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Obviously, for me it's the 5D Mark III and Magic Lantern Raw. I have been using it for almost 3 years now and it is still the best camera I have ever used. Since I bought it, I have measured every new camera against it and I have yet to see an image that I prefer. Now everyone is entitled to their opinions but I am going to go against the grain here and say that the NX1 and the GH4 were ahead of their time but shouldn't have been released until 2016/2017. And before I get a ton of dislikes, hear me out... I still feel that 4K was pushed onto the consumer a couple years earlier than necessary. The camera manufacturers hadn't even perfected a 1080p image before moving onto 4K. With a multitude of Oscar nominated films and Sundance films still being shot on 2K, to this day, with an Alexa or an Amira, I just feel that those cameras were pushed out too soon to help sell some TVs. Just my opinion. With that said, I've owned an NX500 and to this day I don't know if I ever used a camera that felt better in my hand. Now if I'm speaking objectively, I'd have to say that the OG BMPCC is the camera of the decade and more specifically the fire sale during the summer of 2014 was probably the best moment of the decade. That camera was nicknamed the Baby Alexa and ushered in a wave of cost effective cinema camera features from most manufacturers. In 2019, I really like what Panasonic has done with the S1H. And for the price, the Sigma FP is almost a no brainer purchase for me next year. I'm looking forward to seeing what BM releases during this NAB and I hope the rumors for the Canon 1DXiii are accurate. I still foresee myself primarily using my 5D3 for the next couple years but I may rent a couple higher end cinema cameras next year. One thing I've realized this year is that I don't need to own every great lens or new camera that comes out on the market, but for a small fee, I can use almost every camera on the market if a project calls for it.

Here you go. How is it compared to Godox and Aputure? The light was at 100% power. ZOOM0044_TrLR.WAV Another nice thing about Jinbei is that they send it to you via DHL in 5-7 days and its free. So no need to wait for 1 month as usual.

Samsung NX. Still using the ecosystem both professionaly and for my hobby. Great selection of cheap lenses and pancakes. Last weekend I had the NX3000 with the 16-50 PZ, I did an event coverage with 2 NX1 and 16-50S and 12-24mm, a few days ago used the NX500 with the 16-50PZ and 50-200mm for the kids plays, and now I gave the NX3000 and the 18-200 to a friend for the holidays, and I am away for a family trip with the NX500 and the fisheye/30mm/45mm. I bought my first NX in 2013. After 20 years in the business and a lot more in film and video and photography, NX has a unique place in my heart. It was everything we wanted, and a huge Asian capitalistic corporation was doing everything they could to make it true! What a rare moment in history.

There's quite a few ways to go lightweight, but you didn't mention what sensor size you are going for The Aivascope that @heart0less linked you to is an awesome, single-focus 1.5x for fullframe. It does not need a focusser, but imho it does need support, because it is rather heavy on the taking lens at around 700 gramms. But Aivascope also makes a smaller scope, for smaller sensors. Here's mine for instance : GH5 > speedbooster > Nikon 50mm 1.8 pancake > Aivascope 1.75x v2 > ProtoDNA. Quite lightweight, does without rails. (see attached picture) This gives me perfect 2.40:1 when desqueezing opengate 4:3. Then again when you go vintage scopes there is quite a lot of choice : Baby Hypergonar (the 1.75x aivascope is a modern take on that one Yashica Scope (a cute small 1.5x one, which i would double focus) Bolex 8/19 (1.5x bolex flare goodness, one of my favorite baby scopes) Baby Kowa (2x, even more elusive than the Bolex) So you can go for light and small scopes, especially if you stick to m43 or s35 sensor sizes ... but it might take a year or 2 to hunt some baby scopes down... and you better have deep pockets.

Oh absolutely. I would still be shooting the NX1 if it had the hacked 2.5K from the NX500. Great image with insanely fast rolling shutter readout. 4K was just too much for it at the time.

Just to compare: In 2009, a DIY filmmaker equipped with the newest gear would have used - a Canon 5D MkII or 7D with the mushy h264 image whose actual optical resolution was closer to SD than HD, in sRGB color profiles with a dynamic range of 7-8 stops; - on a steady cam like the Glidecam, or a bulky DSLR rig with display loupes; - with adapted vintage manual DSLR lenses because of the nearly unusable manual focus of native AF lenses (and AF still being unsuitable for video); - editing the material in Final Cut Pro 7 or Premiere Pro using Magic Bullet Looks for color grading, with material that didn't really have enough bit depth for doing that.

