Kisaha

There is a new generation of hybrid lenses that are possible only now, that AF systems are getting really good. Have you not use a Dual Pixel AF capable C camera before? https://www.usa.canon.com/internet/portal/us/home/products/details/lenses/cinema/compact-servo/compact-servo-18-80mm-t4-4-ef @Django Ofcourse! I just mentioned the fact! @IronFilm This is posted not a few posts back. You are not paying attention!

@Django and the video I posted above is the making off. Worth saying that this is a 40 persons production

This is the Soderbergh film?! It reminds me some horror flicks we did in film school! The picture is pretty similar too, we used to use Canon (XM2?) camcorders!

haha! no more reactions since last night, but I noticed that some people still use the good ol' Arri blue lights! We are moving to a different category of video cameras, that have to be rigged for full work, of course can be used bare for smaller periods of time but my GH5 experience, lightly rigged, is a pain to hold for a full working day. That Fuji has increased size and weight too. Even my NX1 which is a good 200gr less than GH5, it has to be on a monopod for bigger working days. In this video, the silly Japanese are using all kinds of mounting and stabilized accessories (tripods, those with 3 legs, cranes, DJI gimbals, etc). The Japanese used to be die hard traditionalists though, maybe they will stick to those kind of relics for longer. I like the new Fuji with the Fuji lenses, seriously, if those lenses were AF, I would consider the package. My other thought for a long time now, is a C camera with the 18-80 lens., that set up is still unbeatable for ease of use, speed and fast turn around times. Add the extra weight/size, "big" hybrid lenses, Atomos recorder, battery grip (which that too seems quite bulky), matte box with extra nice filters, then you add a considerable amount of money, and load to carry in each location. I am glad they are doing the right things, I am not sure if those are enough.

But... there is a film production in UK, in other countries the film production (I mean features) are counted on fingers. Hand fingers.

that is how you make it look good!

Absolutely right, that is a new thing, social media content. That is happening in Canada for a few good years now. Unfortunately, here, anyone with an iPhone will do. I have spoken to companies with thousands of euros profit, to millions, and all have the same response "we shoot our media with our phones". One of the greatest agricultural exporting company, the "boss" does his own videos and edit them through a phone app! and no, they are not good. I mean, they are really really bad! Old minds do not die fast enough it seems. @IronFilm There are no specialists. Most people (in business) believe that IBIS can replace an assistant, AF a second one (focus puller), high ISO capabilities a gaffer (probably an electrician and a couple other specialists too), and a Rode shotgun and/or a lapel the sound man (true story, I have told that here before). Also, the same person probably will edit, do color, sound desing/mixing, do the dvd or blue ray case, print everything, etc

I assumed that a Brit in Alicante could be having one too many drinks, too often! I forgot things myself all the time, but my camera bags are big, difficult to hide them! I am glad there was a happy ending to your - almost - tragedy! I see that new A7sii go for less than 2000 on Ebay (European seller). There should be an imminent A7siii release that will bring the prices further down, but 1900euros for a new A7sII is a bargain already. You paid more for your GH5/speedbooster.

I would never risk to loose my equipment to drink! and I did a lot of pub crawling in my time, in Midlands, the greater Manchester area, and Edinburgh! But when I had equipment with me, I never lost control, and in times I was carrying 2-3 cameras early in the morning in dodgy streets after really crazy parties and events. Congratulations for your find though, that would be the best day of your life, for sure! If you sell the GH5/booster and the a6000 I am 80% positive that you could find a used Sii.

When I left the country to study (and work eventually) abroad, there were 46 drama series the next year and uncountable documentary ones (that was the peak, in 2005-2006 I believe). After 5-6 years that I returned, were something like 4 drama series (could have been less), then a year later the whole national TV group closed (it is traditionally the biggest documentary buyer here) and most of the advertising agencies closed without paying our salaries. Before that, I was only working in TV series and films (a few features and short ones), but suddenly the market collapsed completely, so I started slowly to do other things too (performances, the occasional event), smaller jobs, less paid, but manage to survive. Most of the people from the "Golden Age" of the 90's and early 00's have already change their line of work. Now the situation isn't any better, the collapse brought young people willing to work for almost 3-5 times less of what I ask, and depending the job, I have to say no more times than not. Exhausting work days (12-15 hours) and impossible requests are the norm, while the salaries are going down and down. I believe basic video knowledge will be mandatory from a young age, that doesn't mean professionals will vanish. I do not see a lot of people having their weddings shot only by their friends iPhones, and when the budget counts, you need pro people that can do the pro stuff. The market is changing though, and equipment plays a major role of what we do and are. Sound is something that amateurs can't control easily, it takes a lot of experience, and not much reading (after a certain level of knowledge), light too. Additional equipment is another thing. Unlimited ISO performance, IBIS and a Rode microphone on top is not what makes a pro.

