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Australian Image (Ray)

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Everything posted by Australian Image (Ray)

  1. I came here to gather knowledge. Asking questions, positing ideas, challenging views is how one gains knowledge. Simply accepting what doesn't sound right is not gaining knowledge, it's just succumbing to group think. I'm not trying to insult you, but neither are you trying to see my point of view. I have differing views and differing perspectives, but clearly that's not acceptable, so I bid you all adieu. 'So Long, and Thanks for All the Fish'
  2. You asked: 'Why don’t we see more ENG/EFP form factor digital cinema cameras?' Yet you're not prepared to discuss potential reasons put forward by readers. Maybe those reasons put forward are why you don't see digital cameras in such form-factors. But if you already know the answer to your question, why ask it? This has been like putting forward ideas at an Old Boy's Club, with the typical close-minded views that are all too common in Old Boy's Clubs. Is this forum an Old Boy's Club, where certain people just have to shut up and listen to their so-called elders? Then better to just let the Old Boys get old and retire while they reminisce about the good old days and their 'real' cameras and now broken bodies.
  3. Don't give up, just debate what I said in my first post. Don't get wrapped around the axles over my second post (even though it's mostly true in practical terms). Why don’t we see more ENG/EFP form factor digital cinema cameras? Because the market doesn't want them. Pick your reasons why the market doesn't want them, but if they were likely to be popular, they would be available. Even in this thread people ostensibly agree with what I have said, yet I seem to be the target of ongoing vitriol.
  4. I never said I'd used ENG cameras, my reference to stills cameras was in response to your assumption that I know nothing about how camera weight assists in stability. The physics apply in stills photography as they do in video. I'm not digging a hole, you are lobbing grenades, being obnoxious and making personal attacks. Had you responded in a more affable manner, debating my points, rather than calling me ignorant, I would have done so in return. But since you decided to go on the attack, I returned fire. You can continue the attacks and I will continue to return fire, make no mistake about that. I am not one to back down simply because one person insists that I do so. The comments that I made at the beginning still stand and no one has yet provided any evidence to refute them.
  5. I think you may be of the mind set where 'this is the way we've always done it' and therefore nothing else will be considered. The times they are a changing. It's not simply cost, but that's a major factor whether you're an independent or a company. Why is the RED Komodo so popular one may ponder? Cost, form-factor, size, weight, functionality, options available, accessories available etc. You appear to assume a lot from what I've said regarding my knowledge of camera gear. When it comes to stills photography, I've shot with every conceivable camera type from large format to very small point and shoot cameras. So I have a pretty good idea of what size and weight means when it comes to hand holding a camera and keeping things steady. My current run & gun rig weighs 4.1kg, something that many baulk at as being way too heavy, and I stick that on my Crane 3s which brings the total weight up to 8.3kg. My earlier rig weight 9.1kg on it's own. 4.1kg is just about right. Try placing your ENG camera from your shoulder onto a gimbal, then a slider or maybe a car rig. I think that you'll find the versatility I spoke of isn't so applicable to the photo I posted. And you are using that old argument from authority basis: I think that you are wrong. And why don’t we see more ENG/EFP form factor digital cinema cameras? Because the manufacturers are right. And in case you don't think I have any idea about cinema cameras etc, here's my latest and most favourite: https://www.youtube.com/watch?v=LC_boIGYPY8.
  6. You only fixated on my second comment about shoulder use, not my first comment that covered more important issues. If I'm empirically wrong, then 'Why don’t we see more ENG/EFP form factor digital cinema cameras?' I guess all the comments in the article itself, where they more or less reflect what I've noted, are empirically wrong as well. This photo already tells the vast majority of people that ENG cameras are not for them, for the reasons I stated: Yes, I'm well aware that you can do waist level shots, low level shots, over the head 'Hail Mary' shots etc with an ENG camera, but how many buy one with all of that in mind? Perhaps these people are also empirically wrong? And one should never dismiss an outside point of view; sometimes these can highlight the obvious that is often missed.
