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About three to four grand for an extra SINGLE stop against Sigma (as for instance) ?! It doesn't seem worthy to tell you very straightforward :- )

That's simply not true. The focus motor is an additional $270 purchase. The 6K version of the Ronin 4D also doesn't come able to shoot ProRes RAW or 4444 XQ. For that, you'll need to add the ProSSD mount ($200) and a 1TB ProSSD ($800). For most MF lenses, you'd also need to buy a mount other than the one included with the camera - I haven't seen many DJI DL mount to anything else adapters. A Leica M mount costs $300 new. Used prices on most of the above are about 2/3 of new cost. The 8K version of the camera includes the mount and a ProSSD, but (if I remember right) not the motor. And while almost none of the cameras that I mentioned include ProRes RAW (except the S1R Mark II), a majority of them are capable of shooting raw (many of them in a format that works in Resolve without conversion (additional $80 fee for Raw Convertor license if PRR). For those that don't, you can buy a used Ninja V or Video Assist 12G for $200-500. For stabilization, you can add a $400 gimbal - though compared with using the R4D, it will be much more of a pain in the ass. On the other hand, most of the other cameras can support lenses weighing more than about 1000g which is about all the R4D can support if you want to use the 4th axis. External 5" screen? If you don't already have one sitting around, you can get one of equal or better quality to the R4D screen for about $200-300. Any of those other cameras can also be set up in such a way that they will be small/light/unintrusive. That's simply not possible with the R4D. The closest you'll come is the Flex unit which costs $900 and then you'll be in a backpack ($200-300 if you buy the official PGY Tech one) and still carrying a pretty big/obtrusive camera. The main advantage of the Ronin 4D is the integrated 4th axis which eliminates a lot of footstep motion and helps smooth things out on a car mount, etc. In my experience, it's better than using an EasyRig with the springy arm or a ReadyRig Nimbus - and can be used with either for even more smoothness. The second advantage of the R4D is that everything is tightly integrated. If you get a Gimbal with subject tracking, that'll be on a separate screen and is usually driven by a second camera rather than through the camera's lens. If you get a DJI Focus Pro or other Lidar-based manual focuser, that'll also be driven through a second camera and another screen. With the R4D, you can draw a box around a subject and turn on AF and when you start tracking, it will do so uncannily well... about 95% of the time, and randomly lose the subject the other 5%. It's a great single operator camera - but again, it's far from the device I'd choose as my only camera. If I could have only one, I'd take something else for sure. It would be my first choice for my second camera, though... hands down.

I thought this was a gear forum, but maybe it morphed into something else post-Covid hehe

Unlike the other very good cameras you mentioned the Ronin has the entire FF set-up from the get go: stabilizer, gimbal, remote focusing mechanism for MF lenses, big focusing screen (and AF, of course). ProRes Raw and 4444 XQ. It's just a more compelling package for the brand agnostic.

Further north and more nuclear power station adjacent. Or further west if the S you are thinking of is somewhere on the east coast.

A7iv IMO might be a better hybrid unless prioritising low light video over stills? Tamron 20-40 + 28-75 + 70-180 would make a pretty sweet 3x compact zoom set up. I know this because it was my set up last year for stills and is again for this year. Next year, pretty sure I will trade the 28-75 and 70-180 for the new boy 50-150 f2, both for the convenience and extra stop, albeit sacrificing a bit of reach. But then with my A7Rv I can crop quite hard if required. Personally, I’d go for an A7Rv over an A7iv as it’s a better camera pretty much every department, but A7iv’s are cheaper. All this stuff is available used of course.

I’m intrigued… Does it begin with S?

