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Save your money and buy a Lumix 12-35 2.8 IS and a nice external battery for your pocket! You can solve the problem with stabilization by using an IS lens and the battery fix is very cheap and effective. No need. The Zhiyun Weebill is 400 and does a great job. Smaller, lighter, more portable, battery goes forever with the bmpcc. Gotta be close to 8 or 9 hours. Attached a photo of my setup. I'm working on a project with vintage C mount lenses. Not trying to win some sort of depth of field contest. The camera has beautiful texture and looks great at F8 or F11. OLPF shows up next week. Throw a 4 stop ND on there and rate it at ISO50 with a light meter.

Why must we always respond in extremes? The camera is the least of my concerns, it's the SYSTEM that I take into consideration more than anything. A camera is like a car, it immediately loses value the second you buy it. That's something you have to accept. If you don't view your cameras, lenses, audio gear, etc. as investments that's OK, but I do because they play a vital role in how I make the bulk of my living. For me, running a small business, it does not make sense to remain invested in a system that isn't going to be around in 5 years. I'm jealous of anyone that doesn't have to take that into consideration, but I do because I'd like to maximize what I can get out of one investment when it's time to make a new one. Like I said in a previous post, I'd be happy with the GX85, G85 and GH5 kit I've put together if I didn't have to worry about my M43 gear losing value. If a lens I paid $950 for ends up being worth $200 5 years from now because the system is dead, but I could've gotten $500 if I'd sold it a year or two earlier, that's $300 less I have to invest in my business. That might not be much for some but it is for a small business like me and it's something I must take into consideration. I wish we could stop looking at things in black and white, and accept that others aren't in the same position as us when mocking the decisions they feel they need to make.

I haven't been able to upgrade my A7s earlier as I planned, but now I am almost there. I need for some advice. Currently I am employed as a content creator (with a salary so I cannot add equipment expenses/rental) and on the side I am freelancing, doing low budget web commercials and corporate videos. I have been filming for a while a personal project- documentary with my a7s, but there is still more to film and I have plans for more docs for broadcast and hopefully a short film soon. I know Netflix wants 4K but my last project which was sold on several networks was shot on good old 5dmkii. My budget is around €4000 but I haven't counted the need for lenses. I have canon EF 16-35, 24-105, 70-200, and a couple of primes as well a cheap sony zoom. I have been trying to decide between the following: a7iii (yes an upgrade for me), a7siii/fx3 or to stretch my budget (go on credit) and go for the c70 or the fx6. It seems that in order to have decent colours from Sony I'd need to get at least the a7siii, but still I prefer canon colours. Many people bash the c70 for the autofocus, but it seems to me to be working fine. So I almost decided for the c70, which is a stretch for me, but then I figured I'd need to sell all my lenses and get rf mount ones, which seem quite expensive or use an adapter which I don't know how it will affect the still not so great AF of the C70. And then I had this insight. I don't really need the 4k. Just great colours, reliability, preferably audio inputs, and decent AF -something that dual pixel provides. So why not get a c100 mk ii for €2500? It is way within reach and I have great glass to mount natively to it instead of spending more on new lenses. It would cost around €6000 to get both the C70 and the adapter! What do you think about all this. Can you share some ideas? Please ask me if you need any clarification. many thanks!

C100 mk2 is a great camera. Really good high ISO performance, nice downsampled HD, and very nice Canon color. Plus you get internal ND's and XLR inputs which are quite amazing to have. Also it has great battery life. It makes sense as you won't be able to utilize Sony's amazing auto focus as well using EF lenses. Honestly for me the two most important features on a camera are lowlight performance and color science and XLR inputs. I think you'll be making a great choice.

You're probably a bit more experienced with this sort of thing. The sensor on the pocket is tiny, so at F5.6 or F8, you should have no problem zone focusing and getting really good results. If you want to shoot at F2 while walking backwards and maintaining focus, there are certainly better gimbals and cameras. I am more speaking to the fact that the gimbal is tiny, weighs next to nothing, takes me 1 minute to balance, and the batteries last forever. The Ronin is twice the size and more than twice the price.

Netflix buys non-4K stuff often, and even the stuff they commission is frequently shot on <4K cameras, including 2K Alexas. Think about image quality not pixel quantity. To paraphrase a quote from another industry: "If the pixels are sh*t, why would I be happy that there are 4 times more of them?".

you could be right. it seems odd to me, as i learned a lesson quite some time ago about cheap media with a different camera. I preordered the p4k and it took about 5 months for mine to arrive. Which probably gave me additional time to research things abit. So i had a samsung t5 before the p4k arrived. When purchasing a camera surely you'd also look at media requirements ? Having said that i did still stick some other cards in it to see what i could get away with. I guess there's always a tendency for people to cheap out, if you already have some media. I learned on lower setting some of my cards would work but not at the higher quality. I have yet to try it but i suspect i could also use a cheaper card if i set the p4k to use the timelapse setting of saving a frame out of tenth frame of so. Although using a cheaper card just for a timelapse is kind of a unique option i think. There could be some merit in using a cheaper card, depending on your situation and budget. it may even be advantageous running one card for timelapsing and a t5 for video. however timelapse is a very small field of people i think and thats about the only aspect that comes to mind where it would be practical, for me anyway.

