Snowfun

Presumably, if the A7Siii were to appear with 10 bit, I'd be stupid to buy a C300ii? Indeed for what I like doing a 10 bit A7Siii is essentially the end of story... The fs5/7 with similar high ISO performance would be nice (although I think I understand why it's unlikely as professionals are likely to be lighting anyway). Cloudy sky this evening...

Next. Esconced in my cabin for this - some good aurora so far. Unfortunately I had a failure of the hdmi cable (related to the cold and movement I assume) so I had to take a lot of footage at internal HD. A new cable arrived (CVP/DHL delivered to the cabin at the end of the road with the pink sledge outside) and the Shogun is back receiving an input. I won't decide until the A7Siii is released but I'd like to be able to replace everything (A7S, BMCC, BMPCC) with one camera. Although waiting will, of course, simply subject me to rumours of the A7Siv etc.... AF not important for the aurora side of things. People get in the way! But, yes, might be fun for the rest (I've only ever used manual lenses so a new area to explore). Tim

That video was one which got me thinking. Move stopped using slog Cost - yes a consideration but certainly not the primary issue. The C300ii is affordable. Batteries with A7S - not a problem because I use hawkwoods vloks. C100 = 8 bit = no advantage (over A7S + Shogun) Temperature wise - I've used the A7S at -35C. It lived. Problem with renting a C300ii (which I would love to do) is that I reside in Finland for 3 months over winter (aurora "season") and couldn't afford rental for that time! Is the C300 really heavier than my current set up (which is very top-heavy)? I do like the Miller as it doesn't freeze up! Thank you for comments. Tim

Blackmagic Pocket? Gives you the opportunity to play with the basics at a reasonable price and still get stunningly good results. Put the raw files into Resolve... then decide you're better off with Prores 422 in Final Cut for the reasons stated above...

Hi, I'm thinking of upgrading my A7S. I use it with an Atomos Shogun almost exclusively for aurora filming and am happy with the results. But the rig is a bit awkward to handle (on Miller Air sticks in the dark and often in deep snow) and the cables can have issues in the cold. Needless to say, access to the Sony menus (albeit rarely needed in these circumstances) is next to impossible with gloves and with the batteries (Hawkwoods vloks) next to the screen. I prefer Prores and having 4k files for cropping and applying Neat Video (if required) in post (FCX). Obviously one option is to wait for the A7Siii and see what it offers - although I suspect it won't really offer me anything over and above the A7Sii (internal 4k). But I keep hearing about how good the C300ii is in low light - say 25k ISO max. Should I regard it as a contender? I'd prefer the build quality and overall ergonomics (as I perceive them - I've not used one). The 10bit means that I could sell my BMCC/BMPCC and use the C300 for everything I do (which is only hobby stuff so no major "how do I feed the kids" issues here). And there's a 4k raw output too I believe... Obviously the cost is a factor but I could just about do the C300ii. The FS5/7 don't have anything like the high ISO abilities unless I am much mistaken so they are not in the frame. Or two A7Sii/iii and couple of Samyang T1.5s and I've got multi-camera aurora footage. In glorious 8bit - I think I'd prefer 10 if the C300ii delivers... Thoughts? Tim

Apologies for what might be a question derived from ignorance but what settings and/or software do you use to get the slomo? It's beautiful footage.

Has to be Saadawi... the other two can't possibly be true...

I emailed the company some time ago asking for delivery details and any other interesting information... didn't get a response... But it does look like fun.

I like the idea of using a hand warmer - will wrap the cable up in a spare down hood with one and see what happens. Now the problem is the hideously high temperatures here (-10 this evening). It's a curly cable so a lot of surface area is exposed - an interesting theory that the cable itself is transmitting cold into the electronics. Can't complain too much as both the Sony & Atomos are probably neither designed nor intended for such cold (BMCC & BMPCC also survive fine and my Miller video head hasn't frozen solid unlike previous Manfrotto).

