Some specifications

• 6-channel portable recorder equipped
• 4 XLR/jack mic inputs
• two microphones are included
• you can attach two additional jacks (making it up to 6)

Available at:

• http://www.bhphotovideo.com/c/product/967366-REG/zoom_h6_handy_audio_recorder.html
• http://www.amazon.com/H6-Handy-Recorder-Japan-Import/dp/B00DFU9BRK/

Specs:

• Four-track WAV or BWAV recording up to 96kHz/24-bit
• Designed to attach to DSLR camera with top and bottom tripod mounts
• Easy-to-use interface with switches instead of menus
• Dual record mode captures a safety track so there’s a backup in case of overload
• High-quality microphone preamps, analog/digital converters, and recording format (BWAV) – much better than the camera audio specs
• Improved microphone preamp with up to 64dB of gain
• Camera output pads down to mic level so it doesn’t overload the camera
• Records to SD card media
• Individual headphone and line outputs
• Slate function plays a tone for easier syncronization with camera audio
• Two XLR/1/4” combination jacks plus stereo 1/8” mini jack
• Powered via AA batteries or USB input
• $199 price

Available at:

• http://www.amazon.com/TASCAM-DR-60DmkII-DSLR-Audio-Recorder/dp/B00MIXFBL0/
• http://www.adorama.com/TSDR60MKII.html

Product page - http://tascam.com/product/dr-60dmkii/

TASCAM’s DR-60DmkII is a portable recorder designed from the ground up to be the ideal recorder for DSLR filmmakers. The design of the DR-60DmkII contains a tripod mounting screw on top and socket hole on the bottom, integrating perfectly with cameras from Canon, Nikon, Sony, and others. The camera output attenuates down to mic level before passing the signal to the camera to prevent distortion. The new version includes an improved microphone preamp for up to 64dB of gain and a smoother sound.

A pair of XLR microphone inputs feed TASCAM’s latest HDDA microphone preamps and provides phantom power for condenser microphones. The preamp gain and other controls are easily accessed from the front panel with physical controls instead of software menus for quick adjustment. These preamps are recorded at audiophile resolution using premium A-to-D converters, for audio quality that far outshines the camera audio. Individual headphone and line outputs allow an additional feed on-set.

A second pair of inputs can be patched to wireless receivers or other sources for four-track recording. Alternatively, Dual Recording mode captures a safety track of your audio at a lower level. If an actor suddenly belts out a line, distorting the recorder, Dual Recording provides a non-distorted backup copy. There’s also a limiter and hipass filter to avoid overdriving your tracks.

The DR-60DmkII records Broadcast WAVE files, time-stamped with the time of day, to SD card media. A slate function records a tone to the tracks for easier synchronization to camera audio. Modern editors like Premiere and Final Cut Pro Ten have automatic clip synchronization, and there is software for syncing up with older editors.

At a cost less than competing preamps, the TASCAM DR-60DmkII is the ultimate 4-track recorder designed for filmmakers, television, live events and web broadcast.

Based on cages initially built by hand, this next generation cage will be CNC'd and even more feature-rich than the previous generations, as well as incredibly light weight and well-balanced!

While the design is nearly complete, I am still open to ideas and suggestions people here might have. We addressed many of the issues often experienced with other cages on the market and added a few extra features never before seen such as a relocatable grip option!

My blog post on this news: http://ironfilm.co.nz/news-leak-zoom-f4-with-six-inputs-and-eight-tracks-is-like-a-new-low-priced-zoom-f8/ (some of it repeated below)

I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8!

