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A modern 2024 Sony a5100 and Panasonic GM1 would be really nice to have. That's a good idea, and a good little money maker to develop a plugin which automatically fixes moiré. I too think the 1DXii is a small camera 😛 😉 Sorry, US$1M is far too little money for them to even answer the phone.

My casual bed time reading for tonight. You don't happen to be Mark Lewis from youtube are you?? (I don't think so, by the IG story makes me wonder!) You could get your own Sony RX1 these days now for "only" US$650 on eBay. Take a look at the Nikon Zfc (or Z30 if you want a truly small body) with a Nikon 26mm f/2.8 lens (a full frame lens!) It is also a nearly 40mm FoV (on the Zfc camera body), but using a FF lens which is slightly shorter than even the Panasonic 20mm f1.7!! Or get the massively cheaper (only US$149, but yes, it has autofocus!) TTArtisan 27mm f/2.8 APS-C Lens for the Zfc. https://www.bhphotovideo.com/c/product/1764445-REG/ttartisan_af2728_z_b_27mm_f_2_8_lens_for.html Of get the 7artisans Photoelectric 35mm f/5.6 Pancake Lens for US$99 and pair it with the full frame Nikon Zf. https://www.bhphotovideo.com/c/product/1628290-REG/7artisans_photoelectric_a006b_z_35mm_f_5_6_lens_for.html

Would love to check out a BS1H and a FX30. @IronFilm But that is just nerdom. And you already made me buy the awesome Cinealta F3 which I only have done test shots with so far.:) BS1HII with an inhouse clickon monitor like Red and a cooler name please.:)

Have you considered the smaller, lighter, and cheaper Sony FX6? (or the C70 instead of the C300mk3, they both have an identical sensor!) The FX6 seems to be a lot more popular than the FX9 where I am. It's a hell of a lot easier shooting with a FX6 than a FX9 on a gimbal. Easier too on the arms if you're doing a long day handheld. But you said you're 99% on a tripod, a lot of sit down interviews? For interviews I'd prefer a lot more to have 2x FX6 / C70 than to have a single FX9 / C300mk3. And their smaller weight/size/price makes it easier to buy and travel with two. For me, the biggest factor would be what are people in the local market around me using? There is no point having "the best" camera if nobody wants to hire you with it. That means with this as my priority, I would have made the decision to shoot with at various points in time: Sony EX1/EX3 => Canon C100/C300mk1 => Sony FS5/FS7/F5 => Sony FX30/FX3/FX6/FX9 As at each point in time the EX3, C300mk1, FS7, or FX6 was the most popular camera in the low/mid end range of the market. Thus it is an easy no brainer decision to go with the same (or at the very least, go with a close cousin. Say get the much cheaper C100 instead of the C300mk1, and cross your fingers and hope to get some of the crumbs that fall off the table not picked up by C300mk1 shooters. But you will be operating at a big disadvantage competing against them) For myself, I had the Panasonic GH1 back when I was a broke film student. (until then I'd been borrowing with my girlfriend's Nikon D90, or my sister's Canon T2i) Then I got the Sony PMW-F3 at an insanely low price, an offer too good to refuse. (I forget when, I think roughly when the Sony FS7 was released. But the FS7 was way outside my price range back then) Then I picked up the OG BMPCC when it went on sale for US$500, another offer that was too good to ignore. Later on I got a Sony FS7 myself, as I felt I purchased it at the right moment of time when it had depreciated a fair bit to be a great value buy, but not so late that the FS7 didn't still have some life left in it (the FX9 was out, but the FX6 had only just been announced). Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future. Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever little bit of pay I get for shooting short films is merely fun pocket change spending money That means buying one of: Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all whatsoever (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective Which means one of these options: Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping) Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters. Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with.

Helped keep the budget down by around $50. More money for donuts.

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting.

