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Hmmmm...... if that is so.... Then swap that Zoom F4 for a Sound Devices MixPre3! (and I say that even as a big big big time Zoom F Series fan! Love my F8n) I couldn't decide! Thus selected the Fuji which would be good for most work, but then if you really wanted that extra stop and a bit of light for a particular shoot then you've got the Sigmas as well! Please excuse me while I go list everything everywhere that ever has been made. As purely for my SOUND PACKAGE I'm going to need a truck to carry it all: Yes, this truck. This exact truck. I'm not even joking. My only worry? Is that it might be too small!

There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director's viewfinder would be unheard of in a consumer full frame camera from a major manufacturer. This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features - which are big leap for Sigma and indeed push the boundaries of whet we expect from a "prosumer" camera. Cinema DNG RAW 4K 12bit to USB C SSD media Internal 1080p 12bit internal RAW Cinema DNG uncompressed Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment) Read the full article

What really excites me about the whole computational thing is the fact that it clearly shows major breakthroughs are no longer dependent on optics, sensors, but on processing power and software. I recently fooled a Camera app into thinking that my dearly beloved Redmi Note 4 is in fact a Pixel 3. The results truly amazed me. Just like gethin said, those photos may not be the best in terms of color rendering, ability to resolve details (not to be confused with sharpness), but they're good enough, especially for not tech-savvy people. I'm just worried that all my gear might become obsolete in 5 years time - I guess it's called 'progress' and 'moving on'. ( :

He is a guy who up until a month ago had never even thought about filmmaking. And he is considering buying a C300mk2?? Or C200, or even C500 When he already owns two very capable DSLRs for filming with. Yes, I 100% think it is appropriate to say "whoa man, slow down!" and enjoy what you have at the moment for a while first. I think everyone knows I'm a big time gear obsessed nut case, who loves loves obsessing over the latest toys! But even I know when is enough is enough, and maybe you should not be focusing so much "what is my next gear purchase?" (although as I'll be buying a Sound Devices 833 any day now, I know I'm being the biggest hypocrite! "Do what I say, not what I do") That's good to hear you're leaning towards that camera. If 60fps isn't super important to you then keep in mind the original C100mk1 as well, if it has the DPAF upgrade. As they go for practically nothing on eBay. Here is one for US$1,299 (or "best offer", so I'm sure you can cheaper! Much much cheaper if you are patient with the right auction instead. Or just get this one from Adorama, which as you know is a big store with a solid reputation behind it): https://www.ebay.com/itm/Canon-EOS-C100-Cinema-Camcorder-with-Dual-Pixel-CMOS-AF-Feature-Upgrade-1168004/233326917232 Am glad you've found my posts helpful and thought provoking! :-) Even if I've been a bit critical at times....

I think when you're talking about recording on the T5 drives, rather than unwieldy external screen based recorders, the whole internal/external definition becomes a bit moot. Conceptually, its not actually that far removed from RED drives (aside from the "proprietary" media) and no one considers that to record externally. There are locking solutions for USB-C that could easily enable an after market "cartridge" type of housing and the SmallRig solution is a neat one. Hard to tell without taking it outdoors really but in terms of using it in combination with the loupe, I've used that same on my Sigma SD0 (and even put an LCD in it to make a cheap EVF ) and its very solid and with it on the FP we weren't having any difficulty hitting focus..... Well if they were, then as this was pretty much the response from me and @Andrew Reid when they mentioned the price they'll hopefully take that into account in their final calculations

