Ty Harper

As a USB interface I wouldn't be doing much recording (if that's what you were referring to). Maybe the odd v/o, or record as I continue to digitize my old vinyl. In the field it would be for talking head interviews that require more than two mic inputs as I already have a Marantz PMD661 with the Oade mod that's fine for my two-person interview needs. But sorry, are you saying the pre's on the F4/8/8n would be better than the RME FF400, or worse? And thanks for the link!

First off, I have to thank you for singing the praises of the Zoom F series over the last year or so. The H4 was the first portable recorder I ever bought and it was so bad I thought I'd never go back. Now thanks to your reviews I'm seriously considering picking up an F4, but aside from using it in the field I'm wondering whether the sound quality and audio interface functions are good enough to have it replace my current audio interface, an RME Fireface 400?

I don't think there's a direct music example that would make music people get it. I think all you can do is make it clear that while there are benefits to 4K, those benefits are separate from the industry's vested interest in getting people to embrace 4K, and that pressure they're feeling to use 4K stems primarily from strategic marketing coming from those vested industry interests. It's also tricky because in music/audio production and broadcasting, uncompressed audio is the standard format, but that's possible because the files are so much smaller. So I can see why a music person would think the higher the quality the better. Point is there aren't simple comparisons between the two mediums on this particular topic.

Was actually all for going with the 5D4 and calling it a day until I saw the rolling shutter...

The 1DX MKII has been the one I've wanted to buy for a while now. Currently I have a 1DC as my A cam with a 5D III RAW as B, and I always saw the 1DX MKII as the logical camera to get, to bump the 5D and become my B, especially bcuz of the DPAF. But everytime I see the camera size of the A7 line out in the field, it makes me think maybe my 1DC/5D III RAW can stay as my A/B cam combo and I just need to get something from the A7 line to use as a run n gun BROLL cam. That way I don't have to worry matching the Sony look with the Canon look when cutting between A and B cam interview shots. So yeah leaning away from the 1DX MKII now but it is still a great camera imho.

Nice, hope it works out! I'm looking for a bi-color option tho, and now that I think about it, I really don't want to have to be mixing LED brands.

Anyone with thoughts or experience with the Litepanels Brick One? I currently have a Litepanels Astra EP Bi-Color and am wondering if two of these Brick Ones would make for a solid 3 point interview lighting kit, or are there newer, more affordable options that might pair well with an Astra EP?

Marantz PMD-661 (with Oade Mod)

Cool! And for anyone with a Slider One + Motion Module wondering if this Motion box will be compatible, the answer from Edelkrone is no :-( which honestly seems pretty unfair.

Really hoping the original Slider One/Motion Module combo can work with this new motion box. Was hoping to be able to upgrade but no luck yet. Did you experience any of the Slider One Pro issues shown in this video?

Looks like Edelkrone's finally did it: https://edelkrone.com/products/motion-box

Anyone using MLV Mystic? I've been using it ever since I started messing with ML (which is probably since like 2014/15) and I never switched bcuz I've never had any issues with it, but is there anything I'm missing out on as far as the quality of MLV Mystic's raw file conversion vs other programs?

Sorry, I wasn't talking about those terms with respect to sound quality, I meant them in terms of the wireless signal.

Been skeptical about Marantz stuff since they were bought by another company a few years back, if I'm not mistaken. @IronFilm How do you think that might affect quality moving forward?

So not only was the SKP300 G3 sale legit, the guy threw in an SKP500 G2 for free! His reasoning was he'd already upgraded to the latest model and just wanted to get rid of them both. I mean he obviously has to be doing really well for himself as a camera person, but I don't think I've ever gotten a deal this sweet before. I'm literally sitting in my car in shock.

@Kisaha, thanks for the response but not sure what you mean when you say it's chaotic. Are you saying range and signal strength aren't primarily what differentiate the g3 100 series from higher end brands?

So would you say the major difference between the G3 and higher end stuff like Lectrosonics is the range and strength of the actual signal?

Yes it does seem so. It's just that the price seems too good to be true.

I already have one and I definitely don't need it but it just seemed too cheap to pass up. I've been trying to get a sense of whether the person is selling it because the Band (A) is about to become illegal but nothing yet (not to mention the jargon around this stuff is in no way accessible to someone not familiar with it). Thanks for the second opinion tho!

@IronFilm, kind of off topic but wondering your thoughts on the Sennheiser SKP300 transmitters. Would you pick a used one up right now if it was on offer for $100?

@Andrew Reid what are your thoughts on the lack of a practical dead pixel fix? Especially considering that if you're buying used, it isn't always easy to tell which ones might have the issue. Do you really think the image is worth the expense? (I believe on that dead pixel thread there are reports of people having to send their 1DC in to Canon every year or so bcuz the dead pixels keep coming back)

Definitely still a great camera for video and pics. I have one and will probably never sell it because I love its look so much. That said, I doubt that I would've bought it if i'd seen and read this thread beforehand: http://www.dvxuser.com/V6/archive/index.php/t-333479.html And unlike most Canon dslrs the 1DC can't fix dead/stuck/hot pixels internally. You have to send it in to Canon which will cost you, and is also only a temporary fix because the issue apparently returns in time.

Nice comparison AND it was shot in my hood! Go Vistek!

Lol, I only say that because excluding the remapping feature doesn't seem like the kind of decision motivated by their cripple-the-product-protect-the-bottom-line strategy.

Maaan, if they would just add that remapping feature I would be so content with my 1DC. I mean, I'll probably never sell it, but the knowledge that the hot pixel issue is just a matter of when, not if it happens to this camera, is just enough to make me feel uneasy anytime I reach for it to do a shoot. I'm not an expert on the history of DSLR f*ck ups at all, but the omission of that feature (a feature that seems to be standard or at least common place enough to be expected in their high-end product line) seems more egregious than their practice of crippling their cameras.