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Don't forget that there are tradeoffs with switching lenses as well. A 24-105 or other zoom lens might not be the "best" in a direct comparison (not the sharpest, not the lightest, not the fastest, not the nicest bokeh, etc etc), but if you're shooting an event and have just taken a portrait and something suddenly happens that requires a wide, the zoom will give you an average quality benign wide shot and a dedicated portrait lens won't give you any usable shot at all, and a photo from an average lens beats no photo from the best lens every single time.

Since you're shooting sports I'd lean with either R6 or A7IV. They're imo the top hybrids at their respective price point. Both units are great choices. I went with R6 as I'm more invested in Canon (EF) glass and all my DSLR flash accessories work with it. That said I'm also a Sony (FS7) owner and the A7IV will be purchased as a sidekick. I like having a hybrid and dedicated cine cam that match and share the same mount. One thing that sucks on the R6 is no custom video modes. That one is a real bitch for me as I'm often changing frame rates and such. The A7IV with it's independent stills/video/S&Q settings via the sub-dial is the way forward. Also the new flash system, the focus breathing elimination etc.. it all adds up to a great hybrid experience. And with the 33MP, honestly I4d say the A7IV is the new hybrid king.

As do I. For anyone non-pro, then fair enough, but for work... I like the capability of having one body that can do either job equally well and one of my three bodies (the S5), I do use that way, but the other two I dedicate to stills (S1R) and video (S1H), though each can do the others job almost as well. I also could not do with mixing brands etc.

It's important to remember that most of the people who will be filming the diverse nature of topics you will be filming are pros or semi-pros, so they are going to have a bag full of lenses to choose from. I may be mistaken but I thought one of your main goals was to keep things to a reasonable budget. In which case I thought that a 24-105 f/4 is a versatile lens that won't break the bank. For MOST things, I would pair it with an f/1.8 prime or two, and call it a day. But... indoor sports is one of the most challenging things to shoot, either for photo or video. So that is going to be the main challenge.

If you're not familiar with grading the R6 advantage for video diminishes greatly imo. R6 only does 10-bit 4:2:2 in Clog/Clog3. So you'll be limited to 8-bit footage with the standard profiles which may or may not be to your suiting. This is where A7IV wins with 10-bit non-log S-Cinetone profile for great SOOC results. Just some food for thought as your mind seems set on the Canon.

1) and I will be using FCP - any good videos/free tutors online you suggest? Unfortunately, I don't know anything about FCP. Lynda.com is good, and while it normally has a monthly subscription, many libraries have a free plan for library members. If you have a library card, check with your library and see if they have a free plan for members. I have found that Lynda.com has very systemic programs where you learn step-by-step on how to use software. 2) any big issue going 3rd party to save a few bucks? Unfortunately, i can't say for sure, as I only have one Canon lens (EF 16-35 f/4 L) and while it is a great lens, I use it on my Panasonic S1 and S5 bodies. My concern would be though that maybe SOME EF lenses won't give you the same great AF performance on an R6 as the (very expensive) RF lenses would. 3) The comment on the Panny bodies - are you saying their AF is trash as I understand it? It's not trash, but if I needed to rely on continuous autofocus, then I would either use my Sony a6500 or my Olympus E-M1 MK II (or any Canon or Sony body made in the last several years, if I owned one). Panasonic AF just can't keep up with that of Canon or Sony. And I have had occasions where the Panny autofocus basically decided that it wanted to focus on the background instead of on the subject talking for no apparent reason. 4) any places you suggest getting used bodies/lenses? BH? MBP? KEH? all are reputable? They are all reputable, as you noted. I will say that I didn't like the shipping options with MBP. I bought two SMALL lenses for my m43 Olympus E-M1 MK II and they shipped them in a BIG box (12 X12 X12 inches) that was full of packing paper / foam peanuts. And it took about 10-days to arrive in California because they took about four days before they actually shipped it out, and because the only option they had that was less than $35 for shipping was FedEx ground (which takes a week from East Coast to West Coast) If they had packed it sensibly they could have sent it via priority mail for about $15. There are also Roberts camera (technically used photo pro https://usedphotopro.com )and midwest photo exchange (they have a small inventory but good customer service) https://mpex.com/shop-used-gear For expensive items, I sometimes and willing to spend a bit more if they have a longer return policy / warranty on used gear. Hope this helps.

Thanks Mark! I am curious on a few comments you wrote: It does make sense I should learn to do some CC - and I will be using FCP - any good videos/free tutors online you suggest? I'm thinking a Sigma or used Canon EF 70-200 f/2.8 as well as a 24 f/1.8 used any big issue going 3rd party to save a few bucks? The commnet on the Panny bodies - are you saying their AF is trash as I understand it? The S1/S5 color does seem to rival Canon and I could see myself going there but the Canon AF makes it a must have for photo/video especially for a smuck amateur like myself lol Oh! I've been asking folks but having gotten much response - any places you suggest getting used bodies/lenses? BH? MBP? KEH? all are reputable?