£9.99 to unlock the full app. £3500 for a decent mirrorless camera. You choose 🙂

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased: Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!) 2x 480GB mini mags Side grip Red Pro top cheese plate Red aluminum EF mount V-mount battery solution (pretty difficult to find at a workable price!) Nitze top handle and monitor mount All in all, it set me back just under $3K. I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF. Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera. I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

Still been rocking the S1 and GH5s for a lot of content this year. Finally mixed it with some Canon R7 which I'm really liking. Lower dynamic range and noisier image than the S1, but the autofocus and a lens adapter ND filter has made me reach for it more and more. Just hating in front of the lens NDs more and more these days. Our S1 finally just quit on us, so looking at hopefully re-doing our whole system, really been needing to for a while. Just bought a Sony a7 IV and lens, hoping to eventually pair that with another one and a FX6, along with a couple more e-mount lenses. That should set us up for a while I think. We have to work really fast, so practical considerations are starting to matter more and more these days. Hence the FX6 idea.

Great input on the business side of operator-ownership! @IronFilm Even though your friend knew his stuff super well, it didnt prevent him from one of our and my biggest lacklusters, GAS, which even hinders creativity as @John Matthewshas pointed out in another thread. I didnt shoot anything meaningful this year and have been hiding behind lower end color grading gigs. That Varicam LT story is perfectly illustrating temptation and consequenes going along with purchases. It's also beautifully written. Thank you😊

Look around what are people local to you shooting with? Most likely they're using Sony FX6 (or perhaps FX9) bodies. So just follow the herd and do the same. But there are pockets of local groups of people around which have gone in another direction, such as they're mainly using Canon C500mk2 for documentary / corporates / etc which have a reasonable budget. Often all it takes is just a few key leaders or production companies in that local region to go together down a certain path, and the whole local region follows them, and there isn't a single Sony camera in sight. However, if you are working purely for yourself / in house, then it doesn't matter what brand or camera model you choose! But if you are working for others, then following what others use matters a lot. Had a friend who purchased the Sony FS7 right when it was released, did pretty well working with that, and he got to a point that he felt like he was "outgrowing the FS7" and had the money to buy something better. By this point in time the ARRI ALEXA Mini had been out for a couple of years, had proven itself, and no longer did you have crazy insane long wait list times if you wanted to buy one himself. But a ALEXA Mini was way outside is budget range. So what is the natural upgrade from a FS7? The F5/F55 are "upgrades", but are more similar than different. Definitely not what he was seeking. What then? He settled upon the Panasonic Varicam LT, which had recently been released (came out the year after the ARRI ALEXA Mini). He sold his Sony FS7 to raise extra funds, with his extra saved up money, he purchased a brand new Panasonic Varicam LT. (but he only got the Varicam after very extensively testing it, renting and borrowing it from others. Not just to run tests on it, but to use it on real world productions too. I worked on a couple of those productions which he shot with a Varicam LT, prior to him buying his own. He really did very very thoroughly all of his homework before settling on a new camera to buy) Seems like a rational decision. Was the next step up in price (over double the price of a FS7) and quality from a FS7. Has much better low light performance, & much better color science than the FS7. Plus did timecode and raw better than the FS7. In a way, the Varicam LT was even "better" than the ALEXA Mini, with better slow motion, better low light, better audio, and true 4K. (only downsides being it is bigger/heavier than a Mini, and it is "not an ARRI") Well, what seemed like a great idea on paper, in reality was one of his worst financial decisions. Because for the higher end jobs above the FS7 level, then usually they only want an ARRI camera. He's not landing the higher end jobs with the Varicam LT. (plus ARRI cameras are cheaper than you think, relative to the total cost of a project. It doesn't make sense for them to pinch pennies and settle for the cheaper Varicam LT) Thus he wasn't earning any extra money due to spending almost double the FS7 amount on a new Varicam LT camera. But it was even worse than this, the Panasonic Varicam LT was losing him money. Because the bread and butter FS7 jobs were no longer hiring him as much, as they don't want to go with some weirdly different new camera, they want the tried and trusted Sony FS7 which all their other shooters use and slots perfectly into their workflow and productions. Owning the Panasonic Varicam LT was a lose-lose situation for him. Quite sad really, even though on paper the Varicam LT was undeniably a much "better" camera than a Sony FS7 (even "better" than an ARRI ALEXA Mini in a fair few ways as well).