Some specs

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4" inputs, a 1/8" stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other. Each of the four XLR-1/4" inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4" headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8" stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9" LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

• Six-input / eight-track multitrack field recorder with integrated mixer
• Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
• Compact and lightweight metal chassis, weighing just two pounds (without batteries)
• High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
• Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
• Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
• Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
• Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
• Phantom power (+48V/+24V) on every preamp
• Advanced on-board limiters for input and output
• High-pass filter, phase invert, and Mid-Side decoder
• Input delay of up to 30ms per channel / output delay of up to 10 frames per output
• Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
• Dual XLR balanced Main Outs plus 1/8" stereo mini-jack Sub Out
• Dedicated headphone output (100mW) with front-panel volume control
• 1.9” white, backlit monochrome LCD
• Dedicated PFL display with viewable trim settings
• Dual SD/SDHC/SDXC card slots, up to 512GB each
• Records in BWF-compliant WAV or MP3 file formats
• Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
• Built-in tripod mount; camera-mount adapter also included
• Use as a 6-in/4-out USB audio interface (@ 96 kHz)

Available for $650 at https://www.amazon.com/Zoom-F4-Multitrack-Field-Recorder/dp/B01KZHQWY0/

• Wi-Fi transport control for remote start
• File transfer and streaming to smartphones or computers over Wi-Fi
• Free control and transfer software for Mac, Windows, iOS and Android
• Stereo condenser microphones arranged in close XY pattern
• Redesigned mic preamps and A/D converters
• Handles up to 120 dB SPL (up to 132 dB SPL for DR-44WL)
• 8-position scene dial for typical recording situations, as well as manual setting
• Up to 24-bit/96kHz WAV/BWF or MP3 recording
• XLR inputs with phantom power (for DR-44WL)
• 4 channel recording (for DR-44WL)
• 128 x 128 graphic, backlit LCD (for DR-44WL)
• Each mic capsule is cradled in its own shockmount to prevent vibrations (for DR-44WL)

Info

• http://tascam.com/product/dr-22wl/
• http://tascam.com/product/dr-44wl/
• http://tascam.com/product/dr_control/

Available at:

• $149 - http://www.bhphotovideo.com/c/product/1079894-REG/tascam_dr_22wl_wi_fi_enabled_portable_recorder.html
• $299 - http://www.bhphotovideo.com/c/product/1079895-REG/tascam_dr_44wl_wi_fi_enabled_portable.html

Specifications (all recording parts for 7Q only):

• 7.7″ OLED, 1280×800, RGB 8-Bit
• Waveform, Zebras, Histogram, Vectorscope, Focus Assist, False Color, Timecode Display and Audio Level Meters, and 1:1 Pixel mode.
• SDI Video I/O
• HDMI Video I/O (up to 1080p60 422 8-bit)
• HD/2K RGB 444 8/10/12-Bit up to 60p/60psf
• HD/2K YCC 422 8/10-Bit Up to 120p, QHD/4K 422 up to 30fps
• ARRIRAW (16:9) 12-bit up to 60fps, ARRIRAW (4:3) 12-bit up to 48fps
• Canon Raw QHD/4K 10-bit up to 60fps
• LUT Support (ARRI, Canon, Sony)
• High-Speed (120fps) and Simultaneous RAW + Proxy (DNxHD-36) mode
• Record File Formats: DNxHD, Uncompressed, HD/2K Raw, Canon Raw, ARRIRAW
• SDI record trigger (ARRI, Canon, Panasonic, Red, Sony)
• 2-Channel Embedded Audio (48KHz, 24-bit)
• Odyssey7Q support 8 channels
• 2.5″ server grade SSD in 240/480/960 GB sizes
• compatible with off the shelf USB 3.0 and Thunderbolt adapters
• 540 grams cast-magnesium case
• 200 x 155 x 25 mm)

More information at: http://www.convergent-design.com/Products/Odyssey7.aspx

Price: $65

http://www.amazon.com/gp/product/B004OA6JW0/

TASCAM’s compact DR-10X attaches to a handheld microphone for the ultimate compact news gathering recording system. A captive XLR connector attaches firmly to your microphone, capturing interviews at 48kHz/24-bit Broadcast WAV resolution. Offload recordings through the microUSB connection or by removing the MicroSD card.