It was 2014?? Time flies, that does make me feel old

DaVinci Resolve - I am still using the dongle from my Black Magic Cinema Camera - never had to pay for an upgrade. They keep making it better and better at no cost. It's not just for color correction and video editing, but now includes audio mixing and effects, and visual effects compositing. You could make a career out of mastering this one piece of software. No subscriptions or excuses - the gift that keeps on giving.

Mine has to be the Sony A7s. I have had a LOT of cameras this last decade (and a lot including old point and shoot cameras just this year). I am now on my second A7s (my first broke after years of solid daily use but I was recently given a new one by my family). After being without one for a year or so, I appreciate being able to put pretty much any lens on it and simply walk out the door and shoot it at any time of the day or night. I do not need a huge pixel count or tracking AF but being able to put the ISO on auto (currently max 25600) and not worry is wonderful...with almost every other digital camera I have had (A7, GX7, 7D, Nex3N. several Pentaxes a couple of Olympus digital ILCs, a Nikon and more as well as many P&S, i HAVE had to worry about the max ISO (A7 was almost worry free for me) and in some cases, simply not shoot at night without flash (or light for video). It isn't JUST having decent high ISO, it is the dynamic range that goes with it too. The A7s is stilly pretty good for DR at base (still equal or better to ANY M43 and most APSC and many other FF cameras but it does not drop away anywhere ear as steeply as other cameras (I have some cameras that are about the same at their base as the A7s is at ISO 12800). I am also finding that simple things like the horizon level in the EVF (that does pitch as well) is a godsend for walking around. Sure the camera has many flaws but the things it does, it does very well. Your choice?

(OK, I could have shot this with about any 4K camera, but... it was a shit-ton of post...)

I’m at home, got beer, kids asleep. Fancy some fun, wild speculation? Death of the Gimbal They will always have their place in high end TV and cinema, however for nearly everything else, I think we’ll see them replaced with insanely improved IBIS and a boat load of sorts gimbal-ish “fluid movement” remote type pistol grips. Every man and his dog will have them. Return of Canon With video rising to such a compulsory level, Canon will crack the cripple and deliver what we’ve all wanted for such a long, long time. Eventually. Or it’s 60fps Canon Log in exciting 720p. The Fall of RED The Chinese will knock them out like a weapon in the nuts and force out a RED army of affordable cameras named after mystical creatures. RAW video everywhere Nearly every decent camera will have it internally within years. Masses of terribly noisy Vimeo videos to follow. Smartphone Domination They will become “cinema grade” and will be the No.1 choice for Vloggers at least. Computational DOF, crazy AF, all sorts of crazy software. Completely trackable VFX filters. Boobs and penis’s on everything. Computational Focus and DOF Already exists but will mature into an essential feature for most cameras for a very different post experience. “Fix it in post” said after every shot. Video AF Will get so insane that only the high end will use manual. Us forum geeks will still be buying $20 f***d up Helios though ? Video Essential It will become absolutely compulsory for every business and person and hamster and pig for everyday communication. Like the internet is now. Video will become the internet. And your very soul. and finally..... Cameras and gear will be so commonly incredible but so second nature in operation , getting something technically correct will be as hard as passing wind after a curry. Even your 90 year old Grandma will be able to lock focus at f0.95 and orbit round her cat’s face in 10bit 8k. The tools will be so commonly reliable that they will hardly matter. We’ll see an epidemic of terrible content with perfect focus and stability. Although this will unearth some under privileged gems, the little fishes will barely be seen in a sea of waste - unless it rises above it. As creators, we are not just fighting for quality. You will be fighting to the death for people’s time and attention. The “competition“ will be everyone and everything. Fun times.

I don't know, steadicams are still superior to gimbals, let alone IBIS. Dolly's are superior to all of them.

