Kisaha

I am thinking about the Orca 30 as well. Is this the new model with the detachable front pouch? Will that be good with the 10t, I am wondering! Do such a video!! Tentacles I guess is a safe bet for most people, but for easy stuff, Plural Eyes or sync is post is always cheaper.

Interesting test above. I used the GH5 on a couple of series jobs (demanding TV shows) and I didn't like the ergonomics, menu system, a bit noisier than the NX on low ISO e.t.c Also it seemed like every camera had few issues (one you couldn't turn it off quite often, some issues with batteries, etc that was just before Christmas, I am not sure if they have addressed them with a new firmware update). I loved the 12-100 4f Olympus lens, amazing for run and gun situations, this lens could drag me to the system, of course 4f m43 is nowhere near 2f APS-C, but it starts from 24mm equiv (my favorite focal length!) and goes up to 200mm, which is amazing for a do it all lens (the S goes up 77-78mm equiv. but you have a few focal lengths 24mm until close to 30mm, with 2f, like a bunch of wide and wide-ish primes). My systems I want to consist from 2-3 cameras at least (1 pro body, and 2 others with different form factors, for every day use, and B, C cams on low budget jobs), so I have 4 NX cameras (2 NX1 and NX500 and NX3000) and several lenses, as well as 4 flash guns (which I don't use ever!) and most of the accessories. To move most of that on another system I would need to sell everything, plus my car! I probably stick to my NX system for a lot more than I though, and I am still waiting for the C100mkIII (which I thought it could be the C200, but I do not care much about raw, and it is a little bit expensive for what it is and for my use, without any middle codec in built). As I hybrid system it has everything I need, covers me 100% for photography and the occasional job, as a video camera, I do not even shoot 4K yet (5% per year, it used to be less!) so I believe I start have time to spend with this camera. The only think I miss is a S ultra wide zoom (like the stabilized Fuji 10-22mm) and I wish the 45mm was stabilized for video. Every thing else, I have. Even the fish eye (which I use quite often) is exceptional and a rarity among APS-C systems. IBIS, I do not care (I use monopods, gimbals, tripods anyway) and I am waiting to see the Sony A7siii and what direction Canikon will take with their new mirrorless. So far I haven't seen anything impressive, except the GH5 and GH5s, spec wise, but so many people own them, I could find one any day, if I need 10 bit. Also, my sweet spot is APS-C. I love the S35 aesthetics, it is right for the job (not too much shallow depth of field like full frame and all these gimmicks, but easily reachable on APS-C for specific situations, unlike smaller sensors) and you save a lot on glass (size and weight). I do not really like full frame for a lot of reasons (mostly physics!) but the S35 modes on full frame cameras can ease my negativity. Definitely do nothing before I see the Canonikons. They are still in the top (or close, for Nikon!) after so many decades, for more than one reasons.

..and recently became more "polemic" of their arguments. I remember when we were a mild, peaceful community of farmers - videographers! @sanveerI believe the A7iii is good as it is, but I have to use it first to be more specific. The color science seems a little bit off, and while for people who do a little bit of post it's ok, I see that Sony are behind everyone in the color science department right now, dead last actually. Even Panasonic seems to improve the color science each release, with the GH5s (from what I see online) being the best so far. For the price is perfect as it is, spec wise (and ergonomically I am not 100% sold yet, but they are in the right direction definitely, even for man bags and lady hands!). The different codecs, bits and recording limitations are more important for video orientated cameras such the GH5S and the A7Siii. P.S leave the BBC argument out of it - I am sure BBC is in business more years than us, and they do a lot of things right, because they are the BBC and not Sanveer and Kisaha. I have told people here before, that the BBC and EBU standards are valid and a necessity in the TV industry. I do not believe Sony had BBC and Netflix in mind when they were designing this camera, I do not even know how it came into conversation.

Yes, this is really not cool! Does the GH5s and the new Sony's have the same issue? We can call Canon a lot of names, but such things are mandatory to their serious cameras.

@Matthew Hartman So true! "Education" is a big part of our job, especially if you care for a lasting relationship with a customer. That goes with directors as well, being firstly, and mostly, a sound man, puts me in the place to have to constantly inform them about sound, and try to educate them on the fly, so to make my life easier, my job worthier, and save them some money in the process!

@ParkerInteresting, I trust and respect Audio Technica in general. They produce worthy products for the price. I will give them a look when I have the chance.

Wow! Now I know why the world's economy going to hell and we will have World War III (I bet that happens before the A7sIII is out!) soon. Pro photographers = Dozens of million of people Overweight = probably a couple of billions Underpaid = 4 billions Improvished second class citizens = Half of the world This guy just managed to insult the 3/4 of the total human population on a short paragraph about a Sony camera! Edit: even this comment doesn't worth my "downvote"

If buying used, he can get a 6300 for half of the a6500 money! I know a lot of people that couldn't get rid of their a6300's after the a6500 release. Most people bought them new, which cost close to 1500euros back then (insane money) because they got "a mini A7s".

