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Ok so I don't listen to a lot of rumors but when it comes to Noshikita, they're quite reliable. Did you guys see the next cinema line camera that Sony should announce this month likely?

Based on the fact it's bundled in with the ATEM Mini update, and that seems to be the headline; I doubt there will be any new camera announcements - but it'd be nice to be proven wrong. I'm hoping for new firmware with extra braw compression ratios - from what I've read q3 is a perfect, use all the time option. I'm also hoping for Gen5 colour in the Pocket cameras. I know I can switch it in post, but in camera would be preferable.

Maybe I'm jaded after last year, but I'm struggling to get any excitement in a camera that is more speculation than fact. Aside from what it looks like, how much do we know? With the way this year is going, my investment in gear will again be low. If BM release a new camera, it may get me to cough up some of my savings.... however, I have plans for lighting, lenses audio gear and updating my graphics card more on my list of needs. Its great that Sony have joined the small cinema camera group. I'm still wondering what the catch is. If they offer a codec like ProRes and have internal NDs, then it will be of interest to me. I'm not too fussed about IBIS. Canon C70 came very close to being of interest, but a high price tag and limited to H264/5 codec puts me off. Only a year ago, everyone was jumping up and down in excitement over the announcement of a new Canon mirrorless hybrid, and we know how that story ended. So I struggle to feel too much excitement now. Though partly thats because its hard to get too keen over a camera when I lack work to both pay for it and use it.

Leave IBIS, add eNDs, use some 24-30mp sensor, add 6k60 and better screen.

I hope the waitress had a ground guy with a tag line as she placed the tray on that glass... I feel bad for the ants on the ground with the amount of localized pressure on that glass.

More like the love child of a S1H and the FX6 I think. I wish they'd release a pro APS-C camera, or at least an APS-C camera which didn't suffer from HORRIBLE amounts of rolling shutter. I do not mind rolling shutter though, so long as it isn't horrific. Could, I couldn't cope if it was even more expensive than the a7Smk3! (plus who'd then buy it over an FX6 for only marginally more?!) Guesses: 1) crippled stills mode 2) no IBIS

The multi-interface shoe is also capable of supporting an EVF as Sony did with the RX1 and the RX100M2 so it would be interesting to see if a new version of that appears for this camera.

In fact, I was in a Zoom Fuji meeting yesterday (the subject was the X-S10) and they said that Boost mode must be used only with static shots - it is designed to be tripod-steady. If you do some pans or movements, the Boost mode will "fight" and have jerky behaviour.

Not really a fan of the design personally. Balance seems poor. No EVF, no IBIS. It better have a eND or I just don't see why you'd favour this over an A7S3. Is it even FF? I guess too many unknowns to really judge..

BMD Micro Cinema Camera 8K and maybe new features for the 12k and the 4.6kPro G2? I think the Pocket Range is still good with the 4K and the 6k, but the Micro is due for an Upgrade.

Honestly, I know a lot of you are excited about this but.... this should have just been the a7sIII. The only point in having both is to make people want to buy both - I mean how many people are buying the a7sIII for stills? This camera has the same features - 4K120p, same sensor, I assume the same AF system, Cfexpress Type A, etc. But, it has many things that they (now clearly purposefully) left out of the a7sIII - like waveform, timecode, vectorscope, a nicer LCD, superior video ergonomics, 3/8 mounting on top, an XLR adapter in the box which mounts into two of those 3/8 holes, etc etc. Unclear about IBIS, but I assume it will have it but no eND. Some of these are just rumors but I think they're accurate. It will still be a perfectly good stills camera in the same way the S1H or Sigma Fp is (except better than the Fp). But, significantly better design and features for a video shooter. Maybe I'm wrong and a ton of people bought the a7sIII largely for photography. But I doubt it. This just kind of reeks of the Canon-like cripple now that we know this is basically what the a7sIII easily could have been, with essentially no sacrifice. Even further supported by this coming out AFTER the a7s.

Or let depreciation work for you and get a FS5/GH5/X-H1 instead?? Seriously, with the way the world and the economy is, I'd minimize spending and look for best bang for buck. Let others take the depreciation hit! Not you. Will any of your wedding clients really tell the difference between if you shot it with a X-H1 or X-H2??

I think so too. but the price is really at the advantage of the Sony with a bigger sensor, even if it needs the dedicated XLR adapter to be able to compete with the C70 in the sound department. But the only unknown remains the presence of a built in ND or even better E-ND. If it has this feature, it's way more interesting that the Canon C70 in my opinion.

Given the FX denomination - Sony's cinema line - I'd be surprised if it has a stills mode at all, likewise IBIS. I think people looking for something comparable to, or an alternative to the A7Siii are probably barking up the wrong tree here. I'd look upon this (subject to further info) as Sony's riposte to Canon's C70. I'm not in the market for a new camera (and if I was I'd prefer the form factor of the FX6) but this - especially at the rumoured price - looks like it could be an extremely tasty option!

@tupp I give up. You obviously think that working for years and learning the names of all the clamps is required for anyone to exercise any judgement or awareness of safety and that I'm an idiot because I think I might know things when I can't because I've never worked as a grip or learned the names of the clamps. I wonder how much you could possibly know (beyond knowing the names of the clamps) if you fail to understand that the universe is literally maths and physics, and I'm also wondering why you haven't come up with literally thousands of photos of those little camera clamps sitting in the middle of piles of shattered glass - there are no shortage of images of people using them that way. I could debate this forever, but your method of assessing judgement or practical ability seems to be one-dimensional and I don't fit that narrow definition, and am never going to because I don't aspire to the same career path as yours, so how about this: you have fulfilled your legal and ethical duty to tell me (and anyone else reading this thread henceforth) to never even look at tempered glass until I am the god of all grips (and can name all the clamps), and I will go ahead and use the judgement I have and when it all inevitably comes crashing down just like you have predicted I will not hold you responsible.

