Kisaha

I was just happy seeing an update, it seems there are a lot of issues, and not clear answers yet. Let's see what May will bring..

https://www.kickstarter.com/projects/220205692/lukilink/posts/2165567 Seems legit!

What?! Of course not! I have more than a dozen primes of various systems. We could talk for ages about different focal lengths, f stops, mounts and all. @anonim I have 4 NX cameras for situations like these, but that are mostly for personal projects and low budget work, for all the rest, that isn't an option. Imagine having to rent and use 2 Alexas, or Red cameras, or even 2 C300mkII with the appropriate rigging and technicians.

Which again is unknown, we don't even know the pricing and contents (of the box) exactly and we can't even use or test, or anyone else, and ambisonic mics aren't a big market yet - especially in video, most 360/Vr consumer footage is from small "action" cams which will cost half, or 1/3 of the price of the Rode, and anyone having a proper rig of cameras definitely will spend the maximum amount of money for the right sound (probably will use a lot of Schoeps mics, or something from DPA or Sound Field itself). As of the F8N, or whatever its called, the official announcement talks about minor improvements that 1) people owing the previous version most probably won't upgrade, 2) people set their hearts - and money, on the MixPre series, definitely will not change their minds. When the F series announcement, it was a major thing for the industry, mixpres as well, even Rode wireless system was huge back then, for the quality vs price ratio and did things unheard for the price range (and still does), I didn't see any major/groundbreaking/revolutionary, or great announcement here. A top recorder (with middle price) from Tascam, a mini ambisonic Sennheiser mic as small as to put on a GoPro type camera, a "cheaper" Sonosax? The new 633? Something! Ok, the Rode ambisonic, that is good, but that's it. That is my sense anyway!

2 words. Mack Weldon! Oh, sorry, I meant Windows/Android

It is not "crazy", it is the most common situation, at least in my field. Current corporate job, we have the common trio of EF lenses (18-200) and I have to change a lot of dozens of times per working day and that is the least of my concerns. We have a car full of equipment and just 1 (me) and a half (DoP) people to do all the carrying, setting up, sound, using the cameras e.t.c same story in TV, and documentaries, live events e.t.c Directors and producers do not carry anything -hardly themselves, and have no clue what focal length they want, so better to have a couple of zooms, instead of 5 primes! I seriously looking forward to have a camera and 2 lenses combo for my next setup, hopefully parfocal with AF and a zoom rocker, not see it happen though.

Where are those from? Link? What is the mount? Can't really see an adapter there (I am on mobile though). That is the exact opposite of pocketable, but I am expecting most people to use a similar setup. If anyone do not care for AF, a 18-55+Pocket4K combo is 1/3 of the money of a C200+18-80 in my country. Would rather have the second one, but for the money difference and versality, the first one does make a lot more sense.

Don't known what you mean, but mu nieces can't stop drawing with one of those http://www.expertreviews.co.uk/lenovo/1405290/lenovo-yoga-book-review I searched around and got the Android version for 350€. I wouldn't bother with the Windows version, as the hardware doesn't seem sufficient for that, but the android is ok. Check it out.

Does it?

Ha! no, worries, just imagine how we feel when we pay the prices here. 1.295USD is 1.050euros by the way, so you get the point, it is even worst! That applies to Japanese and Korean products too, much more expensive in Europe, Chinese are similar I guess.

No product can have the same price regardless. There are too many variables, and mostly taxes. For consumer electronic products, maybe U.S is the best place to buy, always was. You should live in Europe, to taste the sour taste of extra taxes, very expensive V.A.T (24% in my country), and some E.U premium, just because..

I seriously do not get all the usual "GH5 vs Pocket 4K", or "X-T2 vs A7Rii" and the rest. That shows that people do not do their homework, do not know themselves, do not exactly know what they really want to do with their cameras and their lives! How is the Pocket 4K relevant to the A7iii?! Someone that needs (or wants to do) RAW stuff with a manual lens or a small m43 one, is split between this, and the A7iii and its Eye AF and full frame lenses?! I do not get it, really.

Haha! I couldn't live with so much stress, you are obviously a testosterone-junky doing all that behind your wife's back! I live in Greece and the official importer has it for 1.380euros, there are 4 more re-sellers here, and the cheapest price is the one I mentioned above. I am buying a lot of stuff from the Netherlands, got some friends in Utrecht and Amsterdam as well, most favorite country for sure! Which shops did you pre-order from? @andrgl I am sure a lot of people in the company push a 1.499$ price, and that would still be a steal! How they can do it for so cheap?

The local official dealer here announced official pricing for the Pocket 4K, 1.082euros+ VAT = 1.342euros!!! To put that in perspective, GH5 is 1.950 euros (yes, still, it sells so good here, that no one has to decrease the price greatly ), GH5S is 2.500euros, Sony A7iii is 2.300euros, a6500 is 1400euros, e.t.c I am serious tempted to pre order, should I just brake character and go with the flow?! I seriously believe that the camera can be more expensive in the future, I am not sure BM people did the costing right!