While I still think you are making way too much of an issue over the sony colors, I guess that the R6 would be a a great fit for your needs. Don't get me wrong: I do agree that canon colors are (subjectively) better than Sony cameras for most of the situations you are going to use it in. I just don't think it will take you "a few months" to learn to color correct videos. And even with an R6 you ARE going to have to learn how to color correct videos. What will you do when an athlete is standing on a green field that is kicking up a ton of green tinted light on to their face? Or when they are standing on a red track and a bunch of red is kicked up on to their face? Canon's great color science won't save you then. So if the AF on the R6 works as well with EF lenses as the Fro video you linked to suggests, then I wouldn't hesitate to get an R6 and use it for both stills and video. I think that is going to be your best option, and I think you wont lose any sleep over doing that. As it is now, it is pretty hard to buy a BAD camera (unless you decide you want to buy Panasonic for that wonderful DFD autofocus... and this is coming from someone who owns two Panny bodies, an S1 and an S5).

As for color science... yes Canon skin-tones are still second to none and Clog3 grades superbly. The R6 IQ also has a real nice mojo to it, it's oversampled but not too much and you can turn noise reduction off. As usual with Canon video has this sort of organic look I love. Sony has made great progress. It appears they've tweaked the color science again on A7IV since last generation. S-cinetone which is Venice based look is great for when you don't wanna shoot in log. It's a MUCH better non-log profile than any Canon standard profile. 10-bit ALL-I Slog3 is also super solid. Noise reduction though always seems to be an issue.

It sounds, to me, that 24 f/1.8 and a 70-200 f/2.8 should cover most of what I need for my mini doc interviews, filming/photos for track and field (indoor/out) and family events (indoor/out)

Have you checked to make sure that an R6 with adapted EF lenses is going to give you the AF performance you want? It doesn't sound like you have any Sony lenses, but otherwise I would suggest just get an a7 IV when it comes out (or get a used a7 III, although I guess the MK IV has some additional AF tracking abilities in video. Yeah, I know, Sony colors, but the new a7 IV has the s.cinetoine profile everyone seems to love (not for me, but others love it) and the picture profiles on Sony cameras are EXTREMELY flexible (as Andrew can testify with his various EOSHD color profiles). On the other hand, if the R6 with adapted lenses will give you the AF performance you need, then just get that (unless it has a time limit that you can't deal with... I don't know if it does or doesn't).

1x static video on tripod (ceremony, speeches, entrances & exits) 1x roving video on monopod or handheld 1x roving stills handheld Simples 🙂

I really think at the end of the day only you will be able to decide what lens you truly need and if you decide to go used vs new EF vs RF etc. Also, keep in mind that changing a lens on set is more than just about time....personally I hate changing lenses at a venue due to dust and debris as well. Where I live I am frequently shooting at beaches, outdoors where it is windy, etc. I avoid if at all possible changing lenses due to that as well. If budget is your number one concern then I would get the EF adapter and used EF lenses, but with used lenses the main concern is ensuring there are no scratches in the glass so as soon as you get one hold it up to the sunlight and inspect it from every angle possible before the return window closes. If budget is not that great of a concern and you want to be future proof then I would go with RF and simply build my collection slowly over time, RF is the mount of the future and while it is more expensive...as they say bodies come and go; lenses are forever. Kye said it perfectly here, people really get pulled into the pixel peeping and lens reviews, and its easy to get pulled in by the hype. But at the end of the day the 24-105mm is a true workhorse that doesn't do anything perfectly but does everything well. I have never had a customer tell me they need a reshoot because I used a 24-105mm lens vs a 50mm prime. Just me personally, if I were starting with nothing at all right now I would get the 24-105mm RF lens and build my collection over time...doing just what you said, seeing what focal lengths I use the most. Also, you could always rent other lenses when you think you need something for a specific project before buying your next lens. This way you could test out each lens before you buy it vs. being stuck with an expensive lens you never use (like me and my 24-70mm lens).

Excellent response. You've made me think and I think my response is that I am never really in a situation that I can't change lenses - shooting mini controlled docs don't necessitate rapid changes in lens distance. Also for sports it's fairly controlled on Track and Field - i can anticipate distance ahead of an event and use the appropriate lens. I'm thinking that a 70-200 is 100% necessary for video/photo needs BUT ironically i think the beloved 24-70 is a wasted set of focal lengths? Doesn't it make more sense to do this: 70-200 f/2.8 zoom (sigma or canon EF w/Adapter to R6) 16-35 f/2.8 zoom OR 16 and 35 primes?

