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One topic I find missing is discussion of the creative aspects of our own film-making. Maybe there are too few people shooting things, or too few that are willing/able to share, but to me this is the only topic worth discussing. We all know that the pros can take most equipment and create great images from them, proving that creativity and skills are far more important than equipment, yet the discussions focus on the equipment, the industry politics, the changing media landscape, and everything except what matters - the skills. As much as there are many reasons to hate on other social media platforms, there are many places out there where people post their own work and discuss it on both technical and non-technical levels, creating an opportunity for constructive feedback and creative growth. -
I think a big part of why Canon lost to Sony in the low/mid segment is the change of mount & lenses. Canon were super slow to update their cine line to RF and still have this problem were only C70/C80 are RF and the rest is EF. On the Sony side its just E-mount through & through for over a decade. This consistency makes it a lot stronger to build and invest in the ecosystem. Not to mention RF mount has almost no S35 lenses and is closed to third-parties. That whole strategy just backfired on them big time imo. I still like Canon cameras and lenses but it's a much weaker ecosystem than Sony. Now Nikon have a chance to enter this market with Z-mount RED/Nikon cine line. Fuji are attempting with the Eterna but I feel that's going to flop, should have gone with a Fuji X APS-c sensor like the one inside XH2S. -
I'll quite often link to your past content when it's relevant, for instance when I talk about how Nikon was better in the past at video than people normally give them credit for, I'll link to your D5200 coverage (it's what made me get an D5200 back then!), or even the D750 review. Maybe invite people to do guest blog posts? I'm saddened that all of the facebook group discussions are behind a Walled Garden, thus in the long run they're doomed to an extremely high risk of being lost to the mists of time. https://justapedia.org/wiki/Walled_garden_(technology) Vs what's out in the open here on forums such as this, are more likely to saved by Archive.org and similar. Also searching social media posts is horrible, while searching forum posts via Google is still somewhat quite good. 100%, I'd love to see more of this. It's one of the reasons I really like watching Tin House Studio, even though I'm not working in the photography industry but in a totally different niche, a lot of the business talk concepts he discusses are largely transferable to any other niche that's also an artistic field / freelancer. https://www.youtube.com/@TinHouseStudioUK -
I wonder if Panasonic's collaboration with ARRI means we'll see a resurgence in popularity in Panasonic mirrorless being used. It's a smart move by both Panasonic and ARRI. For obvious reasons by Panasonic, but it helps out ARRI too. At the moment it's too easy to go with VENICE as your A Cam, and be able to use FX6/FX3/FX30 cameras as chash cams, or even a B Cam. Or if you need to go do a week of pick up shots, but you're running out of budget, it's no big deal to use a FX9/FX6 instead, or even slum it with a FX3/FX30. Does ARRI have these easy options? Not really. If you've been shooting with an ARRI 35 then what is your crash cam? Or a B Cam on the cheap? Ok, you might say "BMD Pyxis" or whatever, but that then introduces new workflow hassles you have to be careful about. It's not quite as seamless as Sony's ecosystem. What if you need to run out of funds and need to do pick up shots for a week, what will you use? Get an old ARRI Alexa Classic on the cheap? But that requires a fairly substantial supporting crew... if only you'd shot on a VENICE you could now be grabbing quickly the shots on a FX6! Thanks to the ARRI / Panasonic collaboration then a lot more people will be seriously thinking about Panasonic for crash cams / C cams / etc, and feeling more confident in shooting on ARRI on a shoestring budget knowing it will be relatively seamlessly easy to do pick up shots on a Panasonic if the worst happens and they run out of funds. Also for ultra low budget shoots, where you think you might be doing post in house, thus it could be argued "it doesn't matter" what camera you are shooting with, as whatever quirks the workflow has then you have the dedication to iron out the kinks, but.... what if you have hopes and aspirations that maybe you'll get an injection of funds so you can the finishing touches done by a proper Post House? It's going to be a lot easier if only you'd gone with say a Sony FX6/FX3/FX30 than if you were using a Nikon Z6mk2 / Fujifilm X-T3 / Panasonic S1H / whatever. So likewise they might now be giving more serious consideration to say a Panasonic GH7 over a FX3/FX30.
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Having no 4K60P really killed C300MK2, its pretty much DOA Same for C200 with no 10bit and TC, dumb move C100 MK II have no 4K, that is really start of the fall It was around that time I got the FS5/A7S/A7RII, a really nice set for slow mo/4K/AF and keep size reasonable small... while if you go Canon most of them only have 1080P except 1DC
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