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David Peterson

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About David Peterson

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  • Occupation
    Sound Department
  • Location
    Auckland, New Zealand.
  • My Gear
    Sony PMW-F3 / BMPCC / 360VR rig
  • Specialties
    Production Sound Mixer

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  • Website URL
    http://IronFilm.co.nz/Sound/

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  1. Sorry for reviving an super ancient old thread, zombies! But didn't want to create a whole new thread just to ask further about people's thoughts of the RED zooms vs old Angenieux zooms of a comparable price? I thought the RED 18-85 was a monster, but next to the Angenieux 17-102 T2.9 it almost looks small! Hmmm Of course we've also got new modern competition now with the OOOM 25-100mm T2.9! Or the DZOFILM Pictor 20-55mm T2.8, but the range of that is so small, now you're looking at two zooms. Or the Tokina 25-75mm T2.9, but again, lacking a little on the wide and the
  2. Yes, but no. The Laws of Physics remain true wherever you are in the galaxy! But: 1) rules and regulations change significantly from country to country (or state to state, or even city to city in some instances) 2) amps and voltages (& KHz too) varies around the world (for the average household), which may impact your calculations. (for instance, most homes in the U.S. are wired with 15-amp 120-volt 60KHz outputs, while here in NZ they'd be 10A 230V 50KHz outlets)
  3. Am talking about the context of a freelance camera op / DP (or small production house) which is buying their main #1 camera. I think such a person should always go for the likes of a FS7/C300mk2/FX6 over an a7Smk3/S1H, and cost really isn't a good excuse here. Yes, having an additional secondary small B Cam is useful too. (but they could often get away with say a cheaper P4K/S5/G9/a6600/etc instead of an expensive a7Smk3/S1H) I do agree, Nikon missed the boat here by not releasing their take on the C100mk1/C300mk1 way back all those years ago. That was a mistake by Nikon.
  4. Yup, always considering the opportunity cost. I think it is a basic economics concept everyone should be aware of! (or maybe I'm just an economics nerd) Not just financial opportunity costs, such as the cost of buying a cup of coffee vs buying a newspaper, but also the opportunity costs of time: the opportunity cost of going to the beach vs going to the gym. (or the opportunity costs of posting to a forum vs writing up a year end newsletter... oops!) Which is why you need to always not just look at the costs/benefits of a purchase, but also the costs/benefits of not doing it.
  5. That's correct Omar. (and if you don't care about the various I/O differences) The ProRes 16:9 should be "the same" from each.
  6. If only a small percentage of the jobs needed the FS7, the you could have avoided buying it, and made pure profit on the rental of your paid off C300mk1, and only spent the money on renting the FS7 for those three days which you needed it. (which is a far lower cost/risk than buying outright an entire FS7) If you disagree with this assessment, what if it had been only one day out of the 33 that the an FS7 was needed? Or even zero days? There is a tipping point somewhere along there, which will vary from person to person and from one piece of equipment to another, and will depend on when
  7. Although you can't immediately do this, you definitely should in the near term ditch that Zoom H4n and throw it out. As even today's semi pro field recorders are extremely good value for money, and would give you a huge leap forward in terms of functionality and quality. I mean prosumer recorders such as: Zoom F8n/F8/F4/F6, or the MixPre series of field recorders.
  8. However the jump to S35 was a big big improvement that even a causal viewer / producer / director could see. But in the move from S35 to LF to beyond, those are much smaller leaps, relatively speaking compared to the leaps from small chipped ENG cameras to S35 cinema cameras. This is also why the change over from 4K to 8K will happen much much slower than the move from SD to HD, or HD to 4K. Because we're hitting diminishing returns when it comes to leaps up in resolution.
  9. There is a *HUUUUGE* shortage of production grade cinema lenses for FF35, it would be impossible for every film and tv series to swap over to that in 2021. Like I said, S35 will remain an industry standard for both the short and medium term. Will take a while for FF35 to take over (if it ever does? Am a bit skeptical, I feel S35 is a sweet point for size / DoF. Going bigger & heavier than S35, as you're constrained by the laws of physics when it comes to the optics of lenses, brings a fair few downsides to productions. And S35 can already go very shallow for DoF, going too much further
  10. Why??? Nikon is committed to Nikon Z Mount, they've got as good odds or better as anybody else for still being around for decades to come. And I feel that Nikon is one of the class leaders here when it comes to sub $2K mirrorless for filmmakers. And if you're a hybrid content creator, then Nikon is top notch for stills too.
  11. However the a7s mk3 (and Panasonic S1H) is one of the most expensive mirrorless there are. One of the main points of mirrorless is to save on costs. At the price point of the a7Smk3/S1H you start to ask yourself, why not just go all in and get a cinema camera rather than a mirrorless? If you're a professional, the extra cost per shoot is extremely minimal after all.
  12. S35 is not going away any time soon, they'll still be around for years to come. Heck, I just purchased a S35 cinema camera this week!
  13. If I was about to buy new lights asap in the new year for general interviews/corporate shooting then I'd be very tempted by new Aputure Amarans which pack a lot of value into them at a low price: https://www.newsshooter.com/2020/12/16/aputure-budget-friendly-amaran-100d-and-200d/
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