IronFilm

If you're shooting a wedding / musical performance / corporate event, it is nice to put down a couple of mirrorless cameras (such as any Panasonic GHx) as locked off mid or wide shots. So long as their battery & SD cards lasts, and it doesn't overheat, then that is perfect for extra coverage! And having it being a more expensive camcorder is just a waste. And for interviews, if you're just one or two person crew then it is quite a distraction from the subject at hand to need to constantly check if you're about to hit the limit. Additionally, even if you're say a four person crew, who on earth wants to interrupt an interview to re-start the roll right at a crucial moment?

@Lotfi Kaz , did you fly the NX1 up into the air?

This shoot was ages ago, but from memory it was a day which was MOS, thus no audio recorded

Stabilize / lock-off your shots

I'll need to hit the gym a LOT more before I can stick an F23/F900R on a self stick! (although I've got a super beefy Sirui Monopod that could handle it! Got it for my Sony PMW-F3) Those cameras on a selfie stick would make booming my usual Rycote Blimp and shotgun on a 5m drama pole feel like a piece of cake! Although, I've never used a selfie stick in my life! Perhaps my wiiiide 8mm lens and my long arms makes it look like I am using one in my vlogs??

Ah I see, I wonder if Mike Krumlauf ever posts on EOSHD? Can't seem to find him on EOSHD's user list. Personally I think he swings too far in the direction of falling in love with old vintage equipment, but it is really great hearing his perspective! As it interesting seeing it from that side of things. Maybe if I ever do something as foolish as buying a Sony F23/F900R myself then I could realize I was wrong and become a convert to his side! After all I already lean a little in his direction, am a fan of Sony PMW-F3, I keep on seriously considering an "old" FS700 as my next camera, and I reckon the original BMPCC / Micro still has its place. And I'm often recommending the likes of the "ancient" Panasonic GH1/GH2 as a great starter camera for highschool filmmakers.

Almost nobody is proposing that Fuji needs to massively push forward their sensor tech with a new cinema camera. (although of course when a X-T5 is launched, that should have a new sensor, and it is reasonable if a X-H2 comes out a similar time that will share the same sensor) But Fuji could make a Fuji S35 cinema camera with essentially the same sensor tech inside as the X-T3/X-T4, heck it could even keep the same codecs! (although industry standard ProRes would be good, and raw would be a cheery on top) Rather it is features like SDI, full size HDMI, LUTs on output, dual media, proxy recordings, internal NDs, XLR, TC, etc that could all be added. Yikes! 10? I remember liking to play Civilisation 1 back in the early 2000's because: 1) it's a great game! 2) I could play Civ1 from a single floppy disk

ohhhh... I just suddenly clicked from watching your video that you're Mike Krumlauf! Had many times read your stuff over on other sites, but had never realized that you're @User here on EOSHD

Wow. Just wow. That's AMAZING! Nikon thought up an HDSLR before there was even "HD"! Edit: nope, this is definitely a stills only camera. Would have been super cool if true though! https://www.nikonweb.com/qv1000c/ However Nikon did release the "Color Video Camera S-100" in June 1982 https://www.nikonweb.com/s100/ That's a funny quote, "great uncle of the QV-1000C" Ohhhhh... that's cool, the Nikon SVC prototype was developed by Panasonic! (Matsushita Electric) Wow. Just wow once again. They wanted to LIMIT the number of sales they made. Because every sale = a loss for Nikon So why even sell any at all? I assume because Nikon saw a future with this, and that being early to market and getting customer feedback (basically a large scale form of beta testing in the 1980's) had a long term pay off? After all later on Nikon was then first to market with a DSLR, with their Kodak / Nikon joint release in 1991. (the Kodak DCS 100 was even more expensive than the Nikon QV-1000C!)