Davide is 100% correct. Pair that GH7 with one of the cheap Panasonic/Olympus kit servo zooms and you have a tiny camera that works great for street work. Or bring the Olympus 12-100 if you're willing to tolerate the extra weight. Add a couple of fast primes for shooting at night and you have a fantastic usable kit. Otherwise, if you just can't stomach micro 4/3 for... some reason, there's nothing wrong with the A7S III. If light weight is a concern, I'd swap for the f/4 versions of both lenses. You'll still be able to get pretty nice shallow DOF and the lenses will be substantially smaller/lighter. Plus if you're shooting on the street in some of the cities, having smaller lenses won't be shouting "rob me" as loudly as a big white f/2.8 70-200, for example. I'd also give serious consideration to super 35. Fuji has a lot of great options and Sony has the FX30 (or whatever the non-cinema camera version of that is - A6700? Something like that?).

GH7

Hi, I might go on a job trip to south america soon for a job. Video + photo. Travelling between locations, run and gun situations + interviews. So i might want to get a new hybrid camera. (S5 and s5ii atm, but I don't seem to like the highlight rolloff and the colors at times when using it run and gun, while in studio it works as an charm) . But I am unsure which one would be the best. Thinking about an a7siii (SD cards) with 24-70mm 2.8 and 70-200mm 2.8. + gymbal + Lav set. I once used an a7s ii in central america, where I liked the highlight rolloff and the colors of the camera. Low weight and speed is key I think. Long battery life as well. (No vlock batteries as they are too heavy. The camera should not overheat. And only wish to use 1 body for now for weight reasons) Any other recommendations? Cheers,

It will be available in any colour you like as long as its brown.

Jon Snow lives his life on YouTube.

Well you can but I'd only spend it on cameras and lenses as well. I've got all four of the MFT PZ lenses (2 Panasonic and 2 Olympus) and they are lurking somewhere around where I am at the moment. If I can dig them out and get some time next week, I can put them on a P4K and do some quick shots for you if you are keen. Won't be anything fancy, it will just be a couple of locked off shots of a Northern seaside town well past its mid-20th century pomp but it'll all be at f5.6 😉

Just got the LP-E6P battery and it make R5C much less stressful lol, extra 30min of recording is quite nice so don't have constantly worry about the battery life.

Few additional findings and notes: Tested it in bright sunlight conditions. It is great. Fully isolates the eye. Because it perfectly isolates the eye from external light, once brightness is adjusted there is no need to change it. Optics actually are better than thought initially. It has several lenses not just one loupe. Most likely metal housing was designed and used for smaller sensors - 0.5''. Current one is bigger at 0.7'' that's why far end corners aren't perfectly visible. I saw this only when was feeding it with signal from my laptop. When shooting with Sony ZV-E1 as already mentioned it displays a 3:2 crop at 1620x1080px and everything is perfectly visible and in focus. one relatively simple modification would be to cut the current cable and solder a female HDMI and probably glue it to the side of the EVF. This would allow to use better or custom HDMI cables. size is just perfect for cameras like Sony ZV-E1 and all other mirrorless cameras, especially when you don't want to use a rig and have just the camera and a lens, probably also a cage as it is in my case. Nice experience. Makes shooting with an EVF really comfortable. The more I use it, the more I like it 😀

Short answer: no. Whole mounting part can be changed but it will require skills and experience to create and make a new one

It's so easy to focus on the camera as the single most important element and if some folks wish to believe that's what it's all about, best of luck to them `and their lives within the comments section on YouTube. It's not the camera. It's not the lens. It's not the grade. It's not the lighting. It's not the budget. It's not the creative talent. It's all of these elements and that is what a camera body is, just one single element, but alone it is nothing.

Cam Mackey hears your call to action and is now working on it.