Looks like there are lots of considerations and it also looks like this conversation isn't clear because we don't understand what your requirements are. Questions: Why do you care about the aperture? Is it because you want a shallower DoF for separation? or is it because of exposure? If it's because of exposure, then you must also factor in ISO performance - for example the A7iii might have better low-light with an F4 than a GH5 with an F2.8 Also, an F2.8 on MFT has a DoF equivalent to F5.6 on FF, so a FF camera with F4 would have more separation than the MFT/2.8 combo What about AF? If you're on a gimbal, are you going to have a follow-focus? If so, what cameras support that function? If you need AF then you have to match the DoF to the cameras AF ability.. an A7iii will be better at f2.8 than a GH5 might be at F4 (I'm just guessing here) but an OOF shot is probably a wasted shot How many shots do you HAVE to get (eg, you have to include certain specific moments) vs is it a quantity thing where you just need enough good shots for a 4 minute highlight reel If there are certain key moments you have to get (eg, at a wedding you have to get the kiss, but you can afford to miss part of the first dance due to AF issues) then how are you going to make sure you nail them? If it's follow-focus or AF or deep DoF then you need to think about these. If you have to get key moments then having a longer zoom will mean you have framing flexibility and don't have to swap lenses and re-balance gimbals etc. Reliability and speed to get the key shots might be more important to you than having a lovely lens that misses the key moments. What shots do you get? You should be able to tell us that you need a super-wide, a mid, and you need close-ups but at a different time when there's time to change lenses. If you don't have clarity about what shots you need, when you need them, and how much time you have to setup for them then you don't know enough to buy a camera/lens combo for this work yet. What format and resolution are you delivering in? If you're delivering 4K then you'll need a 4K camera. If 4K, how many shots can you get away with including of 1080? maybe if there's a few quick inserts in 1080 scaled up you can get away with it? Do you need slow-motion? What frame rate? 4K60? Do you need 120p? If you need vertical video then you need a portrait camera rig, or you need to shoot 4K landscape to crop out a 1080 vertical slice If you're shooting 4K for 1080 delivery, then this impacts your lens choice as you can engage a crop mode on a 4K camera to get extra range. A GH5 can give a >2x digital zoom in 1080 ETC mode, which means a 12-35mm can deliver 1080 in a FF equivalent from 24mm to around 200mm. If you need to deliver 4K and can't include any 1080 shots then you're limited to FF 70mm equiv with that lens More likely is you can afford the odd 1080 shot (just extra sharpening in post) so could get shots in the FF 70-200mm range in 1080, but are the shots you need the extra zoom on the ones you can afford to deliver in 1080? Maybe not. Tell us what you're trying to achieve, what final video you need to deliver, how you shoot it, and what your style is and we'll tell you what equipment you need.

24mm equv on this bad boy and your pretty much sorted with strap on neck for good oul steady ready ? ⁸

Hi all! I'm sharing with you a moody film I did during a short trip in Berlin from last june. Don't worry you will not be drawned under a ton of crazy trendy transitions. Just let the video takes you through History with a big H. This city is so inspiring. Feel free to ask me about the workflow. some technicals specs : Shot with a canon 5D MK III 1920x872 @24fps with crop_rec_4k.2018Jul22.5D3113 edit and color corrected with davinci resolve 15 (by the way thank a lot Andrew Reid for taking the time to create your books, I purchased them a while ago, and even if was using before ML, they offered a good help earlier on the year.)

There’s uncompressed 10 and 12 bit 4K CDNG raw out to SSD through USB-C.

I would rather have a crew with enough knowledge and experience to make things work with the equipment on hand.

Nice looking grip with Dtap, USB power and dummy battery: https://www.newsshooter.com/2019/09/17/cine-x-battery-grip-for-the-bmpcc-6k-4k/

E-m1x already exceed that limit with 7.5 stop

You should make living quarters in there. Start a YouTube channel called cargo truck life. Title of the first video should be: WHY Cargo TRUCK life DESTROYS Van Life”. You will need to photoshop bikini girl on top of your truck for the clicks maybe have the truck crushing a van with the front tire. You know it’s gold.

A Full Arri Lighting and grip Kit with a van to transport it, and a full time assistant grip. Sony FX9 Sony 16-35, 24-70, 70-200 Voigtlander 21mm 1.4, 40mm f1.2, 65mm f2, 110mm 2.5 Angenieux EZ Zoom set A 40mm Zeiss Master Anamorphic That's about it

Size/price are quite alright. Don't really care much for the feel or menus (they're all crap if you compare it to say the BMD Video Assists or imho way overpriced SmallHD ones) as long as the image is nice. Yeah, in the early days I had (very obvious) stuff fly under the radar. Not so much these last 2 years or so, they seem a little more vigilant. But... after 11 years having lived in Austria, I'm back in The Netherlands once again, received a couple of orders from abroad already and so far so good (got lucky with a Sony mic imported from Japan, which from JP usually gets shipped by EMS with true values on 'em which in my experience always pop up on customs' radar). There's also some stores with EU Priority Direct mail or something along those lines where it's guaranteed you don't pay any import fees however or they have something set-up with Express shipping where it's first send to some EU warehouse and from there gets forwarded within the EU borders.

