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I agree with @BrooklynDan although IBIS on the S1 performs way better than I'd expected. And for the intended purpose of having a small camera that delivers a useable image it's pretty stunning and complements the form factor remarkably well. It's way way more usable than I expected and a pretty good option given a lack of viable alternatives for small form factors. But I prefer the Aaton/Arri 416 form factor or the Amira over the Red/EVA1/Alexa Mini form factor, too, and it's an issue with prosumer cameras that the form factor really makes no sense ergonomically. Too big for IBIS to make sense, too small to be shoulder-mounted comfortably. I keep going back to the $30 cowboy studio stabilizer, which somehow distributes weight evenly even with a front-heavy camera by clamping around your back. For 2-4 pound prosumer cameras and cameras without IBIS, I've found it preferable to a shoulder rig.

IBIS is not a substitute for a properly shoulder-mounted camera. It tunes out micro-jitters, but it doesn't help you when you're trying to shoot handheld with longer lenses because the lack of inertia causes the frame to swing around when you're trying to move. Also, digital stabilization is a machine interpreting human input. It always looks artificial to me somehow, ever on high-end gimbals and stabilizers. When you have a properly shoulder-mounted camera, you can press it into your shoulder and into the side of your head, which creates far more stability. I've been shooting with a Canon C100 on a rig with an external monitor and heavy counterweight, and while it's doing my back no favors, I can shoot long takes at 35mm and up with no problem, and even 50mm and up with minor shake. Try that with your mirrorless camera hovering in front of you.

I have watched some things captured on 16mm film, and I have shot one or two projects with the Eclair NPR. Additionally, I own an EOSM. The reasons why the EOSM is comparable to the NPR is because: some of the ML crop modes for the EOSM allow the use of 16mm and S16 optics; the ML crop modes enable raw recording at a higher resolution and higher bit-depth. By the way, there have been a few relevant threads on the EOSM. Here is thread based on an EOSHD article about shooting 5k raw on the EOSM using one of the 16mm crop modes. Here is a thread that suggests the EOSM can make a good Super-8 camera. Certainly, there are other digital cameras with 16 and S16 crops, and most of them have been mentioned in this thread. The Digital Bolex and the Ikonoskop A-cam dII are probably the closest digital camera to a 16mm film camera, because not only do they shoot s16, raw/uncompressed with a higher bit depth, but they both utilize a CCD sensor. Of course, one can rig any mirrorless camera set back and balanced on a weighted shoulder rig, in the same way as you show in the photo of your C100. You could even add a padded "head-pressing plate!" Just build a balanced shoulder rig and keep it built during the entire shoot. I've always wanted to try one of those!:

That rig works way better than it should. I haven’t used it in years but had great results with the OG black magic packet.

Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

Thats a solution.. but frankly the discussion is more about not feeling disappointed if IBIS isn't included, rather than a call not to include it.

Just going to bump this and mention you can watch this for free if you happen to be subscribed to HBO max. The bmpcc still delivering. Looked great streaming on my TV.

Nikon and Sony are clearly Covid-aware companies whereas Panasonic are not.

Not sure where you read this, but you're misinformed. I would echo what others say and mention the C300 or FS7 as their modern say replacement. The NPR is very much a single operator camera, just like the C300 or FS7. The comparison in image quality is probably not worth mentioning... It was the film stock flying through the gate that and the glass that determined the look, not the mechanics of the camera. It didn't matter if you had a Bolex or a SR3, both can look great with the right glass. I'm still curious how someone could think a EOSM is comparable in any way...Have you guys actually watched something shot on 16mm? Bizarre comparison.

These are thick looking images! No noise reduction or other processing weirdness. Super highly saturated shadow areas which many cameras nowadays desaturate to cover chroma noise Overall huge tonal variation. And what I guess - proper looking motion. Something the A7sIII especially is bad with since it's optimized for low light - CFA prioritizing sensitivity over tonality + tons of temporal noise reduction and sharpening. All ending in a sterile and thin looking image. Worst thing, doing ETTR to avoid smearing and ghosting at middle gray and below hues start shifting around. 😐

I'm only chatting. I don't have any intention on changing systems or anything like that. @tupp and @BrooklynDan actually used it. I was only thinking about what would be the modern equivalent of the NPR, which seemed to be a revolutionary camera back in the day. It (and the Arri) was the camera that made production mobile. I guess even a phone could accomplish many of the things that the NPR could, but I don't really want to talk about phones. The actually image produced really depended on the film stock used. I think there's definitely something to this logic. However, how many people have back problems due to these heavy beasts? Also, in your opinion, do you think IBIS could give a similar results to the shoulder-mounted rig? I imagine this is definitely the case. Rolling shutter on CMOS has been better controlled in recent years, but still a minor issue. It's too bad that CCD tech didn't get better and cheaper like CMOS. Hopefully, there will be something on the horizon to replace CMOS... perhaps the stacked sensors? In terms of resolution, I'm fine with a good-looking 2k or 1080p image, as long as the framing is right in-camera.

Yes, CLOG. On my 2016 MBP I have to create proxies. On the 2020 model, it's not smooth like butter, but absolutely usable without proxies. I shot my first event this past weekend with the R6 (mainly photos, I had my Ursa G2 for video) and it preformed well in 100º weather. The event was Subaru of America's Guinness World Record attempt in Los Angeles. I also photographed the 2022 BRZ teaser shots for them (those hit all the car sites yesterday), but I used my Olympus EM1X for that since I don't have the flash transmitter for the Canon yet. For video, I did use it to film a car in the desert the day prior. It was 110º and, as expected, video was near useless. It fell to only a minute usable after about 10 minutes of shooting various, very short clips. I do like the camera though, and I have lots of other options for video so I'm going to keep it anyhow. Just would be nice if it was a bit more useful.

The 12mm has been a great lens. Originally purchased for the X5 on our Osmo Pro for car-to-car shots. Too bad they charge an absurd amount of money for the lens hood. It should really have come with it. First footage from a shoot yesterday. A couple similar shots to compare Sony A7III to EM1 Mk III.