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Yep, because you wouldn't want to risk any of it being out of focus.

It records out, via USB-C, to Samsung T5 SSD drives... it doesn’t get much smaller than that.

I’m pretty excited at least, gonna 3D print some accessories tonight

Short answer: No. Longer answer. Probably not.

XT30 is the same price with 10 bit output.

I haven't used the Ninja enough to get any connections problems yet. I got a package deal from Adorama that included the Atomos cable with the 90 degree micro HDMI cable end and I do worry that the bend is in the wrong direction and may cause problems with a connection down the line. I picked up the HDMI cable clamp that SmallRig recommends for their X-T3 cage, but it doesn't work with the Atomos cable because of the bend. I definitely want to find one that works.

The only good thing with degrees is making some friends during the course which actually helped me getting to jobs because of their connections. Otherwise I think youtube is much cheaper and wont get u into student debt lol.

I m beginning the think the upcoming E-m5 III might be a sexy camera, world class IBIS with PDAF video.. hopefully it can bring 120fps high speed mode with AF.

Haven't had any issues on my Ninja 2, the thing I am more worried about is the micro HDMI connection on my fuji. But yeah its pretty solid.

I think they are leaving room for a higher end DX camera with IBIS etc. It seems no one wants to give ibis under 1000. I guess we will have + 1k model as it is too much of a gap between the 2k z6 and this $ 850 model that will soon be 700-800. I see one model below that and one above in the dx line. I guess they won't continue long with their dslr dx line. When you see the af performance in the Jared Polin test, no one is going back to buy any camera withoud nearly full sensor AF and eye AF. They just published this

I'd say it's probably not worth it. I've never ever had a client ask about my qualifications. My reel, samples, CV and referrals are the only thing they care about. Probably the one valuable thing you might get from it is contacts and connections. But If you're going to do a masters course in anything, do it as a director - that way you might meet the people who will actually hire you later on, rather than the ones you'll be competing with. Of course you could always try to find out who from your undergrad course is going to do a masters as a director and offer to be their DP. That way you still get the credits and experience of working on some masters short films without having to pay for it.

Price with 45mm 2.8 is pretty good, like more than 50% off the lens

Start at the end goal and work backwards, seeking evidence. For example, if the end goal is to get a job, call employers and ask to speak to their hiring manager and ask them if it's something they care about when hiring. If you want to learn to think differently, find who your lecturers would be and call them, asking them if their classes will teach you to think differently from the other classes on offer. You will quickly understand if they're full of shit or not. One way that is guaranteed to teach you to think differently is to find some film people you like (producers, directors, cinematographers, etc) who produce radically different work, call all of their offices begging for an internship where you work for free and get to shadow these people. Spend a few months with each, trying to figure out what they do and why and helping them. Not only will that give you access to people you know think differently to each other, but if you're any good you'll probably get offered jobs with people you gelled with. Be clear on your goals and work backwards.

I am not dissing education or training. The thing is the academic route was set up when access to professional tools and equipment were limited and you could only get to practice with expensive kit by signing up. Now that a digital camera, a few lenses and a laptop with software are in everyone's hands, the colleges are no longer the gatekeepers, and work can be shared on-line. Even if you go to college you probably still need to buy your own kit, in addition to fees. So think of what else you could do with that time and money.

I went to uni and graduated with a combined arts degree specialising in; design, photography & filmmaking. Has it benefited me in any way? No. If I had applied myself properly? Maybe... Bottom line for me is as has been mentioned above, if it can open doors otherwise not 'openable', then a strong maybe. Otherwise grafting your way there is a legitimate option.

I'm engineer so not directly relevant, but might be based on what BasilikFilm has said above. I was never asked what school qualifications I had after I got into University, I was never asked what degree I had after I had a few years work under my belt, I haven't been asked what my first few years of employment were like now I have 15 years under my belt. Each time those credentials or qualifications made the step to the next level easier, it would've been possible without them but I have seen others coming from a less traditional background take longer to get their foot on the first rung. A traditional path with good grades gives everyone in the hiring process a bit of comfort and can be the differentiator between 2 candidates but this is only true at the early stages of a career, after 10 years of experience I care far more about personality. I work at a University now and there would be 2 things I would check if I was going to do a masters. 1. See who the tutors are, if they are academics that have worked their way up via bachelors, masters then a phd I would be a little cautious because there are some great people who have done that and some people who have learnt and excelled at academia and not just their specialist subject. 2. Who are the other students, if part of what you want is to build a network then students who don't stay in your location ( either because they don't want to or aren't allowed to ) or aren't fluent in English then it may not be as useful to you. In our institution ~70% of masters students are Chinese and American and they are there for the credentials and don't stick around afterwards.

no one ever asked me about my degree. OK that is many years ago now. It is all about skills, portfolio and word of mouth. If you are a self starter you can build these yourself.

