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Your WB might be slightly off there Tom? 😜

It is kind of up to you. Do you want to deal with ignorant clients that you have to put on a show for? You could also just educate the client and hope they are receptive. Honesty always depends on how much you need the money lol. Showbiz is inevitably a pretty showy industry although it's a little more justified on the higher end of things. One of the simplest ways to make more money is simply to own more elaborate and more expensive gear, but it's not always the way and capturing good content can make up for any lack of "professional" gear. I did a short about a month back and pulled out all the big stuff. I actually think we may have been able to do a better job with a small DLSR as we just didn't have the time do be using a lot of the heavy duty stuff we were using. It looked great on set though.

I can't remember where I saw it, but somewhere I saw someone from ARRI saying they have been working on the new sensor for years and had one ready to go years ago but the quality wasn't up to their standards and so they went back to R&D. The message was that they weren't in any hurry (as they had 4K+ in the LF) and that quality is their highest priority. It makes sense too - they could easily have released a 4K S35 sensor by now (or a decade ago) if quality wasn't their highest priority. I think ARRI (and their IQ) pairing 4K (and instant Netflix approval) with S35 (and all the lenses that are out there) will be a very popular option. It'll be the "safe" option in a world where 4K is a magical number for cameras (despite not being so for eyeballs).

When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag. When they see me pull that rig out of the bag, they think they think I am a total pro!

Considering the 75 actually but going to get a few more jobs in with the 50 first and see how it goes as whilst lens choices can be a good thing (though lugging them around is not), there is something to be said for sticking to a single focal length and just making it work. I’ve picked ‘75’ as mine and I like it.

Well below is my main ride: S1H + Fotodiox EF-L Mount adapter with built in VND + Meike S35 50mm T2.1 cine lens + NISI 1/8th mist filter + supplied lens hood. I use this either on my person (90% of the time) on 2 central straps off a Holdfast twin shoulder harness, or tripod off the lens mounted tripod plate. Total weight = 2389 grams including cards, battery and even that little bit of Velcro I have on top of the lens that locks the aperture in place at T2.1, T2.8 or T4. (5.27 lbs for anyone that can’t do metric). I also have an S1R left hip and another (in it’s way) S1R right hip, plus S5 on a tripod. The latter sometimes has a hotshoe mounted ZV1 but that usually gets it’s own tripod for another angle and is my backup for wedding ceremonies and speeches. But the main event of interest here is the S1H/cine lens combo and it’s a beaut. A bit heavy but actually not too bad and now I am properly back into regular work, just did a 15 hour day with it a couple of days back near 100% handheld or hanging off the harness and no issues. Looks ‘pro’ enough I reckon, but then as I said above, I’m not trying to ‘look pro’ but just using the kit that works for me.

Hmm all Z-cam besides the very first have prores internal.

Why do camera producers have a hard time to put the codec options out for convinient and comprehensible reading. DJI and ZCam are nervewrecking when it comes ot codec infos. 10bit, 422, bitrate, framerates, that´s what we want to know about, the top specs and those easily accessible to read, pleaaaaase. Mini 3 Pro is still 8bit and most of the low and mid range Zcams don´t offer Prores. Shouldnt be too hard to make that more transparent. It´s no fun wasting time trying to find the hard facts when they should be headline, even if they suck but then even moreso.

I did a musicvideo last week. I figured what I would shoot with, big F3 to test that baby Alexa sensor, BMMCC to drool over RAW beauty and magic or what not. Thing is I choose my favorite GH5 rig, rented the cam, rigged it up with my stuff. In the end, the camera needs to work for you. BCam was my S1. And it was a great shotgetter. That is much more important than making an impression with size.

Arrived... *And here is an useful comparative operational test with its most serious competitor.

Yes, you only have to add a few items before the size of most camera bodies is visually irrelevant. As someone trying to get the best image quality while actively NOT looking professional, it's extremely inconvenient that this is the case!

New Sirui FF cine lenses... Caleb describes them as being like rehoused vintage lenses, combining the optical properties of vintage glass (flares and haze) with the solid build of rehouses, but for significantly less cost / hassle than the "real thing". More benefits from cheap Chinese manufacturing responding to the vintage lens craze. Good stuff IMHO.

One of my favourite YouTubers is Martijn Doolaard who is renovating a cabin in the Italian Alps and besides the obvious fact that he's a great cinematographer / editor / storyteller, the frequency of fog in the shots I think makes a huge difference. He recently did a Q&A and mentioned his equipment and it's nothing special (A73 and DJI drone) but the footage just looks magical a lot of the time.

Got to put on a show for the client! It's arguably the most important thing to look after the client. That's why you'll have snacks out for them, a monitor, headsets, etc Why not have 2x S5? One rigged up with all the extras (V Lock / mattebox / preamp-mixer / 7" monitor / EVF / etc) for tripod / shoulder rig / slider shots. And the other permanently configured on a gimbal. Not only does this "look better" for the client, but it also means you're working better and faster yourself. (as you'll have your S5 gimbal ready to go at a moment's notice) Put up a light / cutter / diff / bounce / etc as well, even if the effect is only subtle. Another thought: a Panasonic EVA1 is dirt cheap on eBay these days, could be a good match with your S5?

Cage with a grip, rods and mattebox will do the job and a good tripod. Last corporate gig I had my FS700 with a speedbooster and a Canon 24-105mm with me and my S1 as BCam. 🙂

It is not the kind of lens that is the central talk here, but holy shit, the Viltrox 85mm f/1.8 is sharp (and the DOF, even in a Fuji APS-C, is very thin). Photo and center crop.