XC15 came out in 2016, which was itself a modest upgrade from the XC10 in 2015 Time for another modest update of the XC10/XC15 then? Give it 4K DCI, TC, the better lens from the RX10 series, 10bit internal, 240fps FHD, etc The JVC LS300 is also from 2015! Indeed Sony and Canon have abandoned the entry level S35 market. Long time since the C100 or FS5 got an update (and the FS5mk2 barely counts!). And they've never ever given us 10bit for sub $5K But it isn't just Sony/Canon who are forgetting about the entry level S35 market, like we just mentioned before, JVC has been a long time without an update to the LS300. Five years. Not even Blackmagic Design is active in this niche! As they've crept up in price, their latest cinema camera (not merely a S35 sensor in a Pocket body) is $6K! Their last S35 cinema camera which was sub $5K was also five years ago. And where is Panasonic? The Panasonic EVA1 is "only" from 2017, but that was much more aimed at FS7/C300 shooters (EVA1 was initially US$7.5K, now US$6.5K). And dinosaurs roamed the earth when Panasonic last gave us a cinema camera with a mirrorless mount with their AF100 series. There is an opportunity here for Fuji / Nikon to launch a mirrorless cinema camera using their existing tech (plus a little more, like NDs & TC) for sub $5K. (ideally sub $4K, or even sub $3K)

Super 35mm has a very high price ceiling if you're building a cinema camera.... so stick TC / NDs / SDI / XLR / AES / ProRes into that!

I remember their promotional material for their first ever URSA promised locational and gyro data to be built into it, for post production work. Never happened, but clearly this is a feature Blackmagic Design has thought about already

Check Facebook Marketplace as well, took me only two seconds to find a C100 for $1K and a C300mk1 for $2.2K in Sydney.

I'd want the Fuji cinema camera to have a locking X Mount! (like Sony does with their E Mount)

Would you get the C100mk3 at the same price as the C100mk2 was at launch if the mk3 only has at max 2K resolution? As I can't see Canon releasing a cheap cinema camera in 2020 with 4K 10bit without some major "gotcha"! (ditching DPAF complete?? Not only no SDI, not even full size HDMI?? Who knows) Seems the #1 reason is the costs and that you don't have a C200 in house ready at hand. As for C200 being bigger, B&H say they both weigh the same? (sorry, been a long loooong time since I was last on set with a C100, they're becoming rare, so I'm a bit forgetful what it's weight/size was like in person) And I do like the C200's screen being more flexible in its positioning, thought that was a weakness of the C100.

Was browsing TradeMe (NZ's version of eBay) for radio equipment, when I saw to my surprise a camera: Panasonic GX80 for dirt cheap! Yusss https://www.trademe.co.nz/electronics-photography/radio-equipment/amateur-radio/listing-2583819575.htm https://www.radiomuseum.org/r/panasonic_5_band_receiver_gx80_rf_1680l.html https://youtu.be/EoJ_okQl5vU Oh wait, that is indeed a radio! Not a camera at all. Interesting, Panasonic "reused" a model name?

Why can't a C200 replace the usage of shoots where the C100mkII is being used?? Is it because C100 shoots can't justify the cost of using an "expensive" camera like the C200? Perhaps if an "affordable" C300mk3 arrived which was priced not just below a C500mk2, but well under a FX9, even under cutting a FS7mk2 by a little. Say a C300mk3 for US$8K? Then you discontinue the C300mk2 and C100mk2, and you slash the price of the C200 to US$4.5K, which is cheaper than the launch price of the C100mk2! Canon could even consider bringing out instead a cheaper "C200C" version of the C200 (which already has a C200B variant), that could completely replace all existing C200 models. Would be a normal C200 but without the raw recording option, but sell it even cheaper, say US$3.5K? Such a camera would sell like hotcakes! But I don't think Canon would dare to be so aggressive with their pricing, not even with a camera such as this, the "C200C" would be an 8 bit only cinema camera released in 2020! Surely the only one of its kind. Sony won't bother, they'll focus instead on their high volume a7R series as their competitive alternative to digital medium format. If they do decide to give medium format a spin, they'll test the waters first by releasing a Sony RX1 variant with a medium format sensor in it.