A Super/Mafer clamp is like a mini hydraulic press. As I mentioned above, it can crunch through many items/materials that other clamps cannot. Due the heightened leverage involved, clueless folks tightening that type of cam-action clamp have damaged and ruined location pieces and caused material failure resulting in accidents. If one has no experience with such clamps, one should avoid them. Clamps should almost always be tightened to be firm -- not just "sufficient to make sure they won't fall." That might seem like a good idea, but the torsion stress makes such an offset rig precarious and sets it up for failure, which is undesirable and unsafe -- even if the CG is inside the balcony. In addition, with such positioning, the grip items might creep into the bottom of the frame. Do not use fishing line. Use something with a high enough test strength that holds knots well. If you can tie a bowline and a clove hitch, you are good. Extra points if you can tie a trucker's hitch, which is very useful for tag lines. In regards to pick points, the more solid they are, the better. A chair is probably not good for the balcony scenario, unless it is very heavy... likewise with a water bottle. I would first look for pick points that are part of the building structure. They need to be significantly inside from the edge of the balcony, and the higher up, the better. Sometimes two pick points are necessary if there is not one far enough inside. On a balcony the primary safety should be a tag/guy line that prevents a rig from going over the rail -- not a safety cable that "catches" the rig if it falls (as you suggested). Of course, using a safety cable in addition to a tag line is good practice. Actually, the clueless and uninitiated need to "be careful," especially when they contemplate rigging anything at altitude (which they should generally avoid). It is misguided and dangerous to think that rigging a camera on a balcony rail is a "physics problem" or that doing so somehow involves "math." If one has to calculate the stress tolerances of location items, such an endeavor should be abandoned. As Murphy's Law suggests, failure is often more probable than one anticipates -- especially for a cocksure newbie. Additionally, the odds of failure are compounded by all of the unknown variables one encounters at a location. What one really needs when rigging at altitude on location is a strong sense of safety, along with a good deal of experience in anticipating and preventing/avoiding the various failures possible. Such qualities are often found in grips and set electricians who have been around the block a few times. If one doesn't have the proper sense of safety nor rigging experience, it is best to avoid rigging a camera to a balcony rail. However, speaking of physics, I would like to reiterate that the physical properties of tempered glass are complex and that clamping to glass should never be attempted. Here is a lecture on breaking glass cued to the start of the section on tempered glass. Note that the lecturer states that if one tries to modify tempered glass in the slightest, "fun things will happen!" Tempered glass is primed to explode into little pieces. As shown in my above links above, strong flex stress or a tiny tap in the right spot can shatter tempered glass. Here is another video showing that tempered glass can take strong, broad impacts, but a local tap can cause it to shatter. In addition, the risk of shattering is exacerbated by any tiny damage or imperfection in the glass or by any stress added by a rig/clamp. Here is a closeup of the stress on a block of glass generated by a C-clamp, in a photo taken with a polarimeter setup: As more force is applied, the stresses increase. Here is a similar image showing stress lines on a clear block of plastic that deforms more easily than glass: These stresses are not visible when one tightens a Super/Mafer clamp onto a glass balustrade. So, although a drunk person falling on a glass balustrade might not be a problem, a tiny impact and/or clamping force on a local spot of the glass might cause that balustrade to shatter. That could ruin one's day. I have the benefit of years of experience as a member of an IA studio mechanics local working a set electrician and as a grip. If a new guy joined the crew and announced that they had postgraduate level physics and math, they would start out huffing cable, sandbags and carts just like every other newbie. The sense of safety, rigging techniques and set protocols has to be developed. In the meantime, don't put towels or t-shirts inside overhead clamps, always use a substantial tag line (with solid pick points) on a balcony rig, and avoid attaching anything to location structures... oh, and never clamp to glass!

Most people using the P4K are adapting other glass to it. That is where M43 is still super useful, you can pretty much mount anything to it. Of course any mirrorless camera mount is pretty much like that.

Why would a vent be needed when a7S already has no overheating? Maybe a sensor with more mp and oversampling?

With the A7sIII, this really needs to have some great video features to differentiate itself (and not just S-Cinetone). And that means: Internal eND. If it doesn't have that, how many other things could it have to really set it apart? Other than the cool color, more robust build, better tilting screen, and lots of mounting points.

Full👏Frame👏Open👏Gate👏Video👏Please!

L-rumors site says anonymous source says the Sigma fp L will possibly have IBIS, Sigma customized 60MP, MS shutter.

I will take an internal variable ND over IBIS every single time. Stab options include Catalyst Wotsit or mono/tripod. This thing looks VERY interesting, - the love child of the FX6 and the Sigma FP.

Looks like by the size of the LCD hinges that they made the same tilt/flip articulation of the S1H (or maybe is just a flip and the bulkiness is because of the rear vents). For a video camera, controls looks good. The joystick on top is strange, but in video I guess that you don't move the focus point too ofter - and if you need a quick point change (between two subjects), the touchscreen is better. The hotshoe have extra contacts, guess that a XLR adaptor and (maybe) an external EVF is a possibility. In fact, get this form factor, make it thinner, rearrange the controls a bit (back joystick, af/mf switch, a mode dial) and Sony could have a winner A7000.

I’ll take 2 please. Seems to me like Sony are now getting more things right then anyone else.