Ty Harper

I have the older model (ND2901)... and while I haven't used it in a bit, it worked pretty well when I did... this new one looks like it'll be a great upgrade.

Just seen this so figured I'd post. There aren't a ton of options in this realm, much less ones that still accept CF Cards... https://www.nextodi.com/products/nps-10/

As mentioned you can use the sub out into the mic in... but also you can pick up one of these attenuation line cables from Sescom that knock the volume down by 25db. Works perfectly. https://www.amazon.com/Sescom-LN2MIC-ZOOMH4N-3-5mm-Line-Cable/dp/B004U3S1JA

@Kisaha, appreciate the perspective. For someone like myself, whose got 2 pairs of Senny G3's (all bought used over the years for under $300 a pair), but has been considering purchasing another pair for backup/3 person interviews... is there any reason to start diversifying ---- maybe pickup a pair from a newer device/different company?

Would this work for you? https://www.newsshooter.com/2019/03/23/blind-spot-power-junkie-np-f-review/

Just started watching Season 2 of OA on Netflix and I'm liking the layered storyline and cinematography... although ideally it feels like you have to re-watch Season 1 to really enjoy it.

Honestly, the only reason I care about 8K anything is because it hopefully means cheaper 4K everything...

Just picked up a Fiilex P360. About 200W output, good cri. Great reviews over the years and BH has them for like $350US right now: https://www.bhphotovideo.com/c/product/1021433-REG/fiilex_flxp360_p360_90w_led_light.html

Wanted to pick up the P360 as a hair light but wondering if the hassle of adjusting and re-adjusting the brightness, color temp, etc before hoisting it up to its position makes the DMX option worth the extra $$. Would love the opinions of anyone who does a lot of interview lighting with spot lights like this.

I've shot continuous 1080 ML raw on a 5D with a 256GB Lexar card on occasion with no issues whatsoever. This was simultaneously on a 5D Mark II and III.

As a Canadian, born, raised and making a living for 15+ years as a producer in Toronto (predominantly in radio but also in tv with a passion for grassroots indie film docs) I can tell you that while there might be some unique characteristic of Canada that is giving film/doc makers/crews the perception of an advantage to film/doc makers/crews south of the border, the comparison itself would likely sound laughable to many of them... especially when you think that Canada's entire population can fit in the state of California. You can also expect much much more laughter from the Canadian film/doc makers like myself, who are Black, Brown or Indigenous. It's one thing to be a Canadian film/doc maker/crew etching out a decent living telling and re-telling the standard White-Eurocentric narratives, but... .... I don't think I need to finish that sentence cuz we all know where I'm going with it.

Anyone know how DPAF on the 5D MKIV compares to DPAF on the 1DX MKII?

Thanks for posting! And thanks for the review @Mattias Burling I'm now leaning that much more towards picking up an XT-3.

Co-sign on Sirui! I remember 3 years ago selling my Manfrotto video monopod and buying the Sirui brand new the next day with money to spare, and it's never let me down + had way more features than the Manfrotto.

@IronFilm just picked up an F4 and wondering whether that -10 output limit (vs the standard +4) has ever been an issue for you? Other than that, glad I finally picked one up!

I honestly can't keep up with these guys. They've revamped the SliderOne series again (no more SliderOne Pro). So now you've got two SliderOne options with different weight capacities (and a $3-400 price difference at reg. price) + it looks like they've revamped the Motion Box which is now the Head One, and added a HeadOne Plus. https://edelkrone.com/products/sliderone-v2

Could be totally wrong but sounds like Edelkrone's SliderOne Pro + Motion Box would be all you need. The Flextilt Head 2 is a useful add as well. Either way with the slider/motion box you get continuous slides, ramp up/down parallax motion, timelapse, stop motion, etc all controlled via bluetooth/smartphone + the entire system's footprint is about the size of a 70-200mm lens. I've never had need for anything else.

A Canon firmware update that gives the 1DC the ability to remap its dead pixels... an ability most Canon dslrs have...

Anyone with experience with the Fujinon 10-24mm f4 OIS?

Honestly if they get this thing working for even just raw 1080p, I'd sell my MK III and buy two MK IV's, cuz those two along with my 1DC would mean I'd never need another camera again.

Can you elaborate on how you felt they weren't working well together? I've been meaning to buy the SliderOne Pro/Motion Box combo for a while now, so any first hand critiques would be greatly appreciated.

@IronFilm, @Kisaha, hoping you can explain why the G3s are a problem in your opinions. Most tv/small production houses I've seen or worked for seem to swear by them. Although I will admit I've seen the Lectrosonics used for bigger/specialty shoots.

The F8n costs about $1500 in Canada. I can get a used F4 or F8 for around $600 tho.

@IronFilm if the price was about equal, would you ever purchase the F8 over the F4?

I've got a pair of the G3s that are fine for me + I've got an extra G3 transmitter I bought for cheap, just need to pick up a receiver for it. Thanks for all your help!