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Well I saw on L Mount Rumors this morning that the first of the new f1.8's is due in just a couple of days, the 5th November to be precise and some of the specs have been leaked: Is that Polish, I don't know but weight of 355g is good. Very good. Filter size of 67mm is also good as it's the same as the 20-60 so crossover. Is that length of 82mm (without lens hood), because if so, also good! And if as it seems to be, the 24, 35 and 50 are all identical in size, even further good news because what this camera needs is some fast (enough IMO) compact glass!

At 3k, I think you are going to struggle to get 2 cameras such as an A7iii and a Black Magic and lenses etc, so why not just consider one single hybrid and one decent zoom? At 3k, my pick right now would be Fuji XT4 with battery grip + 16-55mm f2.8 and you'd have some change left over. Right there you have got shoot all day capability due to the already good in body battery and with added grip power...which nicely balance out the 16-55mm f2.8...which has a FF focal range of 24-83mm...produces excellent stills and exceedingly high video quality straight out of the box. I honestly think it is the least compromised hybrid available right now, all factors considered including price. My other pick would be the Lumix S5 which is what I have chosen as my hybrid, but for me, I'd prefer to shoot this as a pair with some fast primes...which are coming shortly, but a pair of anything (except maybe XT3's) will bust your budget. My third and final option would be a pair of XT3's, with the 23mm f2, 50mm and 90mm f2 which would just sneak into your budget if you bought nearly new with the only real caveat being no IBIS or OIS with any of that so maybe less useable on the video side without mono or tripod.

I'm an owner of an EM10III and 3 lenses, but typically only use one (manual prime) ...and I make films all the time, so my perspective is that almost all this gear on the market pretty much works great if you know what you want and how to get it.

This is one of my biggest mistakes of the production to be completely honest. I shot most of the scenes with Canon FD 28mm f/2.8, 50mm f/1.4 and 35-105 f/3.5. Beautiful glass, but you need to stop down a stop or two to get it really sharp. I lit all the scenes with LED Fresnel lights and panel lights, but sometimes that wasn't enough unless the lenses were wide open, so some shots are way too soft for my liking, like the black guy with the white guy in the car scene. I was away from power, so couldn't use my A.C. powered lights. 😥 When I rented the GH5 for some scenes, I also rented the Sigma 18-35 f/1.8 and Speedbooster. This is the lens that is shooting the scene with the guy and girl in the bar (shout out to my fine ass wife 💞). In other scenes, I even used the Panasonic 42.5mm, 25mm and 20mm f/1.7 primes. That was just stupid of me. I even used the 14-45mm 3.5-5.6 in a scene because I needed a much wider shot indoors. The guy looking out the window at night was shot with this. The one other thing I wish I had was an electronic gimbal. I had a vest with spring arm and mechanical stabilizer, but I really wasn't good at it at all. It would have been better for me to go into more debt to add better motion shots, as many were killed and just shot on sticks. I went with the GH4 and GH5 because it was the camera I had. I made certain to always shoot out to a Ninja 2 and at the time I was using DNxHD as a codec. All in all, I'm very pleased with the quality. You may be surprised, but low light shooting wasn't really an issue! Every single scene was lit, so I didn't go over ISO-1600 for any shot. This is why I really can't understand cameras like the A7S line (even though I eventually bought the GH5S myself) when it comes to filmmaking. For docu work, yeah, that's a perfect camera, for weddings it makes life super easy. But when you are trying to sculpt a look with light placement, when shooting a film in available light, you relinquish all control of the visual medium. Now you could use negative fills to great effect (never seen it done once on an indie set) or fly large diffusion panels and scrims, but what indie production can afford to do that? The biggest problem for this project is, well, life. Everyone in the film has jobs, businesses and careers. Getting the moons to align was quite the difficult task. Many a time it was a shoot day, and someone had to be at work early the next morning and couldn't make it. At that point, I just needed bodies for grip just to not loose another day. I even hired my handyman that does home repairs for me to do grip work! Almost all shooting was done exclusively at night by design, but that worked out in my favor. The budget went to craft services, location rentals and gear. I also paid a talent agency to wrangle extras for me for two scenes. At least these people had an interest in the business, as you really can't have just any Joe or Jane do this because more often than not, they will fuck up your shot by looking into your camera or talking when they aren't supposed to, etc. I hope this helps!