Our age, my friend, but that's the scope, isn't it? ; ) Let the most recent and more affordable tools make the life of copycats much easier... : D

But Emanuel, I was just honest. Any GH2 filmer from back then put more skill AND talent into their films. I could give a plus for running so quickly behind and infront of cam, but that's about it. Kye must be laughing like a gone mad colorist seeing how they broke the colour into Nintendo Green Lantern realms, if there ever was a bad game of the overly bad Christoph Waltz flick, based on a 60ies Bruce Lee TV show, where the upcoming superstar was the sidekick and main attraction, paling the main protagonist. Just to throw around a bit with love for popcultural references. Green lantern was a solid comic at first, was'nt it. The Munich video is not solid, nor done in the conciousness of pop, but a dull case of copycat showoff mediocracy.

Nifty, can jump back and forth between 180VR and 360VR mode. That's often a downside of these dedicated all in one cameras (not camera rigs which are multiple camera bodies used together to do 360VR/180VR), they're only best at either one type or the other.

I would take Ironfilms exellent advice. Of the two i would go for the FX6. Highly popular and exellent camera. As mentioned above, it is perfectly accepted by clients in the doc field. If you want to make or keep making a living with doc, FX6 all the way. If you want a camera for labours of love with beautiful Canon Raw and the exellent colour coming from the Dual Gain sensor, C70. I bought my S1H from a docfilmer who does 45 - 60min docs for German TV. He upgraded to a FX and is super happy.

It's late 2023 already?? Where did the year go!! Scary, scarier than Halloween was. Just limiting ourselves to cameras released within the past year? The easy top three cameras of note for me released in 2023 are: Sony FX30 (came available for sale in stores later 2022, so just barely-ish squeaks in here if you look at the past 12 months or so). Is the latest S35 cinema camera from Sony, and also their most affordable one ever! The L Mount camera from Blackmagic. Finally, another mirrorless mount cinema camera from BMD! Been a long time since the P4K was released. Blackmagic Design Micro Studio Camera 4K G2. It's a big upgrade from the previous Micro Studio Camera, especially for film shooters as it's now so much more than "just a studio camera". If you're an OG BMPCC user who thought the BMD "Pocket" 4K was too big for you, then this Micro Studio G2 is the upgrade for you! Plus it is cheaper than ever, is priced at sub US$1K, even cheaper than the Pocket 4K. Don't be fooled by the "Studio" in its name, yes it is packed full of studio specific features, but in a way this is also their new "Micro Cinema G2" camera as well. Opening it up to any cameras that exist? Then "it depends", just whatever is suitable for the job at hand. Even a super old Sony EX3 might be the right buy for me these days. Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future. Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever That means buying one of: Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective Which means one of these options: Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping) Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is an even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters. Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with.

More interesting to me was the announcement of the 24-105mm f2.8 OK it weighs 1.3kg, but on an R3 that weighs 1kg, a combined total of 2.3kg I could just about live with for events. As someone who has been running a 2.8kg set up all year, I would rather go sub 2kg, but even .5kg is considerable in the hand.

If only 9.99 got you the image from a 3500 mirrorless camera! I chose the $0 BM camera app 🙂

I would be tempted to say best-bang-for-buck would be OG BMPCC BMMCC... BUT, used prices on them are going up because people have worked out that more pixels isn't progress and are re-buying them again. So yeah, maybe not best value for money..

Atomos has released an interview with ‘The Creator’’s DP, Oren Soffer:

I always say, if you don't know what the solution to a problem is, then you don't understand it sufficiently. In this case, you seem to understand your two identified options relatively well, so the final piece is understanding your own needs. How do you shoot? Where do you shoot? What do you shoot? What lenses will you need? What other equipment will you need? What does the whole workflow look like? All cameras at this level look great, this shouldn't be your focus - you should be focusing on the camera that is easiest for you to shoot where and how you shoot to get better shots by being supported by the entire ecosystem that you're buying into.