I do think it's the way things are at the moment, across all brands. Prices are going up for these used low-end cams. The original Andrew challenge was to find a decent 4K camera for $200 --which doesn't seem possible right now. I would have believed a year ago it would be doable; surprised the prices went north. The best I could find is a really beat up GX7 'buy-it-now' listed at $190 ($80 shipping) ...and that's a camera with a sensor that's capable of doing 4K, but the camera itself only delivers 1080. It's a mighty fine 1080, but not 4K. These are just observations. I got no real dog in the hunt or desire to be contrarian to other's opinions.

lol pretty much covers it... of course, people around here might disagree - I asked the question and people thought that the sensors all look the same and you can use basically any camera to get any look: I went back to editing some BMMCC footage and just shook my head.

Yet my EM10iii I got new/refurbished last May for $299 is close to $400 used now in 2021. The market is goofy.

great to hear you had a good experience! I was using the Tilta cage also, had a couple of there locked in cables go bad within a year. Understandably, i really have a hard time trusting there products; I also have had other Tilta products with QC issues such as the Cage itself, T5 holder screw and a bad DC-Weipu cable. support was also non existent. It’s a shame because there design and ideas were so good! Anyway I ended up purchasing 3 Tilta cables and 2 SSD holders within a year. Would have saved money to go with Cfast earlier... although my shoots rarely need over 500gb but I get the allure of 1TB drives for £100 as for the BM... I’ve found that when you get a good unit it’s rock solid!

First one had a dent so he returned it. Second two wouldn't power on. Also poor costumer service. Pretty disappointing. That said I've never heard of a working unit failing in the field which is where it counts.

Have been using Samsung T5's since getting my Tilta cage for the P4K when it was first released. I chose the Tilta cage because it had, by far, the best cable system for USB-C and HDMI compared to ever other cage. My P4K has been used on major car ads mounted to vehicles, used in long form dramas and TVC's mounted to jibs, cranes, gimbals and used on docs in some rough and tumble environments. Never had a single issue with any of the 4 500GB Samsung T5's I've got. (touch wood!) Reliability wise, I have owned the P4K since it's release and received one of the first units and the only issue I had was a buzz in the audio when the camera was providing phantom power to the XLR port. BMD fixed this under warranty.

Not saying buying a Blackmagic is a bad thing, I've got one myself! Have rented them too. And worked on many many many MANY shoots with BMD cameras. But I am saying, that I bet there is a large overlap between Blackmagic camera buyers and buyers of inappropriately cheap media.

Everyone has always known the S5/S1/S1H take the full sensor and down-sample to 4K. The S1R is the only one of the bunch that does line skipping. That different feel from 4K is because it is recorded in H.264 while the 5.9K is in H.265. The only source I have is the over year old dpreview.com review articles on the S1 and S1R, and that I own the S1 and S1H. And yes, my S1H has a fan. 4K is not noisier in my test. What you are seeing is more captured detail because the H.265 codec has a much softer image and is only 4:2:0 instead of the H.264 4:2:2. I recorded a music video for a client that had a mixture of 4K 24p H.264 and 4K 60p H.265 captures. I though I missed a focus pull or that something was wrong with my S1H when I looked at the clips side by side in the edit. The 4K 60p is so much softer, but if the whole video was shot in H.265, I might have missed it.

I had the edelkrone sliderone V1 (and headone V1). Typical Edelkrone build (and high price) but I didnt particularly like it. (Actually the first one I bought juddered but Edlekrone quickly replaced it.) It basically only works through the app and it was near impossible to set it to very long duration slides for timelapses. A couple of months ago I bought the ifootage nano. It really is so much more intuitive and easy to use - you dont really need to use the app for standard slides - it considerably cheaper too. I wish I had had a chance to use it more but am Covid constrained. Gerald Undone has done a good youtube review of it.

They may actually be correct. If we were able to analyse the focal length of every second of video watched by everyone in the world ("person viewing seconds" as it were) and look at what the most popular focal length was, it would likely be around 24, just because of the amount of content that is shot on phones (and kit zoom lenses also add to that but probably don't tip the balance). Selfie culture has really made a huge impact on how people see themselves too. A huge percentage of my female family and friends don't like me shooting video or photos of them because of what the "longer lens" does to them - ie, the wide-angle distortion from taking a selfie at arms-length that they use to make themselves look thinner / cuter is absent, but because they've gotten used to the distortion they think my lenses "do" something to them rather than understanding that their selfie camera "does" something that my lenses do not do.

lol