok ok, FX9 is one dollar less!) Identical power draw. (35.2W vs 31W. Low power draw matters, the 63W of the C500mk2 is not a good thing when you're a solo operator) C300mk3 has better DR Canon has internal raw, vs Sony's external raw (need's an expensive external extension too!) EIS with the Canon is done internally for a smooth handover to post, vs done in post for the FX9. That's a point for Canon. I'll give the nod slightly to Sony for having the more versatile mount, but this is no longer the massive edge Sony used to have over Canon. Where with Canon in the past you were stuck with either EF or PL once you bought it (or sometimes, interchangeable but only by Canon themselves), but Canon now offers a user swappable mount between EF or PL (plus a bonus: or positive locking EF mount!! Giving you three options). NDs, Sony gets the nod again with the eNDs. AF, the FX9 has greatly improved autofocus for a Sony, but probably Canon might get the nod here. Likewise FX9 has greatly improved color science, but perhaps Canon might have the edge for the win here too? Is FF alone enough to make the FX9 win over the C300mk3? I don't think so, the C300mk2 is in with a serious shot to make a claim for the #1 spot for cinema camera on low budget productions. In a way, this coronavirus crisis is a blessing in disguise for Canon's C300mk3 A big factor in the failure for the C300mk2 to live up to the massive smash hit success of the C300mk1 was that the C300mk2 was released too late to the market. As by that point in time the Sony FS7 had already gained a grip on the market. (of course the C300mk2's high launch price and lack of 4K 60fps didn't help! But if the C300mk2 had came out a few months before the FS7 then the C300mk2 might have prevented the FS7 from becoming a runaway success) Is the C300mk3 going to suffer the same fate again in being too late to the game? Perhaps not, FX9 has had a slow roll out due to needing a few firmware updates. But additionally almost nobody has been making big camera purchases in recent weeks, and likely most will be holding off on a new camera purchase over the next few months while the dust of this economic crisis settles. Sony won't be selling too many more bodies between now and July 2020 when the C300mk3 is meant to ship. Normally a company having most of a year as a head start over their competition gives them enough of a good solid lead that it is an uphill battle for anybody to overcome, but not this time. As much of that time has been lost in limbo while we're trapped by the impacts of the coronavirus. Canon C300mk3 has a real shot at this. Sony knows in the current economic climate very few people are rushing out to pre order new cameras. They won't be losing many sales by delaying their news by a few days. And if Sony's announcement makes less of a splash than Canon's, perhaps it is only a "big" FX9 & VENICE firmware update they're announcing, at least that news won't be drowned out by Canon's announcement and Sony will get an entire news cycle devoted just to Sony.

The Panasonic S1H just got a 5.9K raw update! Panasonic isn't staying still either while Canon innovates. Nikon Z6/Z7 now are not the only stills cameras which can output raw. https://www.newsshooter.com/2020/04/21/panasonic-s1h-goes-raw/

The second best option to using an expensive meter is stick a few subjects with varying skin tones in front of the light and see how it looks

Hasn't Blackmagic tried the dual gain approach as well? I bet there are a few C500mk2 owners who wish they'd got the cheaper C300mk3 instead!

Ahhh, gotcha! Yeah, only spending money on the essentials of food or rent (although, many businesses are not spending even that! No joke, here in New Zealand TWO THIRDS of retail shops are not paying their rent. It's brutal for business at the moment. We've had a very harsh lockdown for the past month) is the "smart move" at the moment! Although, I have a couple of dozens times in the past week attempted to buy audio gear on eBay lately only to be outbid or just see it race up too high for me to even put in a bid. Ah well, I don't mind, those other bidders are saving me from myself! Even if I'd really really have liked that new Wisycom wireless, or that Rycote Cyclone windshield....

Look on the upside, with the coming economic crash we're in, you should be able to buy back the gear in the future at an even cheaper price than you sold it in the past! Also you've now got the option to "downgrade" to something even cheaper that is still good enough to "get the job done". Perhaps 2x Panasonic G85, one each for yourself and your second shooter, plus 2x G7 for the locked off shots. Bargains! What do you mean by "a full set of macros"? Amazing timing! What did you get rid of?

I find that to be (broadly/roughly) true as well! But reason I believe is simple: when I'm busy shooting, I'm literally too busy! No time to think about upgrades. The troubles start when I'm locked in at home, with time on my hands, and an internet connection....

Hadn't planned to be part of this 48Hours, as it was announced last minute and everyone is under lockdown. But I got asked to do some lines, so I tried my hand at voice over acting! At least I've got the nifty gear to whip something together? Also an excuse to set up a workflow I'll be using on shoots once lockdown is lifted, but the coronavirus is still a health & safety concern. Likely, the lav tracks will not be the option for some edits. But what if I can still give the editor more options than just the single boom track? Thus my plan to loop my boom track over AES through the CEDAR DNS-2. Using the mono split feature of the CEDAR DNS-2, I could have one output being a soft touch of noise reduction, and the other option a harder go at noise reduction of the boom track. Thus giving the editor three tracks to choose from in the edit, to select what is best for them. (of course, ideally they should do the NR in post, but not everyone has the skill/software to do that, many projects don't have a dedicated post audio team but just the one editor doing both the visual edit and the audio at once) This video was filmed with my usual vlogging setup of a Panasonic G6 with an Aputure A.Lav running straight into it, but the Panasonic 25mm f1.7 lens instead as I had my girlfriend Helen to "operate" the camera.

A 1" 4K camcorder is handy for when you're manning it. But for an unmanned camera on a tripod? You just want to hit record and walk away, without needing to worry about if it will overheat / battery go dead / time limit be hit, and that is what mirrorless cameras like the Panasonic GHx series is great at doing at a very low price. All cameras should have the time limit lifted. Why the limit of 73 minutes? Because that is what your biggest card could do?? Or something else?

They already had their original ATEM Mini, I wouldn't be surprised if they had already had plans to work on an updated "Pro" version. And once they saw coronavirus sweeping the world and there being very high demand for their existing streaming gear, I think it is not surprising they'd put all their focus into getting their next product out the door in just a matter of weeks. Seems like there is nothing else which can beat the ATEM Mini Pro's features for a lower price. But it's up to you as to if that is all you need, or maybe you need more, or less?