Yep great to meet you Crazy coincidence of me checking out the Panasonic 8K and you being there with an Iscorama!!

Yeah, bought my Q5 there way back when. Believe at launch it had 30 EUR off. Everything went fine. Had a 663/O/P2 before that (actually still do somewhere). Sold my Video Assist 5" as well. So, presently just have the Feelworld F570. True, can spot the 5" version, just not the 7" A70TLS thru Geizhals.eu it seems. Fotga themselves seem to have UK and DE Amazon stores, but not carry it (you could try and ask I suppose?). But as with all things China... AliExpress is always a way to go... https://www.aliexpress.com/item/4000173376386.html ... also seems to be one you'd be able to find on eBay I guess.

Sony FS7mk2 (I'm very tempted to write the FX9.... but I feel like that would too massively impact my lens choices :-/ Panasonic Varicam LT and EVA1 was tough to ignore as well, but they don't have the flexibility of the E Mount. Ditto UMP G2) Sony a7Smk2 as B Cam. (not the greatest mirrorless camera, not in this rapidly changing marketplace, but for easy workflow matching the FS7, perhaps the most "practical" choice?) Sony RX0mk2 (as the "C Cam" for those action camera shots) Fujifilm 18-55mm T2.9 + 50-135mm T2.9 Tokina 11-20mm F2.8 Sigma 18-35mm f1.8 + 50-100mm f1.8 Sigma 120-300mm F2.8 Sony 35mm f1.8 OSS Sony 50mm f1.8 OSS Sony 18-110mm F4 Mitakon Zhongyi 50mm F0.95 Mitakon Zhongyi 35mm F0.95 Zillions of accessories: gimbal, EasyRig, Dana Dolly, tripod, VCT-14 shoulder rig (I love my SmallRig one, video coming up soon with it in use today!), monitors, etc etc Fully loaded up Zaxcom Nova with all the goodies (internal RX, and the new micro sized TXs with DPA 6060 lavs, URX100 as well) + Cedar DNS2 + Sanken CS3e + Sanken CS1e + Sanken CSM1 + 2x Sanken CUB-01 + Sennhieser MKH60 All the lights Aputure makes. Plus a billion other things. btw, I'll note the title said VIDEOGRAPHY. Thus I wrote my list with a very strong bias there, I am assuming this is mostly for work where I'm doing it solo or only with maybe max five other crew. (such as director / producer / camera assistant / sound / gaffer) if I was to put together a dream "filmmaking kit" then it would be very very different, I'd be selecting PL lenses, tossing up between a VENICE or Arri Mini, etc etc

For me, it is Canon 1DX Mark II with 24-105 Lens

Probably a toss between the C500 MK2 and the Sony FX9 But edge goes to Canon with the C300 MK2 as a B cam. with the 24-70 2.8 and 70-200 2.8 Sigma 24, 50, and 85 cine lenses Flowtech 75 legs Tilta Wireless Follow focus kit Ninja V monitor 4x Aputure 300d ii 4x QUASAR rgb lights 2x mombo combos That's a start ?? I do very low budget films, weddings, events, and corporate videos. The C500 mk2 is kind of a no brainer. Built in ND's, good codec, 2k 120p and PDAF, the C300 MK2 isn't far behind. I like Zoom lenses for their convenience. Sigma Primes for critical manual focus situations. I could go on for a long time about lighting but the 300d's are on my wish list right now along with Quasars. Honestly don't care about the aputure brand. Any of the 1500w equivalent LED's out right now look good.