Specs

• XLR jack mounts directly to dynamic microphone (It also can use condenser microphone powered by battery.)
• 48kHz/24 bit BWF mono recording
• Uses MicroSD or MicroSDHC media, up to 32GB
• Mic pre gain Low/Mid/High control
• Instant record mode – power on while holding record button side switch
• Limiter and low cut filter
• Manual or automatic gain control
• Dual recording mode captures a copy of your audio at a lower level as a safety track
• Time Track Increment function writes a new track marker after a set time limit. There is on/off setting, but the time is 15 minutes fixed when turn it on.
• Easy-to-read OLED display
• Edit settings on a PC and send them to the DR-10X through the microUSB port
• Playback function with headphone out
• More than 8 hours of recording with single AAA battery
• IR transmit/receive to copy settings between units

http://tascam.com/product/dr-10x/specifications/

The only advantage of the zoom apart from the price now which is more like $ 270, is that it can record 4 track from its 2 xlr and 2 internal mics. But as a filmmaker, I will always choose to have two quality preamps than some crappy zoom ones because most of the time we will use only one microphone. From everything I saw and heard the zoom XLR preamps are very noisy, unfortunately it is those thing/brand/model that gained traction from the early days of hdslr filming that would never go away.

Furthermore if you look at http://www.avisoft.com/recordertests.htm test, the Ls-100 is at the top part of the list, the best handheld recorder with XLR and better than the Rolland R-26 which is about $ 100 more. The internal microphone seems to be very good quality also. From what I read it had problem of latency for the headphone jack, but Olympus has remedied to that with a firmware update.

Test of the Olympus Ls-100 compared to the zoom h4

Main changes from first version:

1. Improved audio quality
   Through extended listening tests, a new op-amp and capacitor were selected for the mic preamps to deliver improved audio quality.
2. Support for SDXC cards
   Readily available SD/SDHC cards are used for recording media. The DR-680MKII also supports SDXC cards, which have higher capacities - enabling recording for long periods of time.
3. Take (file) numbers can be reset using the "Take No. Init" function
   The numbers added to recorded file names can be reset. Resetting the take numbers used for each recorded scene is now possible, making file management even easier.
4. Improved battery life
   The newly improved battery life of the DR-680mkII means that the battery now lasts 150% longer than previous DR-680.
5. Improved clock precision
   The precision of the built-in clock oscillator has been improved – making synchronization more accurate when used with video devices.
6. Dual recording function allows two files to be recorded simultaneously at different levels.
   A second file can be recorded simultaneously at a lower level for a distortion-free safety track. This allows you to set the recording level high and make a backup recording at a lower level in case of an unexpected sudden increase in sound level, which may create distortion in the primary file. The DR-680MKII can make −12dB backup recordings of audio input through inputs 1, 3 and 5.
7. Playback of multitrack recordings.
   The DR-680MKII can load multitrack audio files. Multitrack materials (multiple mono files) prepared with a DAW, for example, can be played back.
8. Support for lithium batteries
   In addition to alkaline and NiMH batteries, lithium batteries - which can provide extended power - are supported.