I'm in the arctic filming (hobby - not the primary reason I'm here) the aurora. I have the A7S with an Atomos Shogun. And a cable to connect them. Inside the cabin the rig works fine. Last night (during a superb display) it worked for 30s before the Shogun said "no input". Shooting internally thereafter with the A7S was ok. After waiting until everything dried (condensation is a real issue) the rig worked fine again. The temperature last night was -30C. The same thing has happened on previous occasions - difficult to determine but ? at less extreme T it works longer. Is it possible that low temperatures affect the cable connection? Both units continue to work as far as I can tell with the exception of the "no input" message. I use a cable lock so the physical connection seems to be ok. Any ideas would be helpful! On a not unrelated note, it solves the Sony overheating issue...

Is the question "can anyone persuade me not to buy the MX?"

Audionetwork. Good selection and sensibly priced. As stated above, Eric Matyas (soundimage) is superb in both content and spirit.

Purchased & looking forward to experimenting (A7S). I wonder whether I will see much benefit at high (>25k) ISO? (for me, the obvious and deciding advantage of the Sony vs other cameras).

That may indeed be true. However, it is also largely irrelevant. Given the electoral system the American People vote under (and presumably understand and accept?) the simple fact is that the American people voted Trump into office. Just as the majority of people in the U.K. did not vote for Brexit - 51% of those who turned out did however. And it is futile for me as a Remainer not to recognise that.

The importance of planning. And then the importance of flexibility. I think, too, something about how the footage on the card goes through an editing process in order to deliver the product they will want to show people (i.e. they are not the same thing). Even little tips like the shot doesn't have to start when the camera "start" button is pressed - but it can't start before that point! Have fun.

Is it easier to "blame the media" rather than face the reality that it was the American people who wanted (and voted for) Trump to lead their nation? How long ago was it that we were rallying to bring down the Saadawi empire? Or criticise Zach for his off-topic ramblings? All good fun!

Superb. Very funny & enjoyable.

Other than the possibly superior stability in a breeze of the P4, it's difficult therefore to see any reason not to go with the Mavic.

I'm thinking of getting a drone - I can neither justify nor afford an Inspire or above so am looking at the 1000 mark (UK £). Purely for hobby/fun. The dji Mavic looks to be the obvious choice. Are there any reasons to prefer a Phantom 4 (or even 3)? Or is there an alternative I should consider? There will never be situations when I need to get the shot so nothing is critical. I would prefer higher image quality over tricks and gimmicks (ideally I'd like to pop my Pocket into the air but not practical). Perhaps worth noting that I'll be using this in cold environments - possibly below the advertised minimum operating temperature. The Mavic? Thanks for opinions, Tim Ps still trying to summarise all the opinions in the Mavic vs Karma post below...

I just wish that my new 7+ would stop trying to talk to me or phone anyone whose name I happen to mention... resisting the video until my osmo mobile arrives (albeit possibly a stupid impulsive purchase).

And it is the BMCC I refer to here (at least until I sell it to fund a BMMCC!)

In many ways I think that what I do with my video cameras is essentially to take "moving stills". By that I mean that I like to take landscapes, scenary and atmospheric pictures. I used to throw photographs into FCP with a 5s delay and show them as a sequence of stills. But they lacked something. They lacked any sense of movement - ripples on the distant lake, a leaf blowing on a branch, the sway of the grass or a person walking across the scene. Taking video "stills" addresses those deficiencies. The best example is with aurora photography - any 30s exposure still can give a decent image. But it's not the aurora - it lacks the dancing and drama of movement. The same 30s "photo" with the A7s and a shogun... totally different. It's not really "film-making" but it does bring "photographs" to life. As I learn more about camera movement I see new opportunities but I do think there is a grey area between video and photography - the moving still.

Could it be film AND digital rather than film vs digital?

Thinking of this for the BMCC - does anyone know if the aperature is wide open by default (so I can control exposure using a vND) or whether it's fully closed (in which case it won't work!). The downside of having to use it wide open isn't an issue for a bit of fun and I can also use it on my pocket. Thanks! Tim

One might argue that once one leaves the corporate hospitality tent in order to forage amongst the street food vendors, one also gets to meet chaps like Zach (G). Yes, this is a wonderfully stimulating place to be and in my view ZG's more than occasional bemusing meanderings were but a small price to pay for the freedom to express and debate. Is he permitted to be here as I've not seen him recently?