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Somewhere, someone is asking the question, “this or the new Arri? I shoot kids sports games, cats and feature films”.

Is it? Rhetorical question... I've recently quietly removed and put away all my 1/8th Pro Mist filters plus turned my in camera sharpening back up. Why? Well ideally, I'd like to have kep the Pro Mist's but the reality is that in certain lighting conditions, green reflections show up in the footage. I can't stand that anymore so ditched them. Re. sharpening,I've come to the conclusion that it's easier and better to soften in post than it is too sharpen and some footage just looks too soft without a degree of sharpening. I don't like the digital look and want my wedding productions to look 'cinematic', but I always try not to do things for the sake of doing things because that's what you are 'supposed' to do. YMMV of course and that's fine but my (again rhetorical) question is when is 'good enough' good enough and how far beyond 'good enough' are we? But things have to progress I know and companies need to bring out new product etc... Just musing really...

If you want to get great at shooting Photos start out by doing nothing but B&W. To get a great look in black and white you have to nail the exposure. And that teaches you to take your time, use a light meter and a white balance card. Great photos are rare just snapping a shot you have to take your time look at different angles and think, think a lot. Maybe even come back at a different time, different day. Once you get a good eye for it apply the same for video. Shoot a lot of short stuff and stich it all together and try to make some sense of it in editing. Then try to match each sequence color wise, exposure wise. Doing all of it over and over is the only way to learn anything, your camera and the editing tools. Slow things down and think that is the secret to all of it.

I am not surprised, the Mini is their most popular camera ever. And the Mini LF is the hot camera for them right now which everyone was wanting. No surprise here, would be more surprising if it didn't. Both the Mini and Mini LF has built in NDs. (so too does the AMIRA, but that's not so relevant. Oh, and the ALEXA LF "kinda" has internal NDs. They technically have them, but not in the sense you think of them: https://www.bhphotovideo.com/c/product/1389604-REG/arri_k4_0015600_alexa_lf_fsnd_2_1.html ) I know you're joking, but there are people shooting weddings with REDs all the time. Give it another ten years and we'll see people shooting wedding with the ARRI S35K 4K sensor as well. I'd be surprised. That's an extreme low end guess, I'd say more likely half way in between there and double the price. (probably very easily close to double your guess once you add in accessories / media / batteries) Likely in a city such as Auckland (largest city in the country, but still a small city by international standards with one and half million people) then all the rental houses of any substantial size will get it eventually. But you could count on your fingers how many DoPs will own one, and probably a similar number of production houses would own it. Sure, it is likely zero EOSHD regulars will buy one, but probably quite a few of us will end up working with it at some point in time or another. I'm 100% certain I'll end up working with the new ARRI within the year. That's standard operation procedure for ARRI, chase image quality and not resolution. Very likely the image quality hit of an eND is why they didn't use them. The people at that level can be very picky about that.

FULL specs, brochure images and 17 stops dynamic range sample shot https://www.eoshd.com/news/arri-alexa-35-full-specs-brochure-images-and-17-stops-dynamic-range-sample-shot/

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.

“Usually” (other mfrs) new models have new sensor designs, and come out every year or two. ARRI has gone a very long time between updating sensors, I’d expect larger improvements in these rare instances when they’re making core tech upgrades. Most of it being in the shadows makes it very likely to be true. ARRI is heavily biased towards highlight retention. It could also be though of this way: ARRI uses dual gain circuitry, so ~1 stop of improvement in the underlying sensor technology (CMOS) potentially allows them to “double down” on that (via dual gain,) resulting in an extra 2 stops. Heck, we’re 12 years out from their original ALEV sensor, wafer and chip tech has come a LONG way in that decade. All else being equal, sensors now produce cleaner images even if the DR is very similar. I’m actually super curious to see if any prominent folks will feel this new sensor is “too clean,” many seem to love the ALEXAs for their texture, even if it is subtle.

I have a 50Wh and a 99Wh. Both under 500g in weight. All still to test in anger. I'll put it all in the review.

I seriously doubt Arri is out to fool people. But I admit 2 extra stops is a LOT. Usually, lucky to get a half of a stop on a new model.

The FZ2000 is spitting out 10bit over its Mini HDMI port. From what I got it seems to me to do so only in its 4K modes. Kinda cool that it can be updated with VLog L for around 100 EUR additional cost. So Panny, give us a 10bit successor for this beauty. Anyway here is a video which brings the lens world and thread together with the FZ2000/2500 putting an Anchromat lens into good use.:)

You can mount any V-lock battery including the tiny modern ones on Amazon from Fxlion directly to the RED I/O expander or RED V-mount adapter that bolts to the back of the RAVEN or other DSMC2 RED cameras. No cables or rods required. Can't seem to do same with EPIC and SCARLET, they just have a lemo connector and you need D-tap to lemo cable plus rods and mounting solution for your V-lock battery.

I have no idea why that giant robot emoji is in my post above. I have edited it twice to delete it and it keeps reappearing! Has the forum been invaded?