IMHO, a University degree is ONLY sensible for certain kinds of jobs, like a lawyer (Solicitor or Barrister), investment banker, engineer etc. And TBO, the degree does nothing even in those jobs, but employers are as stupid as employees and judge you solely on your university degree and your internship jobs (neither of which are truly proof of anything). For filmmakers, while the information and hands on is decent in university education, the price of the education could help you produce a few low budget Indies of your own. And you could learn almost every from YouTube and online resources (many of them free or at very low costs). Plus, it always helps to meet and collaborate with filmmakers on free gigs like short films, and gradually start moving up the ladder to larger ones and paid gigs. Also, since filmmaking is a group effort it is super important to have the right team. Most filmmaking education is way too expensive (as is every college education, to be fair).

I just received the Ninja this weekend and started playing with it. Used it on a commercial gig tonight. It's pretty user friendly and easy to set up. The touch screen can be a tiny bit wonky at times and there are no physical buttons. It's nice to have 4K files that my computer doesn't hack up like hairballs. The biggest surprise for me is how noisy the fan can be. Even recording audio off camera with a hypercardioid mic I'm having to get room tone and scrub the noise in Audition. A lot of people think the new Blackmagic Video Assist 12G HDR will be better, buI got the Ninja instead of waiting for because I might have a job this weekend that calls for unlimited recording and because it can do DCI 4k 60. For some reason, the 12G HDR won't do more than 4k 30p in DCI. The Ninja and a 1T WD Blue SSD is still less than the Blackmagic 5 inch with no storage The 12G HDR does take both UHS-II cards and USB-C flash disks like the Samsung T-5 though, both of which almost everyone has in their kit already. Honestly, if the BM comes into stock in the next few weeks and people can confirm it's not as noisy as the Ninja, I might return the Atomos and try out the Blackmagic.

Get a Masters in business. It's applicable to all fields. It also shows that you're serious about the bottom line, and will help you running your own business.

How innovative of Canon to include 24p in a firmware update!

Both are reliable systems. The Blackmagic's are brighter, Ninja V is more affordable though and seems plenty bright.

This is a 24K camera.... Not cheap though. https://petapixel.com/2014/10/30/41395-thats-much-24k-gold-nikon-df-will-cost/

I'm not buying another camera until there's 24K.

Great! Good luck on the festival run

Recent video I made with my GH5. Shot on the Leica 12-60 lens using a Ronin SC Gimbal. Graded in Resolve with Filmconvert and shot in Cine-D profile at 50fps with a Tiffen Black Satin 1 filter attached. Two years going and still think this camera is amazing.

I think it’s important to first note that I’m a narrative hobbyist with a long term goal of producing a few short films and a feature film as time and money permits. I’m more interested in composition than resolution, but consider myself a writer/director more than a cinematographer. With that being said, I love lenses and through the years I have tested nearly every major brand of vintage lenses on most modern mounts. When I finally settled on a camera, I learned that going native, whenever possible, was the best option, and most of the time, a zoom lens allowed me the freedom to concentrate on the creative. But there aren’t many zoom lenses that offered the MUST HAVES for handheld, guerrilla shooting my style and circumstance requires... • size and weight • good image stabilization • fast aperture It was easy to get one or two of the three, but that elusive third usually ended up being the dealbreaker. And when you added the cost of a good zoom lens, it was difficult to compromise on even one of those. So, I moved onto the single prime concept of shooting, which I really enjoy from a creative stance. I’m pretty steady handheld, up to about 35mm, which happens to be the sweet spot for my point of view. And if I use native Canon glass with IS, I usually don’t need any secondary support other than a neck strap. But even the single, prime concept doesn’t feel perfect for my circumstances so I’ll most likely end up compromising my MUST HAVES and replace a few of my prime lenses with a slow zoom and end up with a couple fast modern primes, a couple fast vintage primes and a zoom. As I get older, I realize this never ending pursuit for the best lens or best camera or highest resolution is the antithesis of creativity and stagnates the art and craft of filmmaking.

I just like Oly cams. Even though they don't get you excited on the spec sheet, when you use one it just makes a difference (for me). It's not easily explainable. I just always chalk it up to this: it's why someone likes a certain car over another similar model in class. There's always some collection of intangibles that add up to a sum greater than the parts. Some machines just harmonize with ones tastes and desires.

Still from a short I am working on. This isn't going to make it into the cut, but it was too cool not to share.