Robert Li

if you are talking about doing film on it its basicaly personal preference, the difference in processors is negligable and the casing and screen are the only diff. 7D casing is magnesium alloy, so, its quite a bit stronger than the 60d in that dept, which is plastic (http://asia.cnet.com/crave/exploding-car-burns-canon-7d-leaves-memory-card-intact-62112267.htm) the articulated screen on a 60d is useful in odd angle circumstances. they use different memory cards so maybe, if you already have some CF cards (or SD cards) it would be cheaper than getting another type of memory card (thats the only reason why i chose the 7D). Otherwise, video is pretty much the same, and they both have heat issues (hey... what hdslr wouldnt)

lol, HEY, discussing options for low end recorders is always viable, too many film makers nowadays throw their money into the vision and then forget about audio, and then wonder why the ultra wide shot done with a videomic doesnt have particularly good sound. I use a dr-100 as my backup option, when I know I don't need to lug around my fostex. It's a great little machine, the only thing that gets me is the fact that I can't find a charger for the li-ion battery for the life of me (it isn't included... which is really odd) and it absolutely smashes through AA batts. I figured out it only used about the top 70% of the batteries before asking to spit them out. Also i find the preamp a little soft can't seem to get much out of it until I bump up the gain to Hi (don't know what that is in db atm, can't be bothered pulling it out of the case). The onboard mic i fine for interviews as well, I've found. anyway, if you're an aspiring soundie, rather than someone who is getting a recorded just in case, you probably should invest in a better recorder and keep it forever, while you work your way in than getting something small and finding you need timecode and more than 2 inputs very quickly into your new career. Im a bit of a fostex fanboy, so might I suggest the PD204? or possibly the sound devices 552 (seems really popular from what I've seen atm).

second that on the sankens, I use two in my kit and they mix pretty well with the boom audio i take, the stock me-2's are pretty horrible, ah well i have 1 for a backup (actor sat on my other one....). Yes, you should get a dedicated sound guy for your work, and it SHOULD be factored into your budget, but, sometimes, and especially around where I live, there is simply a shortage of them, and those that remain charge through the nose because there is such a shortage of them, anyways, in that sort of situation it's a bit of a "well... what now..." thing. Anyway, to cut it short, factor in a soundie Although you should boom as much as you can (I just boom by default), lav mics can be life savers in situations where there isn't a way to position yourself to effectively capture dialogue within the mics pickup pattern, but, if you aren't familiar with their use they can be an absolute bitch (which is why you should boom by default - also i wouldn't capture room tone with a lav mic either). You should read up and watch some demonstration videos on how to effectively use lav mics if you really want to go it alone, and then test them, before rocking up to set. What I normally do is wrap the microphone in moleskin (the soft furry stuff you get for your insoles at chemists) and then hide it against the actors body using medical tape (the stuff that doesnt hurt when you take it off) making sure you loop a bit of slack mic side. try to avoid using synthetic, silky and scratchy material for ur actors wardrobe. Also, it wouldn't hurt invest in a better field recorder, if ur super serious.

Hey J! I just saw the package on eBay and was the one that messaged you. I myself am not DPing it, but I am looking for a s16 cam (Xtr would be perfect) for an upcoming short film production, this one seems perfect for what we need. I am always a bit wary of eBay auctions (spesh with the somewhat stock photo of the camera, although maybe you just took a really nice pic), but hey seeing as I've found you on cinematography boards. What would shipping be to Melbourne, Australia (so like package price + shipping)? Been a bitch to find a super16 cam here, but hey, get it where you can. Cheers Rob email: chum@sent.as