  7. Someone opened the box. I'm not a trained mechanic, nor a trained IT specialist, nor a trained chef, nor a trained metal worker, nor a trained carpenter (to list a few things). However, I've worked in all of those fields (for want of a better word) and have experience in cars, IT, cooking, metal working, carpentry. I'm a professionally trained photographer. I've worked in the news media. I'm now very interested in documentary video and so have looked into every nook and cranny available learning about the field. I think there's a vast difference between someone who has hands on skills in any profession/trade, or an amateur with intense interest, making comment on something closely or directly related to those skills, to someone who has never laid a hand or had any interest in such things. For example, are you one to deny some of the most surprising astronomical discoveries, made by amateur astronomers, because they weren't professionals in their field? You don't always have to be a trained professional in any field to make valid observational comment about aspects of that field. More often than not, experts become so narrow-minded, lost in a bubble, that they can no longer see beyond what they believe to be their world and their truths. Call me the small boy who cried out... "But the Emperor has no clothes!" I just wanted to add. I have a friend who is the general manager of a helicopter company and while he doesn't have a pilot license, he can tell you just about anything about 'the attributes or short comings of various models'.
  8. Experience comes for observation. It's what I've observed. When the only thing that you see and hear about ENG cameras is shoulder mount applications, what other deduction is one to make? I recently read this comment: In fact, the entire article is about shoulder mounting. If these cameras are so versatile in all manner of applications, why isn't this more broadly discussed? Not just in one article, but everywhere? Perhaps buyers and manufacturers are also of the opinion that ENG 'style' cameras are purely for shoulder mount applications, given that it's the only application that's ever discussed, and examples of other uses are hard to find. I shall now get back in my box, close the lid, and hope that 2021 is a better year than the last.
  9. It was an observation that I've made from what I've seen over many years in predominantly outdoor situations. That said, every discussion that I've seen/read about ENG cameras vs 'the others' revolves around the comfort, ease of use, whatever, of being able to hold it on one's the shoulder for long hours and be able to use the exceptional EVFs. ENG cameras are designed to be predominantly shoulder mounted, me thought. What is one to assume when you see, read and hear nothing different? How about some examples of the versatility of an ENG camera shown in the article, compared to the others? I've actually shown how versatile one of my run & gun rigs is when it comes to all manner of shooting options. I doubt very much that any ENG camera could compete. As a footnote, I just came back from a week's camping in our High Country. It's not 'high' in comparison to what to what you get in say NZ, Europe or the US, but the term arose from the English settlers as they explored the land. Anyway, I took my rig along, with a Crane 3s gimbal, and I'd love to see a typical ENG camera, as depicted in the article, on such trips.
  10. Fair enough. I haven't ever seen anyone using an ENG camera use it in any other position than the shoulder. Mind you, I've only ever seen them outdoors or on TV news.
  11. I should also have added that ENG cameras are really only for shoulder use, you get one and one perspective only, everything at eye level, unless you crouch. Other styles of cinema/video cameras allow greater variability with greater ease, up high, mid-level, low all in one smooth movement. The versatility and ease of movement leave an ENG camera well behind. Not saying it can't be done, but it's no where near as easy.
  12. The digital video market is huge and seemingly still growing while the stills side has plateaued or is in decline, thanks to mobile phones. To that end, I think people want more versatile video gear, an ENG style camera is more of a single use tool. Many want cameras that you can easily move from the shoulder to hand held, to gimbal, to tripod, to slider etc. I'm not sure that an ENG camera is suited to these sorts of options. They are after something versatile, a Jack of all trades so to speak. The price of ENG cameras is another factor, you're selling these to a diminishing market. You can't start off with an inexpensive body and a few components and start videoing, you need the whole enchilada from the very start. Not many can afford such luxuries. Plus, where people are tending to shoot ie the biggest market for video cameras, an ENG camera will stand out like a nudist at a tailors convention. There's absolutely no chance of being discrete.
  13. I have two Wireless GOs and have never had any cut-outs.
  14. But when you attach the battery adapter (sled as they call it), which is rarely noted in the advertising blurbs, the height increases appreciably and could affect its attachment ability. I also came across reviews where the owners recommended getting a second NP-F sled, as this was a weak point and could easily break. Compare that to the Zoom that can take AAs internally, NP-F batteries natively and use USB-C power.
  15. When I compared the measurements, I found that the Zoom F6 was more compact. While the MixPre3 is flatter, it's much wider and when you add the battery adapter, it becomes deeper and higher than the Zoom F6 (depending on battery size). MixPre3: 144 W x 36 H x 110 D mm (without battery) Zoom F6: 100 W x 50 H x 119.8 D mm (without battery or top plate) Then when you want to add XLR cables, it becomes significantly wider. Plus I didn't care for the microscopic touch screen, I'm much happier with the archaic four buttons.