This is right on. It doesn’t *really* matter what stop number ARRI say the DR of their new sensor is, they’re very consistent and technical with their numbers. They rate it having two stops more than their previous sensor, so however you’d rate the original sensor, this one will have two stops on it. It sounds like a decent amount of that is aimed at cleaner shadows, with a touch of bonus in the highlights, which makes sense. ARRI is the poster child for highlight handling, everyone points at them and says “just do roll-off like that, it’s perfect,” so it is logical they’d largely maintain that behavior. I also understand the talk of ARRI bumbling the sensor update, but that’s not gonna happen either. ARRI will have put these in the hands of diehard users and ironed out any minor gripes behind the scenes long before release. ARRI users aren’t afraid to say when they don’t like a camera, and ARRI has the very top cinematographers essentially as beta testers. I’m very interested to see where the future of DR in theaters goes after this new camera is out in the wild. Should be a required bit of kit on DolbyVision sets IMO. This is 100% square one for an eventual refresh of their entire lineup though. Just like LG cut multiple size TVs from one “master glass,” I’m assuming ARRI can make varied sizes of this new sensor architecture for a new LF, and even stitch them for a new ALEXA-65. I also don’t doubt that they’ll take their sweet time. The potential update I’d be most excited to see is the AMIRA though. It really is such a cool iteration, the preset toggles enable you to work VERY fast, and it shoulders flawlessly with minimal rigging. The only things it’s awkward for are gimbals (due to length,) and anamorphic due to the 16:9 sensor. I hate gimbals, so if they update it with this new sensor without chopping down the height, I’d be VERY tempted.

Ok didn't realise this was in the Mini category. Yeah depends where you're at. Here in Paris, France we've got pretty big film studios & production houses. ARRI also has offices. I literally stumble on sets in the city daily with ARRI cams & lights. My friends production house has 3 AMIRAS. they specialise in high-end Multicam shoots for TV & events. Sounds good, let us know when that happens! Oh I know that but for some reason I thought eND was a better (less polluting) solution than standard built-in NDs? could be wrong though..

Ah, slips of the tongue/keyboard. At one of my weddings recently, during the speeches, the Father Of The Bride, kept referring to the celebrant as the celibate. I knew what you meant from the start but do like to milk a faux pas 😜

There is no exception. ARRI didn't reinvent the CMOS sensor, they just achieved lower noise floor with double readout. State of the art CMOS is limited by 15 stop, which 13 is useable. These are so clean that they're only limited by shot noise. In other words, the noise problem is already solved; so to increase DR you need to work on the other side: saturation level. Unfortunately its so hard to increase the saturation capacity that Nikon celebrated when they achieved 1/4 of a stop more capacity and called it ISO 64, which in reality was only ISO 80.

Great stuff @BTM_Pix Panasonic should give us an alteraton of this camera with 10bit 422 up to 4k60 from the whole sensor. How does the manual focus feel? Is it similar fun and foremost usuability like from a solid completely mechanical lens? Then it would be a fun camera for micro budget shortfilms. It´s akward how an 8bit S16 camera can fascinate despite all these old and new affordable cameras. Heck, I saw a Sony Cinealta F5 for 2000EUR. I figure LX15 and FZ2000 have the same sensor. Despite that on the LX15 colour feels pretty thin to me, even in the RAW fiIes. I am not even sure if the camera has a mechanical shutter and sofore it maybe only provides 10bit RAW. On a side note: 10bit RAW looked fine on the Lumix G6 which provided Raw in 10bit only when using electronic shutter without mechanical one.

When the lighting in the production is really good, that’s what they use on porn videos I suspect.

I’m a school teacher and really want to get into photos be video but don’t want to get into complex editing. Fast turn around etc is important. I have the R6. I’m curious how I’d go about getting a similar look on FCP and R6. also for photo this was amazing and why I love the Fuji colors

ha, of course Canon does! correction: "so that leaves you with: line-skipped uncropped 4K 30fps." Thanks for the clarification

I had been thinking that too @nathlas But then I must say, I don't enjoy to watch what he is reviewing, which prevents me from buying this stuff. Bought my used S1 two and a half years ago due to Andrews written image quality review and deezids recommendation besides other peoples insights.

1.6x1.8 making it a S16 camera. Lineskipped 4k, so it's basically GH5 HD resolution, which speaks for the GH5. 😊

Not many folks in the world can afford this, aside from A-list actor/directors like Ben Affleck in the photo above. But usually no one person buys a brand new ARRI. It's either studios, production companies or rental houses. Rest assured pretty safe to say nobody here is in the market so its mostly just an industry look at what's happening on the high-end. As to how it could trickle down, well Canon & Panasonic have both copied the Dual Gain output of the OG Alexa sensor in C300/C70/GH6. Took them 10 years though! Again, its interesting to see ARRI took form them the built-in ND's. surprised they didn't go Sony's Vari E-ND but maybe there is a patent on that one.

Most importantly has it got animal eye AF and a food mode?

I might get a pair to shoot weddings with. What's the AF like? (Not really and I'm not interested in proper cine cameras because I'm not a proper filmmaker)

If you like Fuji just go with that. You'll never really be able to get Canon to look like Fuji. I personally love the Canon look and the R6 is a great choice overall. Two cameras for family stuff seems annoying. I think Fuji is very usable up to 3200 iso which is enough for most things. Get some fast lenses.

Wow - hugely impressive results (as usual). I must admit that the allure of a zoom lens has entered my thoughts of late, just through the sheer convenience of being able to see something and then capture it without delaying so much that the composition has evaporated. The FZ2000 really is something! Yeah, first time I've seen an anamorphic offering with enough squeeze and low-enough weight that I'd even contemplate it for guerrilla hand-held work. I was hoping that the cheap Chinese manufacturing would eventually make anamorphic glass affordable and then accessible and it looks like it's finally happening. Super interesting!

That explain Leclerc's accident. "That guy is not using a full frame, really!!!???? ...oh shit" (bang) Interested in getting one of the FZ's as a concert camera (security in stadiums tend to hate cameras that changes lenses).

Fuji has superior colour science to Panasonic, not even something to argue about here. You do not need 4:2:2 unless using a green screen but people like to repeat it because a YouTuber said so. You can do 4:2:2 externally if you use green screen extensively. You have the best app-c mirrorless available for video, use it. Influence your shooting environment , deny the gear acquisition syndrome. Invest in a Meike cine lens if you must buy something 🙂, the 25mm is butter coupled with the x-t3.. If you like the video look, go with Panasonic