I want to play. Cameras: FS700 - still perfectly capable in 2019. A legend of a camera. GH5 - still irreplaceable and way ahead of its time on launch. BMPCC - the toddler who is really annoying but just adorable at the same time. GoPro - a rocky patch here and there, but just an amazing achievement. Lenses: Sigma ART - doesn’t need explaining. Lighting: Anything by Aputure - owning fantastic modern lights now far easier! Stabilisation: Movi - gave birth to a new way of shooting. Flowtech 75 Tripod - at last, the tripod redesigned that isn’t a clunk. Edelkrone products - very clever, exciting. DJI Inspire - ridiculous results in a small package. Big copters looking dusty. Software: FCPX - f**k the critics, as a “concept” at first, way way ahead of its time. Now matured into a modern beast and revolutionised my editing. DaVinci - will explode in the 20’s. iOS - crazy apps and camera functions give us a glimpse of the future.

The ARRI ALEXA Classic does barely squeeze into fitting within the 2010's decade, came out in April 2010 Hmmm... good points! I was too much just thinking about cameras, but undoubtedly focal reducers and gimbal have had a MAJOR impact upon the past decade of filmmaking

The Sony A6300 to me is a cinema camera on the go. Super 35mm sensor, wide dynamic range, EVF and a bunch of other little details that you can just use anywhere. I still feel spoiled even though it's relatively "low end" nowadays.

Nah, unfortunately it's still too heavy. I wouldn't feel comfortable / safe to use it without rails. The lightest way to go is Aivascope paired with Focuser-8, but you'd only get a 1.5x strech with it. Looks like this (not my photos):

Sony A7S. The high iso made filming the aurora borealis in real time a reality. Definitely my film highlight of the decade.

- Panasonic GH2 (released in 2010) - MagicLantern RAW on 5D MKii + MKiii + EOS-M, the Blackmagic Cinema Camera 2.5K (still incredibly good) + all versions of the Blackmagic Pocket (& Micro) Cinema Camera - Metabones Speed Booster - Gimbals (Zhiyun, DJI, Moza) including the DJI Osmo Pocket gimbal camera - Sigma Art lenses, all of them, but especially the 18-35mm/1.8 - Davinci Resolve and (not necessarily in my niche) FCPX All these were real game changers.

I have a Godox SL-150 light. Great light output (f/5.6-8 on my S1H at ISO-400 for a two up shot with a 3x3 thick film diffusion at 100%), Bowens mount and is excellent for music videos, but It's louder than the fan on my Ninja V and S1H combined and then tripled! Listen, you cannot use this for most indie film or ANY interview style production because the light is just too fucking loud!!! I ran this for an interview in a double baffled softbox around 4 feet from the subject. The subject had a wireless lav on, and it sounds like a hair drier is running the whole interview!

My NX1 is by far my favorite. It's like Samsung reached into the future and brought that camera back. Paired with the 'S' Lenses it can go toe-to-toe with any camera on he market today. The level of detail is astonishing. When I deliver at 1080p my clients are amazed at the quality. Have not been blown away by any camera yet and will continue to use my NX1 for video. A7III video is good but nowhere near the NX1 so it's been relegated to stills & B-CAM.

XT3

For me it's the GH5. Not perfect, but a real workhorse, and was really ahead of its time. IBIS means I can shoot hand-held but not be limited to a hand-held look, 10-bit internal gives hugely flexible footage without having to have an external recorder, 4K60 and VFR up to 1080p180 are great, MFT mount makes adapting almost anything super easy, flippy screen and EVF are really useful, the list goes on... That's my personal choice, but if I had to pick what was the most significant things in general then it would be the BMPCC and BMCC as I think they moved the goal posts forward by an enormous margin and much of the features we all enjoy today were inspired by that shift, as camera manufacturers have historically been very traditional and reluctant to give anything except the smallest improvement possible on newer models and this shook up the industry a bit and showed there is room for new players to be profitable and innovative.

NX1. Except for AF and Rolling Shutter issues, perfect camera with incredible form factor. I really wish Samsung had given it one more go!

The original file is from S1 in 4k 10 bit Vlog. It was shot in F4, and i was near on the greenscreen ( not much space in my office ?). So thats can be the problem with the green kickback in my face... No, i shoot only shoulder hight( the clip is not reframed)

Shot on P4K with Crane 3 Lab.