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For anyone wonders, the underside of the grip has two mounting holes, so no more spinning on the tripod plate.

There's a thread about it here: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=88961 Make sure you're updated to the latest drivers.

Too new. They targeted specifically 3 categories. Cheap one for ENG (visible, kind of rugged) - which Sony/Sennheiser/Rode/Audio Technica/e.t.c have similar options that start from cheaper and go to higher. Middle ones - good for everything, DPA 4060 and Sanken COS11 are the king here, the difference is price is around 20%. I would pay the 20% premium. Tiny ones: B6 and I am ordering the DPA 6060 as a top option. The difference against the 6060 in price is big here, but 6060 takes the best characteristics of everything (rugged design and cable, water repellentless, top -as in, best ever!- sound quality and a tiny tiny design). All in all, it seems like the best ever made, so you pay a premium for that too. Also it is out in the market just very recently, so another 5% premium! OscarSound Tech have a mic in the latter 2 categories for less that what the Deity cost for years, they just do not have any marketing whatsoever! Audio Technica has some interesting designs also. I am surprised how people forget about this Japanese company that produces amazing value for money products in every category, and some unique designs. Foot note: Sanken has also a very very small capsule, smaller than the European Industry standard DPA 4060, but not as tiny as the tiny ones. Also it comes with a package having a lot of extras.

You're right, but I think there is something to be said for content too, which the OP indirectly acknowledges. I believe that charisma, beauty, video production skills, and content are all valuable and can be traded off against each other. There are people that have charisma alone and are successful, there are those with video production skills alone (cinematic B-roll!!!), and content too. If you don't believe me about content, then start a channel that gives out the winning lottery numbers but isn't nicely edited or with charisma and you'll still rocket to the top. You could encode them and make the videos private and people would hack your account to get the opportunity to try and decode them and you'd still win. In a realistic sense, it pays to have all three. YouTube is good because it fosters experimentation and immediate feedback - it is the Petri dish of video production...... and like Petri dishes, they contain traces of huge evolution and adaptation, but are mostly filled with smelly rotting awfulness.

Lawl

We are Easily replaced by AI Robots as we are creatures of habit. So we are predictable as hell, so easily copied. And a lot more of our jobs are more repetitive than we imagine in a period of a lifetime. Also easy to copy. Our Goose is cooked down the road. I just seen a few weeks ago a short story about one of the Auto Plants, I don't remember where, like Michigan I guess where there where only like 325 people workers in it. The rest of the operations were Automated. That is like a1/10 of what they used to have people wise when I was young. There were Robots doing stuff as far as the eye could see. Probably a 1/3 of the people there worked in the Restrooms for the other people when they shit it up lol, and another 1/3 to drive the cars outside and park them, and the other 1/3 programming, repairing the Robots probably. The other 10 people were Bosses I guess. It is some scary stuff long term.

That is exactly what machine learning is for. Studying human nuances and internally creating an abstract model based on real world patterns, instead of a human-programmed algorithm. It is exactly what a human wedding videographer does: use experience to govern future actions.

@webrunner5 You are right, YouTube videos could be both charming and tormeting, extremely helpful and totally purposeless. No rules, a net anarchy, which is better than any authoritarian space. What pains me is when I sometimes see some very useful stuff made in rush, by someone who is really nice, like today (when I was reminded of Hamlet not sawing the air). Btw, a very good explanation of usefullness of the new Cut page in DaVinci Resolve 16beta1 (if only he wasn't so "super-excited", to keep his hands still and ecape the too bright window behind):