  16. I considered the MixPre 3, but after a full comparison, there was little in it as far as audio quality went, but quite a lot when it came to functionality. For what I wanted, the Zoom F6 won hands down.
  17. The Zoom F6 can dual record so that you can provide 24 bit as well as 32 bit.
  18. That's US$35 delivered. That said, product prices need to be discussed in the context of the likely user/audience.
  19. I'm really talking from the perspective of documentary solo or very small crew operations.
  20. The problem is with solo operators, you have to make compromises somewhere, cameras, audio, lighting etc. I don't think 32bit is so much a gimmick, but another tool in the solo operators tool chest. I've proven without a doubt that it works and the results are very good indeed. I'm not after Hollywood level audio, but the likes of the F6 delivers what I need.
  21. I don't think it should be so much about which one might produce better, or equal, quality results, but more about usability and functionality. While I'm sure that the iPhone will produce great results, even my Redmi Note 9s (an ancient phone by comparison) does a pretty good job (especially using FiLMiC Pro), but I simply couldn't go about using a phone as my sole camera. I've seen how some of those iPhone videos have been produced and the phone is fully rigged up like a cinema camera. Many think that it's simply someone holding nothing but the phone. The devil is always in the detail.
  22. The reality is that patents only have a 20 year life anyway, so once that period has elapsed, the concept is free for copying/improving or whatever. Kodak would still be the only ones able to make film (that is 35mm and similar) or digital sensors. Additionally, IP isn't always so cut and dried, minor changes can make something that appears to be a copy quite legitimate, even though the application is the same. What Arri has produced isn't patentable, it's been around since Adam was a boy. All they can do is trademark the Arri logo. Just like Cadbury has been able to trademark a variation of the colour purple. If patents, IP and whatever were for life, there'd be no innovation or advancement whatsoever. Every product we know of, use in our daily lives and even produce ourselves has been copied and improved upon because no one entity owns the IP for that idea for life. No one could even make a sandwich, were Lord Sandwich able to patent his idea for life and pass it onto his children. There is a tendency to feel sorry for companies that say their IP has been stolen, but when you look deeper, it's not quite so simple. Pretty much everything we know has already been invented or conceived of, if not turned into actual products, it's only that the technology may not be there to turn it into viable products. The first electric car was invented around the 1800s, same as the first disk brakes and even fuel injection was invented around 1925.
  23. I just thought I'd add this, should anyone wish to add to the Twitter discussion. Not long ago I bought an IDX dual battery charger that cost me about AU$179. This charger came with the power brick, the charging unit and several plates for different batteries. Now IDX is a well know company, but no where near as large as Panasonic, yet can still produce and sell high quality gear for nearly a 1/10th of the price of the charger discussed in the Twitter page. It just makes you wonder.
  24. I can understand where he's coming from, but I still disagree with the comment that they are expensive because they are made in small numbers. Yes, in some circumstances this is a valid argument, such as when say some specific lens is made in small quantities and require special manufacturing/materials etc. But in the Panasonic example, and in mine, these are items that are made by the millions every day. Panasonic probably puts these in numerous other electronic products that they make, converting mains to DC power, only changing the DC cable end. How about Blackmagic? They supplied a mains power converter with the BMPCC4K and they are a but pimple on the butt of the Panasonic giant by comparison. My Atomos Shinobi came similarly supplied . And this thing by Arri. Now if these clamps were hand carved from blocks of alloy by Arri elves somewhere in Europe, I could imagine that there would be a price premium. But what engineer/marketing/supply team would consider making such a thing in-house, when there are significant cost savings to be had by simply engaging a Chinese manufacturer that can make these in the thousands for next to nothing, in next to no time? Look at this clamp that I bought from Amazon to hold a V-lock battery on my light stand. This cost AU$46 and is much more complex and materials intensive than the Arri clamp, and you might wonder how many of these are actually sold: Basically it's price gouging at its best by Arri (and the others) because of they can. The only thing special about the Arri clamp is the name and number painted on the clamp. It's not even laser engraved, the least you could expect for the price. People really need to jack up and let the likes of Arri know that they aren't going to pay this sort of money for what is a $5 item to make.
  25. In my continued bafflement over the pricing of just about anything cinema gear related, there comes another simple thing that defies belief, the Arri RMB-8 Rod Mounting Bracket: How on earth can this demand AU$200+, when something like this only costs AU$20 and does the exact same thing and I'm sure there are alternatives: Are these companies have a lend of people and making $5 items and then charging $199 for the name emblazoned on the item?
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