I am creating: Videos for athletes instructional - on a field, a track, and weight room performances - on a track (indoor/outdoor) Videos for HS students how to read complex texts, writing strategies, organization, etc. Videos for Family family parties, baby showers, birthday parties, holidays, trips Videos for Travel my trips and experiences (mostly cinematic w/ music) Photos for athletes training and performance (indoor track/outdoor track) Photos for Family family parties, baby showers, birthday parties, holidays, trips Photos for Travel my trips and experiences Photos for Friends their babies, portraits, family photos, etc. I've had a Fuji XT3 - LOVED the color but the ISO performance and autofocus made it not a good fit. I'd be standing next to another person who had a Canon/Sony and they'd have the ISO/autofocus and get shots I missed (we even swapped bodies to try and they couldn't get a good shot or they would and the grain would look ugly at higher ISO or shutter speeds) so I decided to follow the next body. Then I went to Sony A7III - LOVED that autofocus, liked the ISO performance compared to Fuji BUT it took too much work to get the color I wanted (love the fuji/canon colors bar none). I am not a pro/paid hybrid shooter and may at some point learn to color grade but the reality is even then it will consume time that I really don't have so SOOC and/or minor tweeks like a drop-in LUT with a few curve moves for the whole video and done - not grading and matching 100s of clips. Now ... Canon R6 with adapter for EF lenses - this is my top move currently ... I can't think of a single body that will give me the ability to get the colors, ISO, and AF qualities I seek. 20mp is perfect for what I need and low enough to give me great to excellent ISO performance/low light performance. I do like the colors from Panasonics S1H/S5 but the AF seems like a dealbreaker? I could go with a Panasonic S1H/S5 for video on my documentary/narrative and get a significantly cheaper body for photos, but which body would be relatively cheap and have great ISO/AF? Would they be able to share lenses? If the Panasonics had AF equal to Sony/Canon then it may make it a closer choice with the R6 so that is my dilemma - go with the R6 or find 2 bodies ...

Yeah, we have built up sets of different lenses over times, love Konica Hexanons and Minoltas! I'm also finding out about Pentax K lenses but they're strange in that I don't see much difference with M42 Takumars for the main focal lengths, however, I much prefer the locking K mount to the finicky M42 mount. I'm looking at selling off a bunch of stuff as we just have too much, still got to categorize and clean some up after coming into possession of a large camera collection on top of our already too big personal collection, not sure where we'll be selling as of yet. It does hurt that the Ursa 12K doesn't have a mirrorless mount as there's so many cool lens sets to adapt that people haven't discovered yet!

I have professional decks that I keep in tip top shape and I regularly need to work with older VHS and SVHS footage. 🙂

Yes, the micro incremental updates we get helps to make this look pretty amazing. It’s certainly disruptive and makes some of the offerings from Sony and Canon look like a joke. I always like to see someone trying to raise the bar, it forces the lazy giants to unlock more of the potential from the next camera. But that’s also the forced upgrade path, which also sucks. cheers chris

One more thing that DJI got a lot of manufacturers on the wrong foot: built in NDs. Lot of others lying saying "we did not put internal NDs because there is no room for it" - meaning "if you want internal NDs, pay a lot more". DJI inserted internal NDs in a minuscule camera with a VERY shallow mount. Liars exposed. Lots of outside the box thinking in this camera.

Yep! I don’t think the price would be considered expensive for what you get. let’s compare : - full frame camera body that records in ProRes or 6K RAW . Shall we compare it to Z Cam E2 F6? That’s $4000USD - Ronin 2 gimbal $900 - Tilta float system (for stabilizing 4th axis) $1800 -5” 1000nit monitor (Shinobi) $300 - Lidar system (the one for RS2 is $200 but this looks much better) $200 So around $7200 for the above which is a much clumsier, bulkier setup. And you would need to spend much more than that to get everything to interface so I’m going lean on this setup by not including things like ND filters as the 4D has internal) The D4 6k is 7199 and it’s a much more complete and easy to use package. The biggest issue really is because it’s an all in one design, if you have an issue with the gimbal that means your camera is unusable as well and vice versa. Also, cameras date quicker than gimbals but it looks as you can replace the camera and gimbal assembly on these pretty easily so hopefully when dji release a new 12k (😝) sensor you can update just it and the gimbal assembly.

I had a think about this last year. End of the day an Alexa classic is a massive heavy 1080p camera which, although it produces a phenomenal image, was designed for crew work and is losing ground now. I now use an S1H recording externally to BRAW, plus GH Alex LUTS and it's close enough for me, plus i can shoot entirely solo and get good results. So TBH I think they need to come down a bit more in price.