First of all, a lot of the video/editing jobs aren't art. Analyzing a billion ads and creating something similar for a new product is EXACTLY what machine learning does best. And it's not like it's just a black box--an AI can spit out a dozen, a hundred, or a thousand samples, let a human pick what they like best, and refine, and with each iteration, the machine creates a slightly better algorithm. Instead of hiring a motion graphics artist, a business owner who wants a commercial can just sit down with an AI and pick which ads they like out of a never-ending stream. Second, I disagree entirely. How do human artists work? They build a knowledge of art history, change a few things, and build off of feedback. That is exactly what machine learning does. Instead of C-3PO wandering about shooting a wedding, picture this: A robot scouts the venue ahead of time and sets up a few dozen small cameras to film the wedding from all angles, and then uses those cameras to reconstruct the entire ceremony in 3D. It then picks the best angles based on the knowledge of every single wedding video ever shot, taking into account the satisfaction ratings of the couples (using videos of the couples' faces when they see their video). With each video, it experiments slightly by changing a few things. It composes music for the wedding based on knowing what songs the couple plays, and knowledge of all music ever written. It does all of this by the next morning. No one sees the robots at any stage--completely discrete. With each wedding it shoots, this system improves slightly. And since it's a machine, it can shoot virtually unlimited weddings every day, thus quickly becoming the best wedding videographer on the planet. Obviously this isn't going to happen tomorrow, but there is no way to stop it from becoming a reality in the near future.

I do think the mid range has been slowly shrinking. There's tons of work at the bottom, probably more than ever. And there's still work at the top. I've learned a few things, finally. Only took almost 9 years! I think a big mistake I made was fretting over and trying to turn cheap people into rich people. Clients who have no money are never gonna pay, no matter how much you convince them of your worth. It's always better to just ignore them and go where the money is. With the bigger clients, I find they almost need a big dog and pony show to make them feel like they're getting a high end production. Big crews, cameras, lights that they probably don't need, but makes them feel secure. There's still really good money in the high end wedding market, if you can stomach it. Just saw a guy in town charging minimum $4500 for a highlight + some multicam ceremony. And he's got hundreds of 5 star reviews. A few days work for $4500! I suspect location matters tremendously. I've been fortunate to live to two big markets. Vancouver, and now DC. DC in particular seems to have lots of rich people. No way I'd be getting anywhere close to the rates I get here in the town I grew up in. That said, cost of living there was substantially less as well. Being a specialist is probably the ticket to big money if you're really fucking good, but have general skills can help at least keep the lights on during slow times. I've played DOP, camera op, editor, motion graphics guy, even photographer at times. My biggest worry by far is AI and robots. Our industry is going to be absolutely gutted at some point, I think people have no idea. People talk about the DSLR revolution changing things....that's absolutely compared to what's gonna happen, IMO.

by Phil Holland: " (...) rigged the system with 3X RED Weapon Monstro 8K VV cameras, which once processed creates stunning 100 megapixel motion picture images with a sensor size of approximately 645 Medium Format Film "

When can we expect the first test shots?

It's only supported by high-end Sony/Canon/Panasonic cine cams & Nikon Z mirrorless.. so not even a complete ecosystem.. and again only FCPX which is the biggest caveat. Not every Apple user edits in FCPX.. but yeah one can only hope other camera models & NLEs will support it in the near future (although I don't see Resolve/BMD rushing to the table after basically being compared to the axis of evil by aforementioned CEO douchebag #1 ? )

If anything, Jeromy at Atomos seemed to indicate to me in that NAB interview that he needs to lay off the blow and quit thinking he's the CEO of Stark Industries FFS!

I was debating between waiting for Sony A7RIV/A7SIII or Panasonic s1. I ended getting the Panasonic S1 for $2250 with free battery and battery grip after I came to the same realization you made. Sony will always make a tech gadget instead of a tool for creatives to use that I enjoy using. The A7III took many short cuts to get to the $2000 price point - poor EVF (2.36 million dot EVF), poor LCD that's not fully touch screen (900k dot). Panasonic S1 has great ergonomic, best EVF 5.76 million dot, best IBIS, 4K60, 2.1 million dot but of course their AF do not rival Sony. Whatever new sensor from Sony, I'm sure it will be share with Panasonic and Nikon.

@KnightsFan, Fusion is the only tab I'm afraid to open, hahaha. There are times I accidentally click on it, but then my PC slows down just to give me a short while to reconsider what I've done. Jokes aside: I'm not really into VFX, it's all black magic (ha ha) to me.

Amen to this!

