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@kye @OleB Here are some comparisons. One with pure tungsten, one with a 5600k and RED light, one daylight shadows, and one daylight sun. Hopefully these are helpful. Worst part of this is uploading to the drive takes like 12 hours lol. https://drive.google.com/drive/folders/1qxyxV-fFrBnyAh66joyRlgc2J6Xwbn7J?usp=share_link I actually did expose both cameras exactly the same as they looked similar at the same ISO. Outside shots were at F11-F16 and further adjusted with the shutter. Lenses were Meike 35mm on Alexa and Meike 50mm on the Sigma.

Of course I'd strongly recommend using a wireless instead (as bodypack recorders are an incredibly niche tool, I own one, never used it. Never needed it). Of which the best low budget / prosumer wireless is easily the Sony UWP-D21. But for those who do wish to use bodypack recorders, then for a long time the Tascam DR10L (or if you were outside the evil reaches of the Zaxcom patent lawyers.... the Tascam DR10CS) was quite popular, as it is obviously a massive upgrade over the former approach of lav into a Zoom H1!! (I remember doing that when I was a film school student) While also being massively cheaper than the professional bodypack recorders from Zaxcom or Lectrosonics. (easily over a thousand dollars each) But times have kept on moving on since then, the Zoom F2-BT got released (which added timecode via bluetooth) and then later on the Tentacle Track E was shipping. (which does it even better, with a timecode crystal integrated within it) And that is what I'd recommend when going for a bodypack recorder, the Tentacle Track E. https://www.bhphotovideo.com/c/product/1506356-REG/tentacle_sync_track_e_pocket_audio.html

Nah, that is a Cine-M-ilv-K

Not sure if you're referring to yourself, or your wife. Ah, that clarifies it. I feel the same way about 32bit audio. What is next, are they going to market 64bit audio to gullible fools on youtube? Exactly! And give me a 4K camera with as much dynamic range as the ARRI 35, but without the price tag!

The thing I keep going back to, even after people talk about the benefits of being able to downscale it to get even better 4K, is that we really aren't even using 4K to its true potential and probably never will before it gets replaced by 8K. Even downscaling to get "better" 4K feels silly, because the difference is so negligible unless you're watching on a big enough screen. It feels weird to argue against higher resolutions, and I don't necessarily view it like that in my head, but this rush to 8K and beyond feels more like a way to charge us more for cameras than a genuine need or necessity. Give me a 4K camera that can film 120fps without any risk of overheating and with all the features we are genuinely asking for before trying to entice us with 8K that 98% of us don't need.

Even though I have n* number of cameras capable of shooting 4K and above, I don't have a 4K TV let alone an 8K one. If I was absolutely realistic about the number of people even remotely interested in watching anything that I've shot then, including myself, then my total audience is precisely one. And on a lot of occasions, this number can actually be less than that as I'm barely interested in watching any of it myself these days either. So, on that basis, if I was to only have cameras capable of shooting 1080p then I would have a 100% match with the display technology of my audience. That doesn't stop me wanting all the Ks though. n* - precise number redacted out of acute embarrassment regarding the extent of my addiction.

Personally, I'd really appreciate the extra digital zoom capabilities, but for shooting 1080p (as I do) the 6K sensors are just as good and most cameras don't give you the digital zoom options that I'd really like, so the resolution of the sensor is secondary in that sense. Also, if the battery life is crap and it overheats, then it's giving me zero footage rather than even sub-optimal footage, a pretty fundamental issue. The other issue is that if you're using the sensor to get a 4x digital crop (1080p --> 8K) then your lenses will be by far the limit to the quality rather than the sensor. You might find that a 6K sensor upscaled to 8K has the same level of fine detail as an 8K sensor without scaling. Assuming you have a fast enough machine. Many people would argue that any decent machine can edit 4K, but with many cameras shifting to IPB, 10-bit, h265, decoding that footage in real-time is no small feat at all. If I end up with a GH6, which lacks the 2x zoom function from the GH5, then I'd probably just program a mode to be 4K 1:1 and swap to that and then crop in post. Hardly ideal, but would give me a bit more reach and still be downsampled to 1080p.