@Matthew Hartman haha! no it's not, it's all about 20 stops of dynamic range, 9 axis IBIS and millions of ISO! By the way, a simple ND filter on a window, it costs a few dozen dollars (re-usable of course), and saves you a few thousands dollars of lighting equipment. When I was really young, and starting in the business I covered hundreds of windows with ND filters (and black curtains)! Of,course I do not expect @Mark Romero 2 to spend 20 hours to cover everything with ND filter, and if you have 20 and 30 minutes, don't worry about the dynamic range, just go there with your gimbal and shoot everything you can! But the difference sometimes, is not the cameras or the equipment, nor the budget, but time. If you can't take the time (or talk your customers to give you the time), then maybe you can't do it. Certainly not in 30 minutes. But do not worry, if they do not give you the time, then they do not care!

@Parker I paid 30% more (of the normal price) in Euro money, and I said "thank you very much"! Be glad you have the lowest prices in most goods, over there! It seems that you have the same experiences with the G3's, when I started doing sound professionally 20 years ago (19, to be precise!) all you needed were a few G3s, I saw that change a lot through the years, and the population density. Now, for me, the G3' s are almost unusable. What is your experience with the Audio Technica? The price was tempting here as well (nowhere close the 250$ price tag though!), and I do consider a couple of sets of fully digital ones, the others are the AVX, which brings us to... @scotchtape the AVX works on a completely different frequency range (unlike the rest that work in the too busy 2.4GHz one), so that makes them unique, also has a similar to "neverclip" technology (just paid 5c to Zaxcom!), which is not good for us -dedicated sound men- but perfect for cameramen and one man band shows! It is not exactly auto gain, which is a good thing! The high price (10-20% more than a set of Sony's) and proprietary batterys make me skeptical. When you edit, do you have to compensate for the 19ms dealy? Do you have to "synch", even this little bit?

In the old days, we were using lights for indoor shots, and put ND filters in most critically positioned windows! And there was a crew, also.

Yes, you are shy with your Sony recommendations! If I could summarize the above post (about the extra tech of Sonys) is that they are true diversity, which is a feature that you can find on a lot more expensive sets and it is very difficult to loose signal (if you are in range). Another think that I love, is when you have drop outs, you just loose signal altogether (or periodically, depends), which is far better than the extreme digital noise of the Sennheisers! Maybe some will be usable, or drops out for just a sec, or you are moving closer to your Tx and you can save the rest of the take (we are talking about documentary, road show stuff, not feature films of course!), but with the Sennheisers, I usually have to cut the scene (or whatever we shoot), and that is worst! Yes, I am talking about bag use, but sometimes on some very wide shots on a TV show recently, I was starting to have issues (they were using an Olympus fish eye lens), but anyway, you can walk closer to your subject! we are talking about dead cheap sets, I am surprised they work that good! The price on Β&Η is a completely steel.

@mkabi obviously I was referring to the video just above my reply. https://www.youtube.com/watch?v=E1loVVla6Vs it is the same as webrunner5 posted, so no need to watch that again people, just to make it perfectly clear for mkabi.

The difference is huge for me, we have talked about it before, but the hybrid tech of the Sony's have saved me a lot of stress and difficulties on the field. With the Senny's I had to search for frequencies in between takes, all the time. They are not even close, and the new G4 are one and the same https://nofilmschool.com/2018/02/sennheiser-updates-evolution-wireless-next-generation-g4 (so glad about this, I just purchased another 3 sets of Sony, together with the others we have in the company, we have 9 sets!). For us in the low-middle budget, that we may need 5-7 kits on some jobs, the Sony's are saviours. They do not have the distance though. The sound difference is non existent.

honestly, I do not see huge differences in color science.

@pszilard The recording limit is there because of the overheating, not any European law, that is why without the grip it does half the recording time (there is not tax for more than 10 minutes video recording!). Fuji uses the similar Sony sensors that is well known and documented that overheat quite a lot (look at a6XXX issues with overheating and "do not touch the camera" warnings and the such). "it only lets you record up to 10 minutes at once -- unless you have that external grip. The company claims it made that decision in order to keep the camera from overheating"* Interesting (Velbon-)Octopus setup there! Definitely you do not do a lot of run and gun stuff! Enjoy your buying. (* = https://www.engadget.com/2016/10/06/fujifilm-x-t2-review/)

Just grab one of the Mix Pre's, and spend the rest of the Sonosax money on a real sound engineer. The analog circuitry of the Mix Pres is unheard for that price point. Zaxcom has a technology they call Neverclips (they probably just charged me, just mentioning the name here!) that works very good, but the whole thing is too much in my opinion if you are not a dedicated sound engineer.