More info - http://tascam.com/product/dr-680mkii/

Features

• SD/SDHC/SDXC cards used as recording/playback media
• 6 balanced mic/line inputs (1-4: XLR/TRS combo jacks, 5-6: TRS jacks)
• 6 unbalanced outputs (RCA pin jacks)
• COAXIAL digital input and output (S/PDIF, AES/EBU)
• Recording/playback formats: BWF, WAV, MP3
• With BWF format, recording starting times can be stored in files
• 8-track recording at 24-bit/96kHz (BWF, WAV)
  6 mic/line inputs and stereo mix recording or 6 mic/line input and digital stereo recording •Record MP3 files at 96, 128, 192 and 320 kbps
• Record 4-channel MP3 files
  • From 4 mic/line inputs (XLR/TRS combo jacks) or 2 mic/line inputs and digital stereo inputs •2-track recording at 24-bit/192kHz (BWF, WAV)
  • From 2 mic/line inputs or digital stereo inputs •Digital inputs and outputs support double speed 96 kHz and quad speed 192 kHz
• Sampling frequencies
  44.1, 48, 96, 192 kHz (BWF, WAV) 44.1, 48 kHz (MP3) •Quantization bit depth: 16/24-bit (BWF, WAV)
• 6 channels of TASCAM HDDA mic preamps for high audio quality with 48V phantom power
• Limiter and low-cut filter available on each mic/line input
• Built-in stereo monitoring mixer for headphone mix and/or recording
• Dual recording function allows two files to be recorded simultaneously at different levels
• GANG function allows the input gain of multiple channels to be operated simultaneously
• Pre-recording function allows the capture of audio two seconds before recording is started
• Automatic recording function can start and stop recording automatically in response to the input signal level (−48, −24, −12 or −6 dB)
• Even when multiple tracks are used, all recordings made at the same time can be managed as a single take/file
• Track incrementation allows a recording to be split by creating a new file at the desired point without interrupting recording
• Up to 1000 takes and 5000 files can be recorded on a single card
• Mark function can be used to move to specific points (up to 99 marks per take)
• Wheel can be used to change the playback position
• Repeat playback function
• Panel lock function to prevent misoperation
• Cascade function allows transport control of multiple DR-680MKII units using a master unit
• File name format can be set to use a user-defined word or the date
• High-speed transfer of files to a computer using USB 2.0
• 128×64-dot matrix display with backlight
• Built-in mono speaker with 500mW output
• Headphone output and level control (50mW+50mW/ 32ohm)
• Powered by 8 AA batteries or the included AC adapter
• USB cable and shoulder strap included
• Folding stand convenient for tabletop use

TASCAM’s DR-10C-series recorders connect to your lavaliere microphone to create a compact recording system that fits on a belt pack. Two versions are available: the DR-10CL for Lectrosonics mics and DR-10CS for Sennheiser microphones. Additionally, option kits are available for Shure (AK-DR10CH) and Sony/RAMSA (AK-DR10CR.)

The DR-10CL & CS recorders have both inputs and outputs, so they can either be used stand-alone or with a wireless transmitter. When used with a transmitter, the DR-10C acts as a backup to protect against wireless dropouts during recording. For lectures or worship services, the DR-10C can record the entire program before it gets to the front of house system. And for events like weddings and reality TV production, the DR-10C is a compact recording system for body mics.

The lightweight DR-10C runs for hours on a single AAA battery.

Specs

• Micro Linear PCM Recorder for Wireless Beltpacks
• 48kHz/24-bit mono digital recording
• Uses standard microSD/microSDHC card media (up to 32GB)
• Dual Recording feature captures a safety track in case of distortion
• Two models for Lectrosonics and Sennheiser mics, option packs for Shure, Sony, and RAMSA
• Hold function prevents accidentally switching off the recorder (All keys cannot operate during recordin)
• Limiter and low-cut filter on input
• Auto gain control
• Records BWF file timestamped with time of day clock
• Time Track increment function writes new track after a preset amount of time.(There is on/off setting, but the time is 15 minutes fixed when turn it on)
• OEL display for easy visibility in any light condition
• More than 8hours recording on a single AAA battery
• Settings can be created with text file on PC and transferred to DR-10C via USB connection
• Infrared data communication for transferring setting information among DR-10C
• $199 price, available at November 2014

http://tascam.com/product/dr-10c/

• records to SDHC card
• sturdy construction
• build in condencer mikes
• is able to record in WAV with 44.1, 48 or 96kHz, 16 or 24bits
• MP3 bitrate from 32 to 192kbit/s
• digital S/PDIF input
• Two balanced mike/linear inputs XLR-1/4"m with phantom power option
• big oled display with adjustable brightness
• minijack input
• 2x RCA output
• USB 2.0 port
• 2 AA batteries or AC brick power
• up to 7 hours recording on batteries
• $399 price

