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It is not just multiple lenses that are added it is all the Computational Math stuff, the AI, night modes, DOF stuff, IBIS, on and on. With Fimic Pro it is pretty amazing what you can do with that also.

A lot of truth in that for some folks needs. For the true working pro, not. For the keen enthusiast who is ‘into’ photography, still probably not, but the gap is definitely closing… For most folks out there who are none of the above, almost certainly yes for no other reason than it’s so damn convenient. Try as I might, for the last couple of years, I have tried to have a ‘personal camera’ but the reality is my phone is just more convenient. I don’t know when, but at some point I am going to replace my: iphone8, personal camera (ZV1) and action camera (DJI Action 2) with one of the latest, probably Apple, phones with multiple lens options. And never look back.

Is being demoed to Australian cinematographers in another fortnight in Sydney (I presume there must be many more of these happening world wide).

This is the lens I bought, I hope you where not thinking of a FF version! https://www.amazon.com/gp/product/B07KD2XJD1?ref=ppx_pt2_dt_b_prod_image And this is the Cage I am going to use to hold the lens. https://www.smallrig.com/smallrig-professional-universal-mobile-phone-cage-cpu2494.html

I have an R6 and I find it has some of the best SOOC color science out there. Canon is considered a leader in that domain but the competition has mostly caught up. That said, some people don't like Canon colors so maybe its just not for you. Make sure you check various picture profiles though as Standard may be a bit to vivid/contrasty. But of course for best results and a cinematic look you have to shoot Clog. Clog is very easy to shoot with the view assist on. Grading Clog is also very easy and if you're a starter/amateur just go with LUTs. Only thing is you'll need a very recent computer (M1 Mac) to edit the h265 footage. I had an XT2 by the way and it did have a nice look thanks to the film simulations which are probably the best picture profiles out there (especially Eterna on later models). @webrunner5 I don't understand, you bought a Sirui anamorphic lens.. for a Sony Xperia ? How is that even possible to interchange a lens on a smartphone?

@TomTheDP Hopefully, I suppose. I doubt I'll ever shoot with any Alexa, so I guess it doesn't much matter to me, but it's interesting to see what Deakins may use on his next film. Weirdly, I prefer FF or S16 over S35. Once I started shooting FF, it became hard to go back to crops. There have only been a few cameras that I've seen footage from and I thought... wow! Obviously, the Alexa is one of them. If you end up getting a Komodo... I think you'll own almost every camera that gets me going. Lol.

Should mean better low light performance. ARRI in my opinion has never been super clean in the shadows, maybe that will change with this one. But yeah the LF is beautiful hard to argue against it lol. Lots of people like the Venice for it's 2500 dual native ISO.

Gimbal + Slow Motion + Background music on post = A way to get bland results with no effort or ideas. I am in a video editing guys group on FB, 90% of the videos they post are random clips with background music. Ten years ago AI can do a better job at editing. Unsecure clients are always worried about all of the useless things, how big your camera is, how well you are dressed, how long the video will be. You paid a pro to not have to think about those things, don't you?

if he is not happy with his Fuji in low light that smart phone isn't going to cut it. I like the colors in Canon LOG2 after just throwing a lut on. Of course you gotta get the WB right. Fuji Autofocus has improved since the XT2 and the 10 bit H265 looks better in low light than the 8 bit coming out of the XT2, similar amounts of noise though.

With zero hesitation, I’d recommend they stuck with the R6. You can fiddle in camera with the ‘SOOC’ output and pretty easily and quickly do a light grade. I don’t shoot log myself and also place a very high value on SOOC for my work. Or rather, I want a consistent output I can quickly and consistently do a light grade to myself. That light grade simply involves whizzing through the chosen footage and making adjustments made based on colour wheels and sliders for a combo of the graphs saying it is correct combined with my own opinion. Single grade over over the whole thing based on Film Convert Nitrate. Single further creative LUT at 20% over that and I’m done. I may make a few further minor tweaks to some individual clips once the grade has been overlaid, but not much or often. But back to choice of kit… unless you really didn’t like using and cannot get out of the R6 what you’d like and have exhausted all avenues, I wouldn’t change. I hate changing kit myself. It’s always a PITA. I only switched from Fuji after a decade as it was relatively easy and convenient for me to do so. Prior to that, Nikon for the previous decade. Will I switch again? Sure, one day…maybe/never. I would need a really good reason and business case to do so and that currently does not exist. Like so many, it doesn’t stop me looking and pondering the subject though! 🤪