Yeah, sorry about that. I think I don't make a habit of regularly posting tonnes of videos within a single post? But that thread was specifically asking about learning lighting during lockdown, and videos really are the best way! As lighting is obviously such a visual media. Thus I thought I'd just scroll through the channels I'm already subbed to, and share just a couple of videos from each channel as a starting point for people to launch themselves from. Little did I realize at the time just how many lighting/filmmaking/cinematography channels I am subbed to! Truly a tonne of them, and before I knew it I had quite a handful there in the post. And that's only just scratching the surface of what is out there! Am sure there are many more great channels out there I'm unaware of, plus I stopped writing that post before I even got to the end of the list of all the channels I'm subbed to. I agree, it is going to be such a tough environment in the short to medium term, the best idea is to not buy any new gear unless you really really have to. Additionally, the used market is going to be flooded with great priced gear because people will be choosing to or be forced to exit the industry. Only buy new gear when you really must, or in some rare exceptions when the new gear is offering something really unique or very very good value. (for example, the two exceptions in 2020 that I might consider is the BMD ATEM Mini Pro or Tentacle Track E, as I reckon there is nothing at their prices which can touch them even when buying secondhand) You wouldn't push for a Production Camera 4K now though would you? You'd be only go for some variant of the new Pocket or URSA Mini 4.6K cameras.

@petertom is back at it , under a new name: https://www.eoshd.com/comments/profile/50276-petertom/

That's the downside to it having so few hours, no paid firmware upgrade! The hack is a pain in the ass though! I started out shooting a feature film (never finished, the director had a minor distraction... his relationship fell apart) with a Sony F5 which lacked 4K! So I had to do the hack. Took me a while, and the big downside is: NO PLAYBACK! That is a heck of a serious downside. (my work around was an SDI recorder, which would automatically trigger a ProRes LT file every time I rolled on the F5, then we could use the Atomos for playback) That hack however did embarrass Sony enough to release the firmware upgrade, however that is a paid update!

I'm just glad he is not trying to do sound as well! Or maybe that is because he's completely forgotten about sound being needed..... Where will they go though? And what will happen to their gear? I expect we'll see a few rental houses across the world going bankrupt too.

There is a F55 right now US$7K from Lebanon: https://www.ebay.com/itm/Sony-PMW-F55-Camcorder-F55-4K-with-DVF-L350/223953143717 A very low hour F55 from New York for US$9.5: https://www.ebay.com/itm/Sony-F55-Package-for-Sale/324078328587 (recent eBay sales show the F55 has gone for US$7K, but that was from a low feedback seller) Personally I'd go for an F5 instead! They're only $5.5K right now on eBay, and recent past sales shows F5 cameras selling for only US$4K!! :-o Which is bonkers cheap. I'd go for the F5, it has better lowlight than an F55, and better ROI

What would be the best dirt cheap Sony B4 2/3" old 1080 camera (with SDI) to buy? (something waaaaay cheaper than even a US$400,000 Sony PMW-F23 is, even cheaper than a Sony CineAlta HDW-F900R)

Haven't been around on Reduser for as long as @BTM_Pix but I have been on there for years and years, and I am still checking in quite often. And if you read and follow the threads his participates in, then it often seems to me that the bullying is largely a one way street.... with him bullying other reduser posters! All over some puffed up or imagined offense. When no such abusive offense was ever intended. If someone posted a video and I suggest that "hey, perhaps an on camera mic shouldn't have been used?" Especially as it is just a simple sit down interview, a cheap Deity lav hardwired into the camera could solve this! Would that count as "bullying" for offering some gentle constructive criticism and a solution?

The Fujinon and Canons are at massive discounts too! Even a bit cheaper than DigiPrimes. But yes, the DigiPrimes seem to be more common, easier to get a full set, why is this, where the DigiPrimes more common themselves back in the "B4 Cinema Era"? What non-DigiZoom cinema zoom B4 lenses would you recommend looking out for? I've read a review though which says the DigiPrimes show a colorshift between wide open and stopped down?