How about 0 person for unlimited cameras ? I remember seeing an early version of this Pixellot system at IBC a few years ago but its now fully developed and is being used to produce tens of thousands of hours of sports games every month completely autonomously using a camera array and AI. Its not at the level of a true full on multi camera real sports broadcast production but its more than adequate for its target market and in its other guise as a coaching aid its being used as at the very highest level in the major European football leagues. Its a very interesting insight into what is already happening and its not difficult to imagine where it will end up before long. Although for a company that can produce this level of technology you wouldn't have thought it beyond them to figure out how to use a pop-shield for their presentation of it!

Well, really I think 24 will be fine so I’m good with the limitation. I never use 30/29.98 but was just really surprised you couldn’t use the 23.98. It just seemed rather arbitrary, but as I’ve used Sony’s and Panasonic’s I know every camera has sometimes baffling quirks that you just have to accept as part of their personality Yeah, agree it’s a shame on the FHD 8-bit. My intention was to record direct to a LUT on the Ninja V for extra quick turn around on YouTube or short social media stuff where I didn’t want to drop it into an NLE. One thing the EOS R DOES do that the A7 III and Z6 don’t, is you can record to HDMI while still having full face tracking AF and remote controlling the camera via Wi-Fi. The A7 III comes close, but disables face tracking, and the Z6 just flat out won’t allow remote control with HDMI output. I have a hunch the S1 might allow this combination too, but need to verify.

In Russia you don't watch TV, TV watch you. Here, TV is wall. What a country!

1. What makes you(tuber) think that I'm interesting to look at your face most of the time? If your video is about Something, make it to be about that Something, not about your narcissistic persona. 2. "Do not saw the air too much with your hand thus, but use all gently, for in the very torrent, tempest, and (as I may say) whirlwind of passion, you must acquire and beget a temperance that may give it smoothness." Shakespeare, Hamlet, Act III, Scene 2, 1603 AD. - So, tie your hands behind your back until you get used to not sawing the air. 3. If you must have some kind of opening, make it short. And do not let me wait for 30-60-90 seconds for actual start, go for It as soon as possible. 4. Also, do not put loud soundtrack that drums or screams into my ears. I'm not interested in your "musical" taste, nor I came to watch you video for that. Be polite. (And try not to use loud soundtrack in background that interferes with your voice and words.) Be articulate. 5. Do not bother me by asking to like or subscibe to your video)s). If they are interesting to me, then I'll do it. 6. Rehearse or make a plan beforehand, practice, that will make you more "pro" than any other gimmick. 7. Try to be economic with time. Do not waste yours, nor mine. Be short, precise and (and at least try to be) intelligent. Do not repeat yourself. 8. Find someone who would be critical but fair about your videos, and show them to him or to her, then listen. Four eyes could see more than two. Especially if you are trying to be innovative. 9. Don't just give to me your precious opinions. Give me the reasons why you think so-and-so, and then I'd accept your opinions (or I won't). 10. Go to the good museums, read clever books, watch classic movies. Your personal culture always needs improving.

Hahahahahahahahahahahahahahahahahaha. It IS 2 generations behind Sony (or 4). Maybe Canon should just put aside their ego, and just pick up Sony sensors. The difference 12 and 15.5 Stops is HUGE. Plus that 16-bit advantage would help push shadows and highlights like nothing else around. Plus this sensor would easily outperform most (or all current) Medium Format sensors (atleast in that 60MP resolution equivalent chart).

I think AI is rather ridiculous. The idea that once all workers at VW are replaced by AI robots. The engineers the board committee etc. is complete nonsensical. It works on a small scale on a big scale it will be war. No one needs and probably no one wants a world were AI is running everything and humanity has disappeared, sorry but it's bogus. AI replacing high skilled workers only works in the retarded neo liberal world view that is based on exploitation. Not saying it can be helpful in some cases.

In near future your TV is not a device you mount to your wall. Your wall is TV.

Hope next time your memory serves better... LOL ; -)

Your starting to show your age. At least you are still funny.