• Suspended capsules in XY arranging, two other capsules pointing sideways
• 8Gb build in
• LiIon battery, 3.7V 280mA
• SNR: ≥85dB
• record PCM, MP3
• Up to 33 hours recording with turned off backlight
• 88g
• manufacturer page - http://www.aigo.com/product-227.html
• Price around $65 inc shipping at https://www.aliexpress.com/item/Aigo-R6601-8GB-Digital-recorder-professional-HD-MP3-mini-noise-reduction-support-ADPCM-WAV-lithium-battery/32740810718.html

Key features:

• Six analog inputs (3+3); three full-featured mic/line preamps plus three line-level inputs, each with dedicated front-panel faders and PFLs
• 10-track recording, polyphonic or monophonic broadcast WAV files @ 24-bit 48 kHz (96 kHz and 192 kHz sampling for 6 tracks), time code stamped MP3
• Simultaneous or independent recording to SD and CompactFlash card
• 6 mix buses, left/right main plus Aux 1/2/3/4
• PowerSafe Circuitry offers complete file protection from power loss. Ten second internal power reserve closes files and shuts down unit.
• Quad Powering offers class-leading powering flexibility from four available power types, easily power the 633 for a full production day
• Two second power on-to-recording. Never wait on sound!
• AES input, two-channel AES3 or AES42, four channels of AES output
• Accurate Time Code Master Clock generator and reader, 0.5 frame per day accuracy
• Clear, fast, easy to navigate controls and interface; visible in all light conditions, configurable metering and display
• USB Keyboard connection for quick and easy metadata entry.
• User-configurable headphone presets plus a headphone favorite mode for quick source selection
• Small, lightweight, compact chassis made from molded, metalized carbon fiber

http://www.sounddevices.com/download/lit/633_sell_sheet.pdf

Tascam DR-60D MKII Audio Recorder - $160 (will include a free 20 ft XLR M to F cable)

Roland R-05 Audio Recorder - $165 (will include a free cover/windscreen set)

Tram TR50 Microphone - $180 (This is the one designed with 1/8" plug. I have used this plugged directly into the Roland R-05 and it works beautifully. Model number is TR50BSET+)

• Records Up to 4 Channels Simultaneously
• Screw-On DSLR Camera and Mount to Tripod
• Operates on 4 AA Batteries
• Up to 24-bit, 96 kHz PCM Recording
• Two XLR/TRS Combo Mic/Line Jacks
• Switchable 24V and 48V Phantom Power
• 3.5mm Stereo Input with Plug-in Power
• Mic Preamps for Each Input
• Records to SD or SDHC Cards
• Transfer Audio to Computer via USB Port
• Price:$349.00

Available at:

• http://www.bhphotovideo.com/c/product/929347-REG/tascam_dr_60d_4_ch_track_linear_pcm.html

Manual: http://www.avisoft.com/DR-680.pdf

Available at (price, from $424):

• http://www.ebay.com/sch/i.html?_stpos&_fcid=168&gbr=1&_localstpos&_sacat=0&_nkw=Tascam%20DR-680&_clu=2&_sop=15
• http://www.amazon.com/Tascam-8-track-Portable-Digital-Recorder/dp/B0036VC3I2/
• UK : http://www.amazon.co.uk/Tascam-DR-680-8-Track-Portable-Recorder/dp/B003BRDAEW/

$1,400 OBO.

The Tamron is in Mint Condition. I'm just not a zoom person, and honestly I prefer to shoot wide, this was more of an event/coverage lens and I just don't do that kind of work anymore. Practically new condition.

$950 OBO.

Both items are in LA, but will ship worldwide.

PM me if you have any questions or are interested!

http://www.atomos.com/ninja-star/

From the press release.

The dimensions of the Ninja Star are slender at only 3.5″ wide, 2.3″ tall and 0.8″ deep and it weighs a fraction of a normal recorder at just 100grams (3.5 oz). The Ninja Star can record in both HD and Apple ProRes to capture pristine, 422 10-bit images straight from any camera sensor directly to inexpensive first generation CFast media with up to 3hrs Apple ProRes for $250. It also features Timecode and Start/Stop Trigger along with Audio Line-in.