The slightly better F8, a firmware update from SD and a new mic from Rode do you mean? I am not sure how many here are interested in those two, I am not, and maybe the others care can be number in my left hand's fingers.

Those Kashmir pre amps by Sound Devices (all the pre amps included in the MixPre recorders series) are consider the best in business for such cheap machines. In reality, in forums and elsewhere, professionals are hard to say if it is a mixpre6 or a 633, the differences are minimal, if any. Realistically, for most people, a MixPre3 is sufficient, and does have a lot of tricks in its sleeve (audiio interface/touch screen/usb c), and can be mounted on (under, to be precise!) camera and solve some issues with hybrid/dSLRs, or even cameramen that want to up their game sound-wise. Now, if you want a independent dedicated pre - amplifier, that is a whole new level of conversation, they are literally infinite, and even your local - sound loving - electrician can make a hand made one. There are also some mic and instrument pre amplifiers with valves or digital profiles that mimic mics and instruments of the past. Even Behringer have some interesting and cheap similar products.

They forgot to mention the FS5mkII Except Black Magic, Atomos V and EZ, nothing much, really.. Where were all the big traditional names? Even JVC doesn't produce anything as of late. The LS300 was a good first try on the budget domain. Not much in sound either, DJI showed another Ronin S prototype. hm..

Congrats! As I said above, a MixPre (probably the 6) would be sufficient probably, but if you have the dough, then, well done! The H6 and the SD633 are not even close, price-wise, so I wouldn't expect to be in quality of sound and features either! Canon pre amps are some of the worst in business (in their dSLRs). What mic did you use?

Seriously, you must be the one and only. I did a moderate estimation of everything I needed to be productive with the Ursa Mini Pro, and I reached 9000 euros. As a hobbyist maybe you can get away with 7500-8000 euros, but still this is quite a substantial amount of money. What do you do with this camera then? I assume that an a6300 is sufficient for most hobbyists, but... ...there are no DOP's with an a6300 as their main camera (or second), and no serious DoP would say something stupid like this, except if you mean 20 years old film school students that declare "DoP", "director", "screen writer" after starting the second semester of film school - I have met tons of those, most of them never made it in the industry.

Some Canon sauce, always makes our things yummy-ier! C100mkII, I call the best worst codec ever, 35mbps ONLY. It would be great to rent the C200, I am sure you will love it. I was looking forward for the project I am doing now, because the producer wanted a C200, but finally they couldn't excuse the big difference in rental, and most stuff plays on youtube or in HD screens anyway. Max is a weddimg filmaker. Good guy, but I am not even sure if he has ever done, even a corporate. The guy I am doing camera for right now, is a DP since 1989 (10 years before I started my career), I bet he knows a bit or two more, than a lot of internet personas!

In my country, the specific market is covered by Ursa's, and I am hearing that there are a few EVA's bought by the 2 main rental houses (the market is so small, that we only have 3-4 rentals!), and a lot of people are covered by the GH5 anyway. It is a tough sell. Those rental houses usually rent the C300mkII with similar money. I know only one C200 working well here, and it goes as a combo with the DP that owns it. It is very expensive here, 9-10.000€ includong VAT, while the UMP and EVA are 2-2500€ less. That's a lot of money. In my case raw is such a distant need that only if I could get it for really cheap (aka Pocket 4K!) I would care. To do a small project or short is much cheaper and easier to rent a camera. The C200/300 goes to something like 200€ for 3 days (including 2-3 batteries and some media) and they usually throw in a lens or a tripod, or something as a present. The C100mkII for the current job is 115€ for 4 days (in reality for 5 because Sunday doesn't count) plus a tripod, 3 batteries, 2 SD cards, a 35mm. If you do small projects its better to rent I guess.

I was the one! Yeah, no worries, life in the south is easy. Befriend some nice people, move with them/he/she and do a few jobs with the said equipment. If you had the same financial issues in London or New York you would be doomed!

100%! ..and then hobbyists can not afford a C200 ecosystem and top pros have access to bigger budgets and better cameras! No man's land, really. These days I am working with a C100mkII, the previous job with a C300mkII, where is the C200 fits in this? It certainly is expensive as an entry 4K C series camera, and the 4K isn't a nessecity yet. Where is the C100mkIII?!

It isn't only the bitrate, the sensor is just too small for more serious stuff. Maybe that new Sony with the 1" sensor worth a look. In live events and whenever I want similar aesthitics (I do not do extreme sports though) I use a small/entry level mirrorless with a real fish eye lens. Even thought the camera isn't great, the output is much better, coming from an APS-C sensor and "real" glass. The problem with GoPro is that other companys make similar cameras for 1/3, or less, money. They were always priced very high, in my opinion, and then they had that drone fiasco, that was the last drop certainly.

Hahaha! That's a good one!