I have the same impression on downvotes as hinted from my disclaimer up there, so I will probably not forget it when granted one from yours... LOL ; ) This laugh made my late night over here now : -) In any case, for same order of thinking or ideology (I tend to put my vote on this latter one), I have nothing against freedom of expression, on the contrary, for some reason my disclaimer includes the useful choice of search button there. As much as freely express my opinion over here. Son, you're not the only one to have strong opinions : -D EDIT -- I see now you've edited your post and didn't forget to add that last line there to follow my post... haha ; -)

So I just got an EOS R and can confirm that, as ridiculous as it sounds, when you hook up HDMI to a Ninja V, and have the EOS R set to 1080p, the frame rate stays locked at 59.94 FPS no matter what you set it to internally. The one exception is if you enable 24 FPS which does change the HDMI output. Note that this is true 24 FPS and not 23.98. 4K doesn’t have this limitation and I can’t understand why FHD does. ?‍♂️

Agree with you on the point that deleting a clip and moving the play head the same length ahead is annoying. This is something they should definitely think about and fix. But other than that, like the new cut page. Did some edits on the weekend - a short 2 minute video composed from approximately 30-40 smaller clips. And a bigger one assembled from 150-200 clips. The two timelines approach, with whole thing on the top and detailed clips at the bottom really helps me cut faster. Guess it all depends on our editing habits. Was able to almost finish the two small projects (total length of 7 min) in one day. Usually it takes much longer and this is the most difficult part for me - choosing the clips, or parts of the clips, figuring out the way to arrange them, composing the whole video. Now this whole process was easier, faster and even fun. Here is a good demonstration how new cut pages helps get this part done faster: Resolve is an incredible piece of software, especially considering the price.

Honestly, I look at that and think, "It looks very nice and well crafted... and he would shoot something incredibly similar on just about any camera these days." Even more honestly, an old 5DII has more visual character in what it produces than what this does. But I like like soft and imperfect images, especially for something romantic and purposefully dreamy like a wedding. Then again, that's me. I suppose I have my own style. Who really knows with this stuff? The couple may have seen his reel and love the clinical and high-res look of his previous videos. Still, what are directors of these sorts of productions exactly reaching for? Shooting a compelling film or using expensive and cool gear? I'd like to shoot on medium format too just for the fun factor of playing with neat-o technical stuff, but the more important question comes down to, what actually works and looks best? If I'm being really nit-picky, I'd say that many of the shots are stagey and the couple don't look wholly relaxed. Now, is that a factor of their personalities? --or are they a little awkward because this guy was doing a bunch of gear rigging for his Hasselblad shots? Is he demanding precision for his scene direction? Is he missing a chance to put his couple at ease by prioritizing his gear selection and his image creation? What's happening on the other side of that lens? You know, having a good relaxed relationship with your subjects is so exponentially more important than equipment. Anyway, I'm off on my typical "gear-not-so-important" rant again. At the end of the day, the new IQ era we're in is great. I'll shut up now.

Trouble is I Only have a 2K 30" display. SO to be honest it really doesn't look any better to me than my 2.7k GoPro footage. I can obliviously see the smoothness of it, so the info is there. I just can't see it in it's glory. My trouble is when you get older if you buy a 4K or higher Monitor you can't read the damn print. Piss Ant sized print even scaled up is still small as heck. It is a problem that would cost more money than I can throw at it is probably to have 2, maybe 3 Monitors utilizing different aspects of it. Years ago I had a monitor just for text and the other just for graphics.

There is no one formula for a successful YouTube channel. There are thousands of different kinds on there, and an amazing amount I can't stand to watch for 5 seconds have a shitpot of followers. Casey Neistat would not exist if he listened to the above Rules. Watch what you like and be happy. Ignore what you think is silly, maybe not silly to some people that are 16 years old. Those rules sound like it was written by some old Turd like me. It is a whole new world. Old rules no longer apply, good or bad. YouTube attracts people from all age groups, and all kind of people, good or evil. I think the main draw to YouTube is there is really Not any rules other than the big Moral no no's. I sort of like it the way it is. It doesn't take anyone 10 seconds into a video to see if you can connect with that person or you will Never look at another one they do. It is not Rocket Science to figure it out. But yeah, super loud music in the beginning REALLY pisses me off lol. But some people Must like it or their Channel would be belly up. The take away is the Rule is there IS no rules like the old saying says. Different strokes for Different folks. YouTube is Not going away. I think it is amazing what you can learn on there, or get help to fix a problem you have. Interesting stuff for sure. It is hands down the most entertaining site on the Planet.

serve the chilled moonshine first, after two glasses no one will care !! Bonus points will be awarded if you get some vegans to eat the kebabs ?