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard! This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer, There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok". As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up. Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

@BTM_PixThis is great news! I will definitely purchase the additional new interface when available! Thanks offering this option, I really appreciate it!

So I don't know if this has been posted yet in this thread but here are some files from the C70 to play with : https://www.dropbox.com/sh/5wrkdi1w5flb94w/AADlSb_ODzKnOO7f2gBTJ_9Ma?dl=0 I don't know for you but I hear people complain about the difficult Canon codecs and files to edit compared to say those of the Sony A7sIII but I have no problem editing in real time those files on my computer. Speaking about IQ, it's quite good, the amount of noise in the shadows is minimal, it's a pleasure to grade those files.

Yep, should have switched roles with Christopher Lambert in Highlander 😉 He will always be best known and remembered as Bond, but of course was in so many other movies.

Every camera has pros and cons. BRaw external for Nikon Z6, Z6 II is great. Problem for me is not the external recorder. BMPCC 4K, 6K have BRaw internal but can you use them without external monitor ? Not really. Nikon Z6, Z6 II with Blackmagic Video Assist 12G 5'' will be a smaller and lighter setup, not to mention that you get also a great photo camera, Full Frame out of the box, in body image stabilization, very good and compact EVF and much better auto focus in video. Can put the recorder in a bag on my side and have a HDMI cable hanging from the camera. No such big deal if want to be as much unnoticeable as possible. Problem is that Z6 with Ninja V line skips in ProRes RAW. And will most likely do the same with Blackmagic video assist. According to initial reviews Z6 II line skips as well. Another problem was that when recording externally you loose EVF on Z6. If Nikon solved those problems in Z6 II and with Blackmagic recorders, I am in. Agree that 10bit 4:2:2 is perfectly OK for most. But it has it price too. Usually it is x264 encoded, which is more difficult to edit in Resolve, while BRaw cuts like butter. So am willing to use a recorder anyway. It saves me time in post and it is nice to have 5 inch monitor. Prefer this setup most of the time.

I like @Geoff CBsuggestion of getting an a7 III. you can probably buy one used for around $1500 (maybe less???) as the price NEW just dropped to $1700. If you decide you want to go 10-bit, then there is the Fuji X-T3 / X-T4. On the other hand, if you shoot 8-bit Cine 4 on the a7 III with the contrast down (or shoot in HLG) you are gonna get about as much dynamic range as the X-T3 in FLOG. I like my Panasonic S1 a lot, but it is heavy and the autofocus is second-rate. I might "trade down" to an S5 since it has better AF and is lighter, and since I normally use Lens image stabilization to avoid warping when on a gimbal. Lenses for full frame panasonic cameras are expensive though. They are VERY GOOD lenses for video, but expensive.

There is a switchable preference for out of range detection in AF-C which is to hold at current position or move to your calibrated infinity point.

I use the entire Flashpoint system, and they really do work great! I use the Flashpoint XPLOR 600 and the Zoom LiOn.

You would treat it as two different lenses (i.e. lens without CU is Lens One and regular lens + CU lens is Lens Two) so you would make two calibrations. There is a limit to the number of calibration points you can make per lens but in reality it is so hight that you will get bored of the process before you hit it. The detection range of the sensor is 12 metres. Yes, this is an additional new interface that will be available for order on the Indiegogo campaign page in the next 10 days and will be ship at the same time as the AFX. In all likelihood, it will actually support three motors. I just hope that Belle and Bingo, not to mention Aty, can forgive me the favouritism.

thinking way... outside the box but can you control two motors ? Like if i had a taking lens and anamorphic lens would it be possible to calibrate both lenses then not have to worry about a single focus solution ?

Now, that tip is here for eternity. Thank you. Wish me happy hunting. 🙂

Pixel 3a. Mainly use it in "Night Sight" mode for extra quality.

Hello, just a few of new with my Mate 30 Pro 5G!