Compressed 10 bit RAW would be much more enticing than uncompressed 8 bit CDNG IMHO

This is such a weird camera, in a good way, that I don’t know what to think. Sure, I’d rather have all internal raw, regardless of resolution, bitrate and color depth, but as you said, the T5 is waaay better than an external monitor, so it is not a dealbreaker. And I’m sure Tilta and SmallRig will come up with some great solutions. I also love the director’s viewfinder feature, even if it would be a novelty for me... it’s still pretty cool. Again... it really comes down to price. The $2500-$3000 range has always been a barrier for me and my obsessive hobby. I end up questioning whether it would be worth saving the extra money for a C200, or possibly a Komodo. So hopefully the reps got a lot of face melting when they said “under $3000” and it ends up being under $2000. Thanks for the updates, though @Andrew Reid and @BTM_Pix it’s really great to have people on the frontlines! It seems Sigma is open to suggestions, so the interview could have opened a dialogue for some very unique features via firmware updates. I love Andrew’s idea to squeeze some extra resolution and color depth internally by having an anamorphic mode... hopefully that note made it to the engineer in the booth.

That would be a great idea.

I use the Fringer Pro on my X-T2 with great success. Canon 100-400L II, 24-105L F4, 200/1.8, and 50/1.0 all work fine. I haven't used any APC lenses with it, as I use those with my GH5. GH5 with Metabones 0.64XL and Tokina 11-16 and Sigma Art 18-35 both work great, as do all the others above.

Andy Kaufman Jerry Lawler Roddy Piper Bob Heenan Jimmy Heart Rick Flair Mick Foley

No DCI-P3 color for the 27UK850, the 32UD99 has it.

looks like a fresh new camera built from the ground up without the weight from the past so why did they kept the old outdated sd card media ? m.2 ssd are cheaper, faster and have a bigger capacity we are dealing with huge raw files after all so so why did they not put a m.2 internal ssd slot instead of a sd card slot ?

I wonder if the internal 8 bit raw can be used as a proxy recording while simultaneously shooting out to an SSD... that way, the raw panel in Resolve could be used in the edit/color before dealing with the massive 12 bit file sizes.

Just imagine canon colors af and 10bit 4.2.2 60fps internal clog no crop in fullframe priced as S1H id preorder it in hardbeat and no i dont need 6k 4k 2k im well ok with HD am i asking alot?

I agree. This thing with a good implementation of double exposure HDR video would be hard to beat as a pocket adventure cam for 99.9% of people. I have yet to see low light electronic stabilization from a phone that doesn’t shit the bed.

Sigma can’t go wrong as long as they thoughtful consider user feedback. The NVMe suggestion should be taken seriously. It makes perfect sense for the form factor and the cDNG uncompressed format they are offering. It’s clear they want RAW in this camera and they can only do uncompressed at the moment. Which means high bitrates and large files sizes. NVMe sticks tick all those boxes plus form factor and price per GB. I can see why Panasonic went with dual SD card slots on the S1H. Why didn’t sigma just go with XQD or Express and offer 12bit uncompressed internal?

The Fp seems like the next big indie hit. A lot of good ideas in such a small body can make the difference. "Interestingly I also bumped into Sigma CEO Kazuto Yamaki at the show and had some small-talk. I had my venerable Samsung NX1 with me, and he remarked that the product manager for the NX1 went to work for Sigma’s camera team on the Fp! So they are in good hands as this camera was genuinely ground-breaking and ergonomic." Maybe planning an interview with the product manager would be super interesting.

I wouldn't recommend buying a thing from that guy under any circumstances. His products are overpriced and in some cases appear to be of poor quality. I'd recommend taking a look at Rapido Technology's clamp selection instead. I have one of his clamps. He doesn't mess around - the quality of workmanship is great and the prices are reasonable.

Panasonic's 24-70mm f2.8 is due next month so would make the S1 more viable for you.

My advice is keep what you currently have. Buy a good video head tripod/monopod, a mic and lavalier mics, a cheap drone, and some video lights. A gimbal if you want to go all out. That should cover all your bases at first. If you need to upgrade your cameras go from there. I think soon Canon will be forced to have Full Frame 4k in their morrorless bodies by competition so I would not buy a high end body from them right now. If you want to get a cheap video oriented body for your lenses as a stopgap I would go for the new 90D. EDIT: Also make sure your computer and storage are good enough to edit and store everything!