Raining in Seoul today, so pushed the GH7 + 14-140mm combo to its limits, including the in-camera digital zoom to get to 179mm, equivalent to 358mm on FF!! Don't judge the lens by these images, apart from having a film emulation applied, I was also shooting through two layers of hotel glass on a range of angles, and the rain and dirt on the outside of the glass wouldn't have helped either. My normal thoughts when shooting through dirty glass is to have the fastest lens possible to blur it all into oblivion, but the DOF calculator says that a 50mm F1.2 lens focused at 100m will have 41.6m in focus in front of the focal plane, but the 140mm F5.6 lens also focused at 100m will only have 30.2m in focus in front of the focal plane, so the 140mm will blur the raindrops on the glass more, presumably because of the longer focal length. Win! This is the situation I had in mind when buying the 14-140mm lens, although obviously I knew I would use it for other things too. I must admit that I've been using the long end while out and about much more than I thought I would, so not regretting the purchase at all.

Well, the 8K sensor for the X9 is generally acknowledged as superior to the 6K one and it's (as far as almost anybody can tell) the same sensor that is used in the Panasonic S1R Mark II, a $3,300 camera. That camera compares favorably to the EOS R5 without being enormously better. You can get a used EOS R5 for around $2,000. Having both an EOS R5 and both versions of the X9 (having bought the 6K and upgraded), I can safely say that the image from the EOS R5 is pretty close to the X9. Plus if we're talking about shows on Netflix, Chimp Empire (recommended to be by another forum member here) is gorgeous. That one was shot on the Canon C70. Someone listed one in the local Facebook buy/sell camera group today for about $3,500. The Creator was shown on theater screens everywhere. It was shot on the FX3. The Sony ZV-E1 which is available used for about $1,700 uses the same sensor. In a recent short film contest, a film that I shot tied for best cinematography - mine was shot on a combo of Komodo-X and C70. The one that tied it? Shot on a Panasonic S5, a camera that is available used for about $800-900. Even if I cared about awards, I wouldn't be upset about the tie - the other film looked great on the big screen. So... I'm not really sure anymore what point you're trying to make about the Ronin here. Yes, it was used for a Netflix show. Other high-end prosumer cameras have also been used for Netflix shows before so this isn't really novel. Nearly every camera on the market right now is superior technically to the Red One M-X (also available for under $2,000 on the used market) - the camera used to shoot films like The Social Network, Ché, and District 9, all of which were shown on cinema screens worldwide. All of this means it's a great time to be a filmmaker, but that's hardly unique to this one camera. 😃

For full frame, 6K and various flavors of ProRes that's a very very small number of cameras. Even more so if the camera AND lens totals around US$10k (the 32mm Cooke lens used for the entire show costs US$4,500 brand-new; the 6K version of the camera US5k)

Maybe gothic weddings is the way to go? OMG, of course it is. This travelling stuff will rot your brain I tell ya! But better to refer to Perfect Days than to Train To Busan - I'm not interested in a holiday THAT exciting. But talking about contrast ratios, yes, the frame grabs were for reference of how dark they print finished films and how much contrast they tend to have in the finished print. The files from the GH7 are incredible, and certainly the best I've ever owned, so dealing with these challenges is new to me. Previously I would have files clipped in-camera and the shots would just be binned, or they'd be super contrasty and without proper colour management I'd be struggling to make them look natural and without radical colour casts etc, so this is a very welcome development! I wouldn't mind holidaying in overcast conditions actually - where do I apply to get one of those remotes that changes the weather?

Man, my 50 years are starting to show. I now remember all of this. At least I didn't technically quote you to you. And I also remember how fantastic your focus module works. I need to stop buying cameras and lenses and send my money to you.

I did a post about it a while back on the OG Pocket where it’s kind of accidentally par focal at f5.6 but maybe on a native Panasonic body it might be properly corrected ? I did a video of it on the P4K to illustrate the functionality of the BM controller app that I wrote and it was so so with that as you can see when it shows the servo zoom function . If you’re looking for a cheap 12-32 then the Panasonic f3.5-5.6 kit lens one is limited functionality wise (no manual focus or aperture) but has OS and is absolutely tiny. I did some stuff (again with the OG Pocket) here. And it also has a companion lens in the same vein in the 35-100mm f4-5.6 to make a tiny two lens kit with a great range.