It's not about want, it's about cost. If I can film a wedding solo with higher production values and I don't have to hire / pay 2nd and 3rd shooters, why would I? If I'm a producer and I can ditch 50-75% of the crew, just keeping the bare bones folks who call the creative shots, why wouldn't I? If I'm some random corporation that needs a steady stream of inhouse video work, and I can either hire someone on salary or get AI to do it. AI that's been taught everything with regards to marketing trends, viewing retention etc, why wouldn't I? On a side note, I think AI learning is going to expose how ultimately boring and predictable we are. I think there's this romantic notion that humans are unique, beautiful souls, but the numbers don't lie. Our behaviors, patterns, and habits are quite predictable and quantifiable. It's sad, really.

After since doing some calculations I have found the perfect camera and lens combo that is professional: https://www.abelcine.com/buy/cameras-accessories/digital-cinema-cameras/arri-alexa-sxt-w-basic-camera-set with https://www.bhphotovideo.com/c/product/813891-REG/angenieux_24_290_optimo_optimo_24_290mm_zoom_with.html

In the UK we are still in the EU (just!) but the VAT threshold is £85K of turnover before you need charge VAT. You don't pay any income tax below £11850 then it's 20% until £46351when it rises to 40% while social security charges are around an extra 9% between £12000 & £50000. You don't need to register in any way to work as a photographer or sell shoes. No wonder so many other EU nationals want to live & work here?

All that bulk, expense and weight just for a more clinically sharp look and less vignetting. Give me the older style optics any day.

Yes, I pay taxes. You don't need a license in the United States to sell video production services (or shoes, for that matter!) I've never even heard of such a thing! What country do you live in?! ?

You need a license to be a photographer in some countries? That's insane. I live in a nanny state, but even here you can earn up to €1000 tax free legally as a hobby photographer, and up to €5000 before you have to start paying VAT. Above that you start paying VAT as well, but there is still not any kind of licenses. And you have to have a physical space as well? Where is this? It's perfectly legal to run a business from your home in Norway (where I'm from). Photography is not exactly bridge building or heart surgery.

I am sorry but I don't get this. No one OWES you (or me or anyone) a living. What if there are dozens of people in your area who have more training, spent more on equipment and time? Are THEY then MORE entitled than you? Do you need a licence to work in photography/video? I don't want to see anyone not being able to live doing what they want but if someone wants to offer to work for less than someone else and they produce stuff acceptable to the people paying, so be it.

I think you're overestimating how many people are taking work away from you after buying a $500 kit. People that are good at their craft and keep clients happy will always have work. We all have financial obligations and desires, some larger than others. I live cheaply. I own a small home (paid off in large part thanks to my supposed "amateur" video work), I own somewhere in the neighborhood of $20,000 worth of video equipment, all paid off thanks to my "amateur" video work, and I've found a way to live comfortably on $25,000 to $30,000 a year. I've done all that by the age of 34. If someone comes to me and says they can only afford $500 for a gig that others would charge three times for, and I can fit it in to my schedule, I have no hesitation taking it. Some wish to frame that as undercutting "real professionals" whereas I look at it as paying my phone, electric, internet, and grocery bills for the month with one gig. Besides, those type of clients weren't going to pay those "real professionals" what they would ask for anyway.

This is such a weird mentality. The quality of work should always be what's most important. If those that have hired me and been pleased with the results consider my work to be "professional" then that's really all that matters.