60D was a camera a did a lot of projects back in the day. Unfortunately the 80 is out of this place - on a very negative way. Even for amateurs, a new-ish Eos M would be a better choice for some reasons.

At least you are going to survive a few centuries more. Here things are not very optimistic!

No, I didn't pay attention because I had a whole C300mkII to set up and pull razor thin focus with Zeiss primes! They were black, used, and abused! They had gaffer tape all over them, and just before the final scenes, in front of the Acropolis (the cradle of civilization!) that we had a special and hard earned license to shoot, there were interferences (always in the worst possible time), and by the way, the place there is an archaeological site, without houses/tall building/etc near by. We were trying to catch the sunset, and you know in those circumstances the sun falls quick. I really sympathized with them. Of course we were only a small group of people (10 persons in set) and the director was something like 75 years old and the sound man 60, so they knew each other for decades, but I wouldn't like to be me, on a full set with dozens of people, and a director I do not know personally. Edit: I can't keep up with you! I am sure you are posting in 24 other forums the same time; while you are drinking a cup of tea! There was an option in Europe, the aforementioned receiver with 2 Tx and the same mic, or another, so called, Pro version, with additional and better Sony mics (you get the cheap ones AND the expensive ones). The first version was something like 200 euros more, a completely insignificant price to pay, if I believed that it could do the job. So, no. The cost had nothing to do with it. Hell, even buying a couple of AVX would be similar money. The problem was, in my original wish list, the 2ch Rx with 2Tx from Wisycom would be this http://www.pinknoise-systems.co.uk/wisycom-mcr42s3-mega-bundle-incl-rx-2x-tx-2x-mics-cable-set.html That is what I call price difference, in plain Mediterranean logic! I have to go to edit some. Coming back to reply to your 162 new posts in a few hours!

Haha! Indeed! In true NZ logic, that is true! In pure Mediterranean logic, there is no way for someone getting any salary under the top, to really afford anything like that. Maybe in NZ going middle to top, is enough (like most other civilized countries), but here, is a different part of the world! Remember, the costs are proportional, I mean, you have the Deity to drive through your Sonosax? That would be blasphemy! I seriously consider buying the MKH50 and the 10T, and call it a day, I mean, call it a few good years!

I am not sure what I do not believe anything, I know that G3 have become almost unworkable in city environments, or you have to search for frequencies every time, and the Sony, can be workable for a full straight week without even changing ch, and that recently on a documentary I was focus puller, the sound man used some old Lectros and they had huge problems with interference, putting the receivers on a chair, and was going closer to the transmitter to achieve better signal. I wouldn't like to do that on a professional set (he is one of the most prominent professionals here too, very good and experienced, just with older equipment). The wave spectrum isn't what it used to be 20 years ago when I started working professionally in sound. I guess NZ has the least urbanization compared to Europe and U.S probably. Here, 90% of the job is done is overpopulated city scapes. The 2 ch Sony is dead cheap, I do not understand with "Expensive", if you do not care about true diversity, then it is almost the same price as having 2 regular ones. I explained why they are "dead cheap" in my opinion. I spend almost the same money for 3 sets just before Xmas, I would happily buying one of those, but it wasn't an option for me. Experiences vary! The true diversity hybrid technology of Sony's are the only factor for me, if the G3 work good, and you have found a good frequency and ch, then the distance you can go is unbelievable for such a cheap and old kit. Sony's are workable a few (or a lot, depends) times less in distance. Also that you do not have to open the port to access the buttons, that is so silly of Sennheiser!

The price difference between those two, an hypothetical F4 competitor from Tascam/Marantz, and the new SD 600 series with wireless capabilities on board, would be something like 6.000NZ$! One will (or has to) be close to 600euros territory, and the other near 7,000 probably! To get a feeling about price differences in US and in this EU country that I live, MixPre 6 is 1338euros (2260NZ$) and in US it is 899$ (1230NZ$). You get the point. Zaxcom is even more exotic, I asked once the local dealer and he mentioned some astronomical prices, and a few months waiting for delivery.

No, no, no! the Sony is NOT true diversity 2ch! It has 2 antennas, if you have one ch (like regular Sony's) then you have true diversity, it means that if you lost signal on one ant, the other steps in, that is so fast that is non comprehensible, that is why we believe that the Sony's are the best low cost option. When you have 2 ch on this Rx, then each ch has one ant. So if the signal is lost, is gone! I wouldn't dare to using like these for serious, pro sound work, that is why I have banned the G3s for a few years now. That is probably acceptable for camera people, or non critical sound applications, or else I would have bought 2 of those already, and set up a nice 4 ch bag!

I thought you said your next recorder will be a SD 600 series one I would like to see a response to the cheap SD series though.

Hope you make it, if they incorporated wireless build in would be close to the 10.000euro range for 4 XLR inputs. In Europe Zaxcom is very expensive. Even Sound Devices is a lot more expensive than US. I do not follow NZ prices, and here ordering from US is not an option (taxes+custom fees).

I am not familiar with the 44/22, seemed more like gimmicks than real sturdy products. DR-100mkII and III are tough professional 2ch recorders. The number of inputs are irrelevant with their price, quality and functions. I own the mkII and I would like to upgrade to the III, but the differences are not that great. Only real differences of significance is the safety track, which the mkII doesn't have, slightly better pre amps and I remember the III had a couple of things worst than mkII. The DR100 series always incorporated the best Tascam pre amplifiers, and the internal battery is a game changer for continuous recordings I do on documentaries and shows that need two Phantom powered mics running continuously for maybe 60-80minutes. I have 2 internal batteries, I could go with those for a full day without even using any AAs. The gain rotating dial at the side is ace too. @Don Kotlosit isn't VERY small, but it pro grade construction and sound quality. A little bit to the expensive side also. Together with this https://www.bhphotovideo.com/c/product/1115081-REG/sachtler_sn615_portable_digital_recorder_pouch.html (I have the Petrol version, same thing) is super portable and can boom and adjust gain the same time (though needs some experience for this!). At the moment Tascam is no real competition to the F4/F8, but under those and in the entry level segment, Tascam is still king. Even without color screens.

That's what I'm talking about; bring in the future! We need a serious push in technology. Organic sensors, graphene chips and batteries!

Yes, indeed. Obviously they go after Zaxcom, which is one stop shop for professionals. Go to Zaxcom, buy everything you need, pay a significant premium for the convenience. The next generation of SD will be very interesting, I am not sure how accessible would be to low sound incomers like us! For bigger markets, they could provide good alternative to Zaxcom, or Lectrosonics wireless. Usually now top professionals go Zaxcom, or SD and Lectros option, SD will try to cut sales from both. To be honest, it does only make sense to have all the control you need from a single device, recorder/wireless controller of everything.

2.4GHz is probably the most used frequency right now. Even radio toys use this frequency. Even though its digital and works differently than analogue connection, I wouldn't say that it is trouble free, as people (also friends) have mentioned issues with wi fi signals and the such. Sennheiser in AVX took a completely different frequency (1.9 MHz I believe) and must be better utilized for camera people. The 706 doesn't seem like a good ol' robust Marantz. I used to use the older ones back in the day, and it was either Marantz or Edirol 44 back then. That 750 reminds me a bit of the Audio Technica wireless (not in design), it seems like they have a new approach, targeting low budget, rather than mid to high. I haven't use any of those of course, the 706 do not care, and the wireless maybe it is interesting, I would like to have such a cheap system, just as backup to my Sony's for whatever reason. It seems also big and bulky https://www.zorrosounds.com/marantz-professional-pmd-750-2-4ghz-camera-mount-wireless-system , even though in the description it says the opposite! The form factor of the TX seems odd, too. Also the 2 ch function, I am sceptical, as we know, 2ch true diversity receivers, the high end of our industry, start from 2000euros and go up north really fast, and that price is for only the receiver, how good can a 400euro (together with the 2nd TX and 2nd mic!) be? I wouldn't expect such a revolution to happen so cheap.

@DaveAltizer Tascam all the way! Until the F series, Zoom wasn't even close to Tascam, especially for our line of work. I have used 4 such, small Tascam's through the years, and never had any problem. I would take the smaller size and weight anytime, for the job, or else I would be using a DR100mkII or III if I wanted anything bigger (and XLR). If the F1 had an XLR connection on the same size and weight, that would be a different story.

At least Red will put it inside an exotic rock. Apple charges 2-5 times more than other manufacturers (e.g the S8 is half the price here) using exactly the same terrestrial materials, with worst SAR numbers (X Vs S8 / 0.87 Vs 0.315 Head), heavier and bigger designs than most (X Vs S8 / Dimensions 70.9×143.6×7.7 mm Vs 68.1×148.9x8 mm/ Weight 174g Vs 155g).