I don't have any cows, CIPA statistics are very easy to read and comprehend, and since the peak a lot of things happened, Goldman Sachs happened, the political climate has changed through out the world, Brexit happened (is happening right now, actually), and now mobile phones have good enough quality to - as Casey Neistat calls them - Casual As F$%# users take a few snapshots per day. Why to stop arguing? If the A7 bodies were good as they were, Sony wouldn't change them, right? And I can not see how you fail to realize that a Panasonic 12-35mm m43 is 2.66x2.91" (67.6x73.8) and 305gr, an APS-C Fuji 16-55 is 3.28x4.17"(83.3x106mm) and 655g and the Sony 24-70 is 3.45x5.35" (87.6x136mm) and 886g. Don't you think it could problematic using a full frame workhorse lens, on a m43 body for 5-10 hours per working day? Do you think the market for an A7Riii + 24-70mm = 5800euros in my country, is targeting the entry level market and casual users?

@Robert Collins Did you even read the CIPA numbers that you posted? ILC sell around 12.000.000 per year, and stabilizing greatly. what is declining is the cheap compact camera market, which honestly this segment is better with their mobile phones. The older A7 cameras were terrible for pro use, using full frame workhorse zooms, terrible battery etc the new designs are is the right direction. Stop confusing m43, APS-C and full frame ergonomics. The lenses are very different in weight and size.

The lag was huge, even in the prototypes, and for android only of course. Mobile phone screens are cheap as chips right now (even 150$ phones have good enough screen for monitoring purposes) but the rest are more demanding and I guess that is the reason you do not see a Feelworld with a 2K Amoled for 199$. Even if you have a 4K amoled screen, it would be near impossible to drive it with a 100$ device (like the Lukilink would obviously cost). Also, it is different to use your 3000mAh, phone's battery - which almost all of the times is non replaceable, than good old F960 or 770 batteries. Also, you can't use a power bank, because the only I/O of the phone would be dedicated to the Lukilink connection (there was a constant need for another port on the device, so one could charge the phone simultaneously, but that never answeared back, and it was never in the early product's specs, to be honest). The idea was brilliant though, I am wondering why none of the Chinese companies do not try to do a thing like this, it could be an instant ebay hit.

The 1300D kit with the Canon EF-S 18-55 DC III lens, the Canon EG100 bag and a 16GB SD card costs 325-350euros over here (all the shops selling this kit, and the country has one of the highest VAT numbers in Europe). It has everything the 40000 has, plus a larger more detailed screen (Gordon Laing's words, not mine), metal mount, better build quality (also the usual Canon lettering and symbols on the buttons) and NFC. Everything else spec wise is the same, and the 40000D will launch for 380 euros body only (https://camerajabber.com/canon-eos-4000d-rebel-t100-price-specs-release-date-confirmed/) and 430euros with the same lens (without the bag and card obvisouly). I will gladly pay less and get a better camera, + a lens, + a bag (it's free, why not) and a 16GB SD card. This thread has nothing to do with Canon, this camera sucks big time. The fact that people trying to win the "argument" shows more about the man than the camera itself, or Canon for that matter. Edit: I gave my niece a Canon compact I had around when she became 5 years old, when she became 8, I gave her a Fuji bridge camera (full manual control and all), next one, probably would be a small mirrorless, I have plenty over here, but not yet, the whole concept of having a system is a bit too much for kids, I do not understand how a 5-8 years old kid, or 9 or 10 (then we are talking about pre teen and teen years, which is a whole other deal) can cope with having/owing/using a whole photographic system with a bag with lenses e.t.c In the beginning, she was just using it. Later on we talked a little about the frame and discussed some of her pictures. Then she learn how to charge the camera (from USB) and how to insert the SD card and save the files on the computer. I am not sure she is ready to talk about shutter speeds and equivalence yet!

Virtual violence is the last resort for people with no arguments.

@Mattias BurlingI feel the same about Canon, but not this one. I will add another camera to a dozen we have already mention being a better buy. The 1300D kit with the Canon EG100 bag and a 16GB SD card costs 325-350euros over here (all the shops selling this kit, and the country has one of the highest VAT numbers in Europe), and it has everything the 40000 has, plus a larger more detailed screen (Gordon Laing's words, not mine), metal mount, better build quality (also the usual Canon lettering and symbols on the buttons) and NFC. Everything else spec wise is the same, and the 40000D will launch for 380 euros body only. I will gladly pay less and get a better camera, + a lens, + a bag (it's free, why not) and a 16GB SD card. From whatever angle, it doesn't cut it. This should have been a 199$ release, so more people in India and China buy Eos cameras. A 380euros body only camera is not cheap for India.

Kai says a couple of things about the 4000000 in the beginning of this video. Definitely 18mgpxls/plastic mount/no green paint!

Even the android version shown, used an already existed device with huge lag. I am not sure if they seriously trying to do anything. They promised that the final product would be out a week ago, and of course it didn't happen! I am not sure what's the deal, seems like too much effort from eponymous professionals to try to scam 80.000euros, even among 4 of them is just 20.000euros each. Certainly a lot of money, but not enough to pass to the other side! You have to support innovation some times, the cost wasn't huge, around 100$. In no way that would be a substitute for a real and proper monitor, I have expressed about the monitor thing excessively here, you can't cut cost on monitors and tripods, but it could be cool to have the ability for a second, or backup one.