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I think you might have some difficulty getting them to turn around their corporate policy on that basis. But you can give it a go. You just have to find the other seven people around the world that feel strongly about that particular facility.

Good to hear it is working well. Wonder if the majority of issues are caused by problematic batteries???

Ran some more tests. Took a lot but I finally got mine to overheat. I filled a 128gb card shooting SI at 4k60p which was 27 minutes, no issues. Then I switched to 24p which filled another card in 1hr 8 min, no issues. Then I did a simultaneous recording, 4k60p XAVC S - so it recorded 1hr 20 min to both cards, no issues. So my conclusion is after 7 straight hours of recording - only stopping to swap batteries and delete those long ass takes - my camera has zero issues with the screen out. So then I put the screen into the body and did the simultaneous 4k60p recording again. It shut down after 27 minutes recording to both cards. I flipped the camera off and then right back on and hit record and got over 14 minutes more recording before it shut down - again recording to both cards. This was after all the previous recording and the camera was already pretty warm. I never shoot with the screen flat against the body. I'm 6'2" and never have the camera at eye level, so the screen is always flipped out so I can see it. Over 7 hours works for me, the a7IV is a keeper. A few more shots of the camera in action. Cheers Chris

Did some further testings yesterday and today, this time with 50 fps (crop mode) instead of 25 fps. No overheating at all. Maybe it really is true that there are variances within the model and I may have gotten a better one. Especially with the discrepancies of the reports. XAVC S 4K 50fps 200M 4:2:2 10bit 3 batteries with cooldown in between. First battery eye-AF on, steadyshot off, display open, 1h 55min. Second battery eye-AF on, steadyshot on, display open, 1h 57min. Third battery eye-AF on, steadyshot on, display closed, 2h 3min. So even with a closed diplay I could not force it to overheat within one battery. When I opend the display after the last test I measured something like 50 °C on the upper left corner. Good bit warmer than with the display open at the end of a battery charge (42 °C), but no overheating. Overall the camera gets warmer than my A7Siii, but for my usecases I don't see any problems.

Nice! I used to shoot for Visit Florida, been to Sanibel many times. Chris

Under 250g:

Do we know how they operate their business? You cant rent brand X if they don't have enough units of brand X, on purpose!

I wonder why the Canon 5D Mark IV is at number 2? Even for stills, the R5 and R6 are both better. Nikon is not doing well, kind of as expected. It's sad to see. I still remember the days when Canon and Nikon were the most popular brands, but Sony and Panasonic were doing the right things again and again while Nikon waited and did nothing.

Not obsessed, I think it has a lot to do with the network effect of EF lenses, which are compatible with all Canon and Blackmagic cameras. Many upgrade or rent R-bodies to use with their existing EF lenses. It’s just cheaper and easier using EF than investing in a different system such as e-mount, despite some gems there. EF is ubiquitous at rental houses in NY. Red’s strategy (and success) with the Komodo can be attributed at least partially to the RF mount. I own the Komodo and the R5, and I can use the same lenses with the c300iii/c500ii we rent. I like the Fx3/fx6 but they don’t fit.

This thread started with a question - buy a Varicam or use your BMMCC. @PannySVHS - that one is easy... just use your BMMCC. Then you elaborate about all the lovely equipment you have that sits unused, which (I think) negates the original question, and proposes a new one. By saying you own lots of gear, don't use it, and still want more, you're saying that you attribute some value to simply owning equipment, even if you don't use it. This means you are also a collector, rather than exclusively a cinematographer. This is a very different mindset, and it's a different kind of value. While one person thinks that owning every piece of tableware from some brand is a worthwhile goal, the next person thinks of it as tacky and a waste of time and money. The value is in the eye of the beholder and only you can answer the Varicam question for yourself. Your question mixes the two however. It seems you derive value from buying equipment that performs well, even if you don't use it, so that's also something for you to evaluate. In terms of my thoughts about camera stuff: Almost any camera can look great, but the better the camera and the better the cinematographer, the easier it is to get it looking great The worse the camera the less latitude it will give you in the grade... bad cameras won't have enough latitude in the image to even point them at anything difficult, good cameras will have enough latitude to point them at difficult scenes or to point them at normal scenes and have a bit of wiggle room, and great cameras give you lots of room to move even in difficult situations @TomTheDP was kind enough to share some S1 files with me and I felt like they had more latitude than the GH5 files, but ultimately they felt the same nearing their limits, and in shots that were quite underexposed I felt like I was arguing with strange colour casts and noise and compression problems in the footage in the same way as I would with underexposed GH5 footage, so the flavour is the same. The S1 and GH5 files I've graded feel awkward and deformed in comparison to grading RAW or Prores from the OG BMPCC or BMMCC, which respond exactly the way you'd expect them to. It's hard to explain but it feels like you've got some setting horribly wrong in Resolve when you work with GH5 or S1 files by comparison. I haven't dealt with BM footage shot as poorly as the GH5/S1 footage I've worked with, but even when both brands are shot well, the BM ones feel fundamentally better TLDR; understand what you're actually trying to achieve, then work out the best way to get there.

So funny that the "doomed" EOS M system still going while Sony APS-C just stopped like that.

You can shoot in RAW or RAW light, and both can be edited using the RAW panel in DaVinci Resolve with full controls, including ISO and temperature. For workflow, the R5 can shoot RAW and proxies simultaneously, making it very easy to edit with proxies in Resolve - you just link the RAW clips to the folder with the proxies made by the camera. The RAW clips are recorded on the CFExpress card, the proxies on the sd card. Yes, the proxies have the same name (different extension) as the RAW clips. Two examples: And, no, the camera did not overheat in the bright sun (75+ F).

Again thanks for the input. I love the 4k but again rigging it out for outdoor use paired with hiking is brutal. I could run without a Vmount but the battery is horrid as you know. I picked up the HDMI, expansion port, rosette mount from Shijans. I was planning on using my FD speed booster with micro and 17,24,35,50 with it. It would be nice to have a remote for other lens down the road. Storage as well is a big thing for me. Some personal projects taking up ungodly amounts of room on the 4K. Lastly I am going to use the micro in a custom underwater housing I a building. For the time being I will use a Outex housing with a Laiwa 7.5mm. Some examples of photography that I am aiming for with the micro. Untitled by Dave Fason, on Flickr BelizeLow-135 by Dave Fason, on Flickr -Dave