Kisaha

"It is not DSMC3 It is not a replacement for DSMC2 It is not 8k VV It is not a Dragon or a Helium or a Gemini or a Monstro Sensor It does not have an HDMI port It does not use proprietary media It is not a “module” It is not under $5k, unless you own a Hydrogen. It has no XLR ports It does not have a fixed lens It’s body does not weight more than 2 pounds. It is not larger than 4 inches in any dimension." To me, it just it is not; and for me, it will not.

On the other hand people make more and more videos and use more and more cameras than ever. They are just too many options. Imagine how many action cams/drone cams/360-VR cams/video cams/dSLRs/mirrorless are sold every year, and how many minutes of video are produced, and go back to 85-95-2005 and 2015 and do the maths. Video creation is almost a mandatory skill nowdays, go check how many Steenbecks were sold in 85 and how many professional editing suites are used right now. I know, because I remember! What the smartphone crowd did back then? Nothing, they didn't shoot much video. There were 1 video camera per family or even in the greater family (there was always an uncle!). In poor places in the 80s were just 1 or a few cameras per village/area. It is not the end of the moving images, is the peak of it. It is so much, that is becoming pointless, in a way.

Wow! I missed that completely back then, but I shot quite a lot of projects with the VG series of cameras. I hated them, they were ergonomical nightmares, but very interesting concepts at the time. Still believe that the best ergonomics for a small but capable video camera would be based on a Canon XC10/15. You can add a shoulder pad on almost anything these days.

The Eos M is a very good entry level system. It is the one I suggest to most amateurs that ask me for a cheap little system. These people ask for the kit lens, a nice pancake (22mm 2f), and some prefer ultra wide (11-22mm) or tele (55-200). The issues are: sample variation, quite evidently these lenses are not made by EF standards. The system doesn't go anywhere it seems. No pro body or lenses. I would love to see a cheap-ish XC camera with the Eos M mount back in the day...

The funny thing is that people here still believe that consumers are buying whatever Canon throwing at them. Maybe 5 years ago when hordes of amateurs were buying cameras, but now the customers are more informed, better image educated and the competition much harder. The Canon line up right now seems like the shop from Friday the 13th, every camera a terrifying story..

Every week a different thing..whats going on with this camera? I do not mind using an ext batt, and for the price I ll use a vND, but it seems there are a few dos and donts. What you guyd think, and what are the things we have to be careful when shooting with one?

Definitely, Lectrosonics/Zaxcom for wireless with the DPA 6060 lavalier microphones. Cheaper mics can be a Sanken or a DPA 4060. Sound Devices/Zaxcom for a recorder/mixer. Schoeps/DPA have the most natural sounding microphones. Sennheiser 50/60/70 series are somehow indestructible and top choice (50 is a hyper for indoors, 60 for outdoors and the 70 is used by some for extreme outdoor conditions, it is VERY directional, only a very experienced boom op can seriously use it). Sanken has some very interesting and modern designs also. Cinela offers the best protection from the elements (this is something you have to seriously budget in advance, like a very good boom pole and mic baskets e.t.c this is a significant cost). Are you U.S based? Gotham sound are very friendly and can point you to the right direction. In Europe there is pinknoise in UK, Audiosense in BE and NoyzBoyz (or BoyzNoyz) in the Netherlands. I have done business with all of them and I was/am super happy. All very friendly and helpful. There is a Czech shop also but do not remember the name now. Super friendly also! I wish I had millions to spend to all of them!

Sound is a lot more difficult to control and capture than light. You can blacken out a room quite easily and for cheap, but you can not soundproof it easily, and/or for cheap. Post is a lot more difficult also. You can have raw from a dead cheap camera these days, but there is no raw in sound. I am working the sound for 20 years now and I believe that 70% of it is just experience. If you want the best equipment, that is easy, read a few posts on a production sound forum, and go buy the most expensive ones, but I do not see that you can succeed where seasoned professionals didn't; or you just hired some kid with a Zoom H recorder and a Deity or Rode NTG2 microphone that is self proclaimed a sound man? @gt3rs I have that Insta and is way cool in daylight. There is this Ricoh 1" now, which significantly raises the bar of what such a camera can do. When we have 8K from 2 m43 sensors, then that will change everything.

I see it as an artistic statement, like what Banksy did in the giftshop. There is no way such a character exist in the real industry.

At some point Canon has to be competitive, X-T3/30 and a6400/500 are a lot better than anything Canon has to offer right now and m43 is a lot better in video and competitive in stills, while FF mirrorless are getting cheaper and cheaper.. It is hard to believe some of these rumors though..sound more like wishful thinking than real world possibilities, but on the other hand, I believe they exhausted on sales the abilities of their hardware. Now they need to compete in every segment they can. I understand that the manufacturers consider the sensor size as an indication for pricing/performance. A FF camera will be always priced more and considered better than an APS-C one. Depending the additional features of course, or the lack of them.

I do a few photo jobs per year and that is exactly how I use LR. I have a free standalone version from the NX cameras (yes, they were offering LR for free also!) I own, and I edit every photo on its own. I found the LR controls the easiest to work in the industry. Lumetri is trying to imitate that process but it isn't not even 90% there yet.

Just some random stuff about it https://www.techradar.com/news/canon-eos-90d-new-specs-and-possible-release-date-stoke-the-rumour-mill

Manual focus all the way. I want to have total control of what I do professionaly. I am using the C200 a lot, and certainly AF is not there yet. Even in home videos I regret using AF almost all the time! Maybe with the quality increase in Artificial Intelligence and the various - unlimited - scene recognition algorithms we will have in the future, AF would be just perfect, but I do not believe that will happen any time soon.

I dislike the a6xxx ergonomics big time. I have used the camera a few times because I had to, but it is probably my least favorite ever. We all being there since the 5DmkII "revolution". Rigging such a camera for video work was always a big chunk of our time and our budget, and especially for a BM Pocket (the older one was even "worst", in that matter). I wouldn't treat such a camera as a shoulder cam. It is gimbal/monopod/tripod for me, and when I need to freestyle, or impossible angles, just handheld with a stabilized lens. Putting a camera on our shoulder was a need we had because of the size and weight of the cameras, it is a practical thing. I could be trying this particular setup, it is very well thought and interesting, it just defeats the purpose of a "pocket"/compact video camera.

@drm i am planning to use the P4K with the 12-100 Olympus for r n g situations. Can you comment on the combo? Does the lens's IS help a bit? I see you have issues with the AF..

What price would you call "reasonable" for such a camera? 8.000? 10.000? 12.000? 20.000? Even if you put 2 or 3 of todays cameras together still do not have everything you list above. For years I am saying that the XC10/XC15 is a great form factor to build around, I am glad that more people see that and sad that noone has done it yet, not even Canon, that would be such a perfect design for a C100mkIII.

No, not helpful at all, it is just funny that he went from the smallest camera possible to this complicated creation. I do use the SmallHD 5" which is excellent in my opinion. I try not to use off brands, especially with monitors and tripods.

The guy went from the a6300 to this nightmare of a rig?!

I am 100% fun of the tilt up and down design. You can work high or low and maintain a very good balance to work with. For me that is solved.

I dislike Canon's apathy to offer even the basic video tools on a reasonably priced hybrid for 2019 - so I can not logically invest on any of their bodies, but from a6xxx to FS7mkII the color science is pathetic. Even now, that I was in the market for a new camera, and probably system, decided to keep my NX for another year and buy the P4K as a more specialized video toy, with extra m43 and EF lenses. All in all, close to an 8000€ investment. I could easily choose an A7iii, but it ain't yet right and I can't wait them out forever. I see now that the A7Riv has, again, little ergonomical details improved, I mean, come on, Samsung did it in their FIRST TRY, and Sony has to reach version 8 or 9 to make it right, and we will see until then.. I vote everyone else, except Sony!

These are 2 short and good reads about the Rode NT-SF1. Quite honestly, there is no reason to go for the Ambeo when the Rode is slightly quiter, includes wind protection (saving at least another 150€), and is 500€ cheaper. https://www.atmosphaeres.com/blog/spatial-audio-microphones-self-noise-comparison-4-mics/ https://www.google.com/amp/s/www.soundonsound.com/reviews/rode-nt-sf1%3famp The cheap Zoom also is good for experimenting with simple and not critical tasks.

Man, you are such a tease! ?

Inception, you mean the 360 roll? Is an old trick and a huge "marketing" deal as I have never used that function live. Active tracking and locking Axis are huge differences from the S. I hope we get the active tracking by a firmware update, but the NON locking arms of the S is a pain in the ass.. In the video it says "tested payload 2Kg" which is 1.6Kg less than the S, so this is significant for some. Also do not see a P4K fit easily there for P4K owners. I have to add here, that the design of the Ronin (splits in half when you remove the battery/grip) makes it really easy to tranfer (can fit sideways on a bigger camera backpack) anyway.

Where do you live? The cheapest but very good route, is to go the Zoom F8n and Rode NT-SF1 way. 1930€ from Thomann, and you are set.. I have the Zoom F8 and I am planning to get the Rode sometime this year. I am affraid your questions indicate a lack of basic sound engineering understanding, maybe you should spend some money for education (there are 1-2 years courses all around the world, in every possible country), and then you decide about your equipment.

That is all I am saying since the beginning. One have to increase text size and UI quite a lot - depending the workflow, so you have to make changes, while on a bigger screen you do not. I am not sure about the misconception here but clearly I do find the sweet spot for a 27" media creation monitor the 1440 resolution and for 4K I will go to a bigger one, maybe the LG 32UD99. I am saying the exactly same thing for 5 posts now and I never mentioned image quality or any other aspects. The title of this thread is "New Monitor 32" 4K" in case you haven't scale appropriately your 27" 4K monitors.