Yeah it's pretty crazy what Arri has been able to do with the same sensor after all these years. Someone recently shared this video from the Mini LF with me... Honestly, I don't know how they could make something better. Since the new sensor has been in development for a while now and delayed a bit, I can only imagine it must be pretty special. I suspect we'll see improvements in DR and color depth, but also some new gain technology. It should be a sight to see.

Yes it does.

Does that turn it into a full size HDMI port at the top? Yes, 48 would def be nice too.

48 would be good enough for me. Also on another note I just bought this. Hoping it will completely eliminate breakage on the micro hdmi.

The FZ2000 actually has a large number of options for controlling the zoom too. There is the barrel on the lens itself (which can be selected to be continuous or stepped focal lengths), the zoom lever for progressive speed and two Fn buttons on the side for three different slow creep zooms and there is even a setting for ease in and out. Or if you want to get more traditional it has a LANC port for start/stop/zoom control handles. Its the switchable ND that is the major draw as, for all the talk about "hybrid" cameras on here, its the feature that makes it one of the very few real hybrids out there as you can instantly switch from stills to video at the same ISO without arsing about. The fully articulating screen is a really big bonus too and for the role I'm looking at it doing as being one single versatile camera then I've got few complaints about it. For anyone looking for a more compact 1" with a large zoom range then the Panasonic TZ100 is worth a look, particularly as it can take my Cinelike D hack.

Well my opinion is that RED rushed their products to the Market. If you look at the image from an Alexa Classic, which came out around 2011 same time as the Scarlet, it's image aside from resolution is pretty much identical to the more recent Alexa LF. If you compare the RED Scarlet to the most recent RED you can't say the same thing. Red has continually put completely different sensors in next gen cameras since the start. The image pipeline from RED has also changed. The older RED cameras are known for being pretty dang accurate in Daylight but not so much tungsten. It improved with the 6K epic dragon sensor. I really think they have nailed it with the Komodo. I compared all three cameras Epic Dragon, Komodo and the Alexa Classic. The Komodo was pretty much identical, the Drgaon looked quite a bit different. I mean that was part of the appeal of REDRAW, you can get any look you want. It was meant to be something you had to fiddle with in post. The ARRI look has been known to be life like, what you see is what you get. Can't say the same for RED, at least in the past. Cameras in general are much more color accurate now though. I was really shocked how easily the Sigma FP matched to the Alexa. The gap is closing in on ARRI. That said older RED cameras definitely have an appeal. The name still stands high in film circles and there are a lot of advantages to a camera designed for cinema use. It pisses me off incredibly that RED has their RAW patent, but you can't get around that 16 bit REDraw is a joy to work with.

Probably drinking too much of that strong Berlin beer.

Well to me other than the Ursa Mini most of these new cameras have missed the boat. Real ENG cameras have zero stabilization in the body or the lens, yet you never see any goofy bad movement from them because they weigh a lot, and they are up on your shoulder. Like I have said you can use them for hours on you shoulder and never get tired or shaky. I have no clue why when you buy a camera that is geared toward film making these company's trying to make the littlest, lightest camera they can make that fits in your hand then you have to rig the living shit out of a camera and they still suck is beyond me.

Man, I’ve gone so far as to hire a separate crew to shoot “a” cam with all the video-village gak —while I run around looking all unassuming, just doing my thing and getting 90% of the video used in the edit.

Normally my clients are people that saw me work first hand, so they know what to expect, but this one had never seen me work. I didn't really think to do more than bring my lights, camera, tripod, and audio gear since it was a pretty simple sit down set up... Making it all look like a beefed up cine camera didn't even cross my mind! I guess it wouldn't hurt to add my SmallRig mini matte box lite, wooden hand grips, and external monitor in the future? I just never really saw the point in controlled conditions. I think I'd just buy another S5 or an S1. When I got home I did this. I guess that does look better.

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!