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David Peterson

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  1. I do see a distinct lack of responses to Ray which are other than "you're wrong". Think we'd both like to see better explanations as to "why" he is wrong, so we can learn from that reasoning. Ray gave his side of the argument, explaining why he thinks ENG style cameras are not so popular now, where are the rebuttals? (other than highlighting that yes, ENG cameras can be used elsewhere, however Ray isn't wrong that the likes of say a Komodo could be more easily used for a greater diverse range of shooting styles than an ENG camera could be. Which would you rather put on a gimbal, or a car rig, or a drone, or squeeze into a tight shot for a PoV looking out of a fridge, etc?)
  2. I guess I'm thinking purely about the height aspect, which matters more when you're stacking it up together with a camera on top of a tripod or shoulder rig.
  3. Indeed, in my opinion the MixPre3 only holds an edge when it comes to extreme compactness.
  4. Yes, that's a benefit of the F6 over the MixPre series. You could supply post with 24bit, and dig into the 32bits if you accidentally totally screw up.
  5. As I said before, if you're "those who can entirely control their workflow from end to end" then 32bits can make sense. But if your handing off your files to stranger in post, you don't want to give them an unexpected non-standard format.
  6. Well if you're operating solo (or with extremely small crews), then it is fairly normal not to have any sort of director/clients monitor at all! (or only a very small one, say a 7" monitor)
  7. Almost nobody ever uses an external recorder with Sony F5/F55 (except for the Sony R5/R7, which is "technically" an external recorder, kinda. But it just bolts onto the body directly), because unlike the F3/FS700 which are very popular with external recorders, the F5/F55 are not restricted to 8bit only internal!
  8. It happens more often than you think, if you've got the crew to wrangle it then that size (or bigger!) is often going to be expected at video village. I've seen these large Atomos monitor/recorders used on sets for easy playback, for times when the crew size / budget are too small to have a dedicated playback op. Thus the built in recording is very handy for those types of shoots. The bigger a monitor is, the less they'll sell. Thus 15.6" vs 24", which do you think will sell more for film sets? Less sold = great costs per unit, as you've got less units to spread your fixed costs across. I might maaaybe consider that 15.6" monitor for my purposes (on a Sound Cart), but a 24" monitor? Nah, not even if it was the same price, as I'd prefer the more compact size for my own personal needs. Hmmmm.... maybe if I was in a very greedy mood I'd go for 24" HOWEVER.... there is an even worse flaw for my purposes than the extra weight/size, it is the 24W vs 260W power consumption! That is a complete show stopper of a deal breaker for me. As I need my Sound Cart to be totally self contained, and able to independently run on power power for looooong days on set.
  9. Everything is relative, you think that V Lock battery holder was "cheap", but if you show this to an average passerby on local main street and tell them you paid fifty bucks for this little widget they'll ask "YOU PAID HOW MUCH FOR THIS??" (my highlighting) Very true. And arguably even a limited length patent still stifles innovation and slows down humanity's progress.
  10. For drama work then 5m is the default standard size. But it is good to collect a range of sizes, I've got six poles, ranging in length from 3m to 7m. One day it is my dream to own this 35ft behemoth of a boom pole: https://ambient.de/en/product/qp-jumbo-boompole/
  11. It is a half step up of what I see many YouTubers do which is holding the lav mic in between their fingers and then holding that up to the face of the subject in front of them!
  12. Eh? I wasn't ever aware of this feature of the Sony wireless being able to charge wireless (although use, I know it can run on USB power, I've done that a few times). Could you point to a reference for this? Am skeptical.
  13. That's a darn nice recorder you've paired it with! I've owned a Sony PMW-F3 (with 444 too) for around six years, yet I'm a cheapskate so almost always just use it with an Atomos Samurai Blade. Got two of the recorders too! For the times when I've sometimes shot with 2x F3 at once (as the very kind folks at Panavision sometimes let me borrow theirs on rare occasions):
  14. They're AWOL. Asleep at the wheel. It is almost criminal levels of incompetence that they didn't release a Panasonic EVA1 MFT, so that they could leverage the HUGE success Panasonic has had over the years with their GHx series. And now they've got L Mount, the possibility of a Panasonic EVAx MFT ever being released is deader than a dodo.
  15. Good video on the S5 shooting anamorphics for a feature film.
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