I am less interested in 4k 8bit 420 in H264 than in 10bit 422 in a codec that keeps more shadow information. I made my mind when I saw this video a while ago.

There's a thread regarding the type of card it uses: http://www.personal-view.com/talks/discussion/10110/cfast-storage/p1

After some reasearch I found out I am not alone. H4n seems to have a cheap PreAmp and NTG-2 low recording level too. At the moment my bugdet is low too so what would be best to improve the situation? Buy a new affordable mic? A preamp like Rode D Power Plug or TritonAudio FatHead? It should be a portable, battery powered and able to be handled easily by one person (the one with the boom)

Thanks for sharing your experience.

My first post on this forum - recently it kept popping up whilst researching legacy lenses for m43 so I figured there may be a few experts in here who could help me out.

I'd like to declick my OM primes (28 and 50) and whilst the procedure looks straightforward enough I'm having a problem at the first hurdle: taking the ring off. I've tried using a mini flat-headed screwdriver and pushing into the engraved lettering; I've tried pushing down on alternate sides and then around the ring; I've even put on some rubber gloves to get some purchase, but it won't budge.

Does anyone have any other tips that may help?

Such a device would for example convert a Nikon cam with no internal 4K to a mean, lean, video machine. I'm posting this to see if there is interest in such a device, and maybe we can find someone to fab it or maybe some of us can make a Kickstarter project to produce it. I realize that HDMI has its problems.

Also, if there is a cheap option out there that does on the fly compression it would be interesting to see if the manufacturer would make a special edition, if there is enough interest.

Seems like JuicedLink killer.

Three channels. LCD backlit levels. Headphones monitoring.

Simultaneous recording to SD card and to your camera.

Auto slate tone upon recording start.

No info on price, and no actual photos yet.

More details at:
 http://www.fostexinternational.com/docs/latest_news/EFpkuAAElFRSSZGVPA.shtml 

I hope to see audio recorders that will record constantly since they are on and
record button will only make new file to make editing faster.



Available at:

http://www.amazon.com/Fostex-DC-R302-3-channel-channel-Recorder/dp/B008YOBUDK/

Now the first question I need to resolve, is do I get just a monitor by itself (such as one of the SmallHD monitors) or get a combined monitor/recorder (such as from Atomos).

Currently my situation is I'm using a Nikon D5200 plus a BMPCC that has just arrived with future upgrading plans of maybe perhaps getting a Panasonic GH4 in a few months from now. (slim possibility it might be instead a Sony A7S, or even a Samsung NX1. Could even be something that hasn't be released yet! I'm in no rush, I'll wait and see) So whatever I'm picking should be suited for what I've got now (& in the near future).

Am thinking I've narrowed down my decision to Ninja Blade vs Ninja 2.

I'm leaning towards getting the Atomos Ninja Blade (it is worth it over the cheaper Ninja 2???), for a few reasons (let me know if they're good reasons or not! I'm just presuming here): a) I'm thinking using SSDs could be better than SD cards in the BMPCC (though not being able to record CinemaDNG raw to SSD is a pity) b) having the ability to tag good/bad takes on set with AtomosOS seems like it could be a big time saver when doing rush edits. c) no time recording limit with the Nikon D5200 (if I got just a monitor, I expect I'd then get a Blackmagic Design: HyperDeck Shuttle as well. Well, or maybe maybe wait a few months to see if NikonHacker removes the recording time limit on the D5200)

But on the flip side the Ninja 2 is significantly cheaper.... so I wonder, is the older Ninja 2's screen satisfactory for pulling focus or is the Blade's high resolution screen going to be a huge bonus here?

Probably the biggest point of confusion I have between the two is how the Ninja Blade and Ninja 2 run different version of Atomos OS (with the Blade having the newer version of course), as I can't seem to clearly find any info on what specifically is the benefits of that. (such as around workflow around tagging clips on set and then in post)

Thoughts/criticism/suggestions? I'm all ears!

Thanks in advance, Matt