Of course! The 6400 is not the camera for someone like you. But it doesn't make it a "turkey". It's like a car person saying VW Golf is a turkey because it's not a Porsche. VW sells a lot of Golfs even if they're just front-wheel drive that understeer and are not as much fun for people who love rear-wheel drive cars. That said, I don't love Sony cameras and that's probably what you're referring to. They're good gadget but never feel like a tool you want to use. I have the 6000 and the A7Riii. I'm glad the 6400 kept the old battery and stay true to its size. I think sony understands this market segment well. They are delivering everything a newcomer would want and more. Most importantly you want the camera to work. What that means is, that it takes good videos or photos. Most people people would not care about bit depth, etc. What they want is photos or videos that are in focus. Secondly they want it to work where a phone would not work, like in dark situations etc. This is what this camera is optimize to do. A small little wonder that you can use to take selfies, low light photos and videos and the AF is so good that you're 95% guaranteed to take a photo or video that looks decent. Sony will acquire more new users and some of them might ultimately invest more into the ecosystem of Sony. It's a market win for them.

Sony doesn't take away IBIS? They did just that with this A6400. They don't disable 10-bit internal? They did so on FS5 vs FS7 and never implemented 10-bit internal or external in their alpha range (unlike Fuji, Panasonic, Canon & Nikon). Still the same 100mb XAVC codec in their third-gen FF cameras. Sony may be aggressive with pricing/specs but they segment products like anyone else. Please stop drinking the kool-aid.

I agree that the A7III is the reference point for pricing, and probably will be for another 6-9 months, but it's not a perfect camera and comparisons can never be absolute. If the XT3 had IBIS I feel it could and would comfortably sell for almost $2k, even with the A7III and Z6 right there with bigger sensors. The A7SIII being $3k would be a pleasant surprise, at launch the A7S was $3200 and the A7SII was $3400, if I remember correctly. The only way I see the A7SIII being less than $3400-3500 is if they skimp on a feature or two (say, no 10-bit anything, and no new codec. Or if they stay at 12MP). The A7000 costing the same or more than the A7III makes total sense, assuming it's got the high-end specs that outclass the A7III. The 7DII cost the same or a bit more than the 6D, same with the D500 and D610. I expect the A7000 and A7SIII will be pretty similar specswise (new sensors, 4K60 8 bit, possibly 10bit out but I doubt it, probably the same old h264 100mbps codec, third-gen body/battery, nice EVF and screen, new AF from the A6400), with mostly the sensor size differentiating them. $2000-2200 and $3400-3600. I don't see the new HEVC codec making it into the Alpha cameras anytime soon, the broadcast/cinema divisions will demand to have a year or two with it to themselves. I think 10-bit HDMI is the most we can reasonably expect in the next generation.

I am not so sure about the 2K price thing. The A7III is nice, but its their base model. We've already heard rumors about the S3 costing $3000, as well as rumors of panasonics full frame cameras costing above 2k, even rumors of the A7000 costing 2k, which is higher then previous aps-c models. Hard to tell at this point.

These cameras baffle me because cameras like the G85, which is going to be 3 years old, is by far a better "bang for your buck" camera for vlogging and an excellent b-cam for the GH5. Granted I suppose if you're already in the Sony ecosystem you're less likely to pick up a Panasonic MFT camera, but still, it's amazing how uninspired Sony has been when it comes to their APSC line compared to Panasonic and their MFT lines that have really pushed boundaries. Heck the G85 will be 3 years old this year and still does a lot of things better than new cameras. As time passes, and more offerings are made, my fondness for the little G85 grows because of how much it can do.

Thought this might be able to be my next vlogging camera, as with the Sony 20mm pancake it could be a pretty sweet compact setup. I can even overlook the selfie screen / hotshoe clashing, but no IBIS?? Sorry, the cheaper Panasonic G85 still reigns supreme in my desires to by my next vlogging camera.

Ha ha the camera is a massive flop. Clearly Sony have learned nothing about ergonomics and how people actually use their cameras.

This. Topic. Again. Is 4K good? Do we need 4K? I wrote budget 4:3 4K, because the next camera that can do native 4:3 anamorphic is the URSA Mini. But let's not push this conversation to off topic. IMO, try to search after AGFA 1.5x anamorphot commonly known as Moller 19/1.5x, it's the focus through version of the Moller 8/19/1.5x. Cheaper than the Isco, quality wise: really sharp!