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I use this rig a lot with my Sony AS7s. Kills two birds with one stone. Nice way for me to get 4K without a big recorder. When I am in s35 mode on the A7s with the lens zoomed in at max Both cameras match FOV about perfect. And close aperture wise.

Well a Sony camera I have does do 4K 10 bit on the cheap. The Sony RX0 II outputs 4K 422 10bit video from its HDM port (according to Atomos), Has Slog 2 even. Lot of DoF @ f4.0, trouble is only 24mm so have to get closer than you might want with the rig..

Any of the Sony's with Real Time Tracking will fit the bill. That includes the ZV you originally asked about, the a61/4/600's, and all of the latest FF bodies - a7c, a9/a9II, a7rIV a1, a7sIII/fx3 and a7IV. Unfortunately the only 10-bit bodies are the a1, a7sIII/fx3 and the a7IV. I've had the a7IV for a week and I really like it next to the a7sIII, but that's a much larger investment compared to the ZV. I wish Sony would do 10-bit and such with its aps-c bodies, but they've made it clear if you want that level of features in the E-mount, you will have to go FF or the Cine line. Anyway, I just use the touch to track feature you'll get really great face/eye AF for interviews, and if it can't get the eye it'll still stay locked onto the subject. I stumbled across this video shot with AF and the 50GM. Awesome. There are obviously tons of you tubers showing AF by bouncing in and out of the frame, but as a solo-shooter its just so cool to be able to tap the subject and then do an interview while monitoring audio and exposure without worrying about focus. Sony's AF has made my workflow a lot better. Cheers Chris

Tokina had a tiny increase as well. Otherwise it looks to me as if the release of so many Canon EOS R cameras and lenses in 20-21 did take business of nearly ALL the other brands. Really like the look of those small Angenieux Why are people so Canon obsessed?

Looks like they might have released a new range of lenses.... https://ymcinema.com/2021/12/27/cinema-lenses-angenieux-ultra-compact-ultra-zooms-and-primes/ They're suggesting the EZ range is good for going handheld: https://blog.angenieux.com/angénieux-ez-lenses-a-definite-choice-for-handheld That seems to be a reasonable suggestion... at least, moreso than with the Optimo range!

I think you missed the point that @Xavier Plagaro Mussard was making about AF not being necessary for interviews - which means you shouldn't use it. I'd suggest that you use MF and a deep enough DoF so that if the speaker is animated they don't move out of the acceptable focus plane. I mean, unless you're filming people in a cupboard against a rude/proprietary wallpaper, there's no need for razor thin DoF anyway, other than it being a fad. I'm reminded of that saying about continuity... "if people notice your continuity mistakes, your film is crap". I'd suggest that if you're needing a shallow DoF to the point that normal movement of someone seated is pushing them out of the focus plane, then maybe you should work on making your interviews more interesting 🙂

Depends on what kind of filmmaker you want to be. Most advice from these places will suggest technical skills development. If your deposition is to play with the tools and make great images, then that's perfectly fine and fun. But, FWIW, I help run a small film festival. Almost every indy film I see now-a-days looks half way decent. Getting the tech to do it's thing is pretty easy. I honestly don't know what sort of advantage an IQ specialist is going to have moving forward in the business when literally everyone can make decent IQ. "All hat, no cowboy." (Love that expression) OTOH, only about 10% of the films I have to watch/endure throughout the submission season have the ability to hold my attention. Story is key... Can you write? Failing that, can you recognize a good story when you see it? Can you develop the skill to elevate the words on a page? It's freakin' tough. Being a person that can do that is really remarkable. I've taken to watching successful films that are 50-100 years old. If the story works without the spectacle of modern tech, then all you gotta do is pay attention to those sort of storytelling and acting fundamentals ...and figure out if you can develop the skills to facilitate them as well. I find myself re-watching David Lean's early work at the moment. That sort of inspiration is very valuable.

i'm really quite jealous of all this anamorphic goodness now that i have an ipone 13 turn up. im looking at getting the sandmark or moment anamorphic. Which ever one gives me the golden flare. something a little different perhaps, but blue is a little over done i feel. Gold may give me an edge especially since i do like a good sunset. Sunrises tend to be elusive beasts, not sure why 😎

Not exactly a full blown holiday but had a few days away so took the Osmo Pocket and the Freewell anamorphic adapter to test this theory out and these are grabs from 4K/24p videos. It does OK and its certainly unobtrusive enough in terms of carrying it and using it without attracting any attention. The problem with the Mark 1 though here is that the FOV isn't quite big enough (which is something the vlogging/selfie crowd didn't like about it) so you can end up shooting low and up which fucks the verticals up. The Mark 2 with its wider lens and its ability to use ND and anamorphic simultaneously (its either or with the Mark 1) is now showing me a lot of ankle.

I know it's an impossible thing to really quantify to other people, especially pros, but it's been true in my experience as well. I've just ended up preferring using Oly cams for some reason. Ergonomics I think. And it doesn't make sense because Oly's menu system is a bit of a jumble, but I guess once I learned it, it's been productive. I don't do a lot of high end stuff, and what I do (still) do is almost always hand-held run-n-gun. I get by easily with 8-bit. My cheap EM10iii with a variable ND does the job. Here's a recent thing I was hired for; half day shoot and half day editing with a script they recorded. Basic basic basic, but got the product delivered to the client as they requested. I'm not sure if I even used a high end camera for a gig like this it would've turned out much different. So, you know, for me, the rather simple tool is appropriate.

I couldn't agree more about size and form-factor, and how smaller setups are more fun and, in a way, more spontaneous than larger more serious setups. This is why, despite owning a BMMCC, I bought an OG BMPCC (the P2K!). Paired with the 7.5/2 (giving a 22mm FOV) or 14/2.5 (giving a 40mm FOV) and the obligatory IR cut + vND + diffusion filter stack, it's a fun setup that still fits into the "tourist with camera - nothing to see here - move along" category. Combined with the (much larger) 12-35/2.8 lens gives you great OIS and a 35-100mm FOV. Both combinations give a handheld setup that rivals the best cinema cameras that amateurs who haven't inherited could buy, even up until a handful of years ago. Just for fun, here's a video from the OG BMPCC: and even a full cine-sized rig is getting smaller and smaller these days if you want to rig it up "properly": (courtesy of Tommy Do on FB)

I feel perhaps 1 to 4 is only another generation away, perhaps? (a Z Cam E3-M4??) 5. they've already got a touch screen display option 6. 4K I reckon is plenty: