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Almost all variable NDs suck when it comes to color shifts and polarization artifacts. They will all tint your footage, especially at higher strengths. But in general I would go with one that: Has hard stops Has smaller range; 1-5 and a 6-9 I use an aurora-aperture 1-6 stop ND. It’s pretty solid. The 7-11 stop version is not very good. I’ve been looking at the polar pro mist+nd combo going forward. Still haven’t made up my mind.

Sorry to plonk this here but as the FX6 keeps getting mentioned in comparison and I couldn't actually find a FX6 thread (surely there must be one somewhere it's proving very popular camera?) Anyway a bit too much slow mo for my tastes but some lovely footage never the less and a little Alexa comparison at the end

Well yes - there's a reason why, in the *actual* film industry, nearly every DP started as an AC, every gaffer started as a grip/best boy, every producer (actual producer, not exec) started as a runner, PA and line producer. There is absolutely no substitute for hands-on learning surrounded by people who really, really know what they're doing.

😂

Welcome to show BUSINESS. I truly hope you don't think you're entitled to have it work the way you want it to work. You can easily find a niche in it, but if you're condemning the overall market, I'd recommend you pull back your angst a little. I also worry that too many people conflate the modern diversity trend in filmmaking as solely a sort of social justice woke movement. (One they don't agree with, perhaps?) I'd suggest anyone that truly believes the industry is going woke because they're compassionate humanitarians, simply ask themselves, "In a global market what sort of movie has a better chance of appealing to as many people as possible?" These are business decisions that might be championed as "woke," when, if anything, that woke-bragging is simply a useful marketing ploy to use after the thing is made to increase product awareness. Tail, dog, wag. As for Netflix, you're basically complaining that Netflix understands it demographic analytics. Netflix has data vectors on it's viewers that understand modern life better than the people that actually live it. I mean, c'mon now, the only reason for them to do that is if the entire organization would rather be racist than make as much money as possible. They want a product they can use. Offer it to them or, as you indicated, don't. https://towardsdatascience.com/how-data-science-is-boosting-netflix-785a1cba7e45 Here's a hypothetical: if it was somehow possible for Disney and it's shareholders to make 200 Billion $$ next year with a 3% annual growth by marketing to, say, aboriginal Pygmies, would they do that in a heartbeat and immediately ignore everyone else?

I have my X-T3 rigged out this way, with pre-amp so I can use XLR mics and multiple mics at once. Here are some crappy quick pics. You don't need to cobble together a dummy battery, Blind Spot and several other manufactures already make one. I can't remember which one I have for this rig, a GyroVu I think. It's worked fine for more than a year. This is a heavy rig, but for hand held shots I like that the extra weight tames micro jitters and compensates for not having IBIS in the body. I also like being able to power the monitor and follow focus with one battery. This rig also goes shoulder mount very quickly. I have a pad that slips onto the Manfrotto tripod plate under the pre-amp. And I can move the wooden grip down with a SmallRig extension arm. To make it balance better on the shoulder, I should probably get longer rails for the battery and move it back a few more inches. A counter weight would also help. For a simpler solution, because you are using a monitor, you can always get Power Extra NP-F batteries with USB and DC power ports. I use this setup for my T4, which admittedly I'm using more these days for run and gun b-roll and walk and talk interviews. You can mount the monitor on the top handle, on an arm on the right side, or you can use a magic arm as a side handle if you bend it right. The only issue I see for using a T3 is that it doesn't have IBIS, so the lighter setup is going to give you more micro-jitters from hand holding.

I've used the Genus Eclipse now for many years don't even know if it's available anymore - slightly warm but no colour shift that I can see and no obvious drop in sharpness

From Indiegogo: Production Update #7 March 10th, 2021 “We are pleased to inform you that despite the fabrication plant missing yet another deadline, we have now finally received despatch confirmation from them for the main AFX boards. As per our 27/02/21 message, we will now issue a new update when they have been processed through customs. Thanks once again for your patience.” Great news!

No. Please don't. The bare bare minimum should be the Deity S Mic 2.

I know nothing I just got a email for a pre order... I been out the mix for a while and Got a whiff of this Thought I would come here to get the breakdown but its seems not to be here yet. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera Looks incredible with built in NDs and Tilty Screen and Eye piece.... why not chatter?

No.

There’s a thread for this camera already, albeit titled obscurely:

Yeah... again, I think you've kind of missed the point of my posts. My point was that, even as a DP, still working as an AC lets me see how other people do things, where they were more efficient or more effective, and where they were less so. There's many ways to skin a cat and if you get caught up in your own ego and think that your self-taught way is the best and only way, then you're severely limiting yourself. You can go out and shoot endless films by yourself but if you're doing the same thing over and over and over you might just be getting better at doing things in a less effective way. This comment makes me think you have no idea what a 1st AC does.

A female VP in 1989? UNTHINKABLE! Oh wait, except in in 1953 we had a film with a female President: "Project Moonbase" (to give but one example of many)

Sony has a 'look' but the sensor is only a small part of it. As others mention, the color science, image processing, picture profiles, codecs/resolution, lenses etc have a much stronger impact on final IQ. For the most part, Sony makes damn good sensors which is why other manufacturers that can't do better in-house buy them.

A Nikon mirrorless hybrid with internal BRAW would be high on my list if implemented. If external BRAW, then less so. If they want to set themselves apart from Sony, Canon and Panasonic fullframe, adding internal BRAW would be an advanatage. Don't hold back on video, though I won't hold them to a ND filter... even if it would be desirable. Canons hybrids still have their limits, Panasonic keeps missing on AF, Sony is doing well, but their main video hybrid is only 12mp, which for some is seen as too small for the hybrid work they do. So Nikon have a chance to fill the gap. I'm awaiting the first fullframe hybrid with a better internal codec than H264/5. Will Nikon be the first?

Ha! Curtis Judd has the flattest affect ever. I mean, some of his videos are very helpful and all, but that dude is speaks in middle grey. You and me both! But if you can't afford an audio guy, you gotta be the audio guy. And if you take this stuff seriously at all, you quickly learn just how important audio is.