I lived in Bavaria for a short period so I could compare München with the architecture and cultural influence of Italy where I've also been living for much longer, so I think the comment on grading by @kye is pretty on the spot BTW. I follow your yellowish tirade anyway, Marty... ; ) Speaking of devil, here's another one:

Came out in late ‘23 or (still) using in late ‘23? Mix of both for me… S1H for pure video, but the best stills camera I have owned to date. On the stills side and an actual late ‘23 release, the Nikon Zf. Early days, but expecting to love it even more as a stills camera than the S1H. An earlier ‘23 release, the S5ii which is probably…almost certainly, OK for stills, but I have just not been able to gel with it in that regard, mainly over what I consider to be a clunky shutter feel and sound. For video however, highly regarded all factors considered. I favour the S1H over it, probably due to it’s sensor and the OLPF…and it’s rear screen, but the S5ii form factor and AF just works slightly better for my needs. Based on the kit I actually own. Money no object, Hassie X2D for stills, Nikon Z9 for hybrid and would struggle to see past the S1H for video. Because I love it so.

Late 2023 cameras. Z9 is not 2023:) So my cams are mostly the same, not from 2023 but to me relevant as of late 2023. Photo: Lumix gm5, gx85. Nuff said, classics in many reagards. GM for its magnificient Bauhaus Design, GX for its overall tactility and looks. Love the rawfiles from these beauties. Video: Lumix S1H , which I better use for photo as well with its awesome, though not 2023, sensor. LX15 for its quirks and the challenge of working with them and enjoying that experience so much, results in photo and most the time video as well. The rendering of that lens is a thing of beauty. Dust alert behind the lens elements though after real world usuage. Bmmcc and og Bmpcc, color grading galore gems. Alliteration where it belongs.:) Cinealta freaking Sony F3, the image wonder marvel.

Ok. I've decided to wait a little longer for the G9 ii. I want to see how things shake out. Also, this camera is so popular that I'm fairly sure demand will be high and I won't even get it till mid November at the earliest... when I'll be heavily into work. I'll just go a little longer with the E-M1 ii and GX800. Other than the slow motion, they fit the bill for me right now. Make no mistake, I really want this camera though. It'll be available soon enough.

Cool image, it grades really nicely. I went... a bit further with it. I decided to give it a more retro film blockbuster look.

R1mx and scarlet Mx can complement each other. R1mx for tripod, scarlet for handheld.

FYI, the G9ii's manual is 832 pages long. Is that a record of some sort?

Gratuitous very tenuous link to post, but just for ‘proof’, my daughters little story on IG…

I also need a day rest to fully recover from previous day, if I did back to back shoot I will be very tired on 3rd day. The days of flying C70 with 18-35mm 1.8 on Ronin all day is definitely past my time. So this year I downsize my setup to rs3 mini and ZV-E1 with <500g lens (or R8 with 600g lens) instead of the hefty 24-70 2.8 on R5 on Ronin rs2 pro, that is over 1/2 the weight saved, with this new setup I m not as over tiring as before which is good for me.

It will depend of course on the individual but for me, for stills, under 1kg is fine but for video, I prefer around 1.5kg as a sweet spot, as I find that is a nice stable platform and not too heavy. Over 2.5kg is for me getting a bit much. A bit much as in it’s not that heavy per se, but over the course of a long shoot, hanging off your hip (best IMO) or sling (going to feel that one very quickly!) not desirable. I am currently debating first of all Lumix vs Nikon for video…but that is another topic entirely and not relevant, but whether I go: A. Hybrid units; 1 static, 1 light (1kg) most of the day, 1 heavy (<2kg) various times but not all day, or, B. Video and photo units; 1 static video, 1 roaming video (1.5kg), 2x stills (1kg + 1.25kg). Pros and cons for each and for me to work out but bottom line is I am ‘happy’ to go up to 2.5kg for a single unit, but only if I will not be using it all the time. On me, either attached or in hand, 2kg max is about the max based on my experience that I would be comfortable with for video and 1.5kg for stills.

It is. Around a decade or so back, I was what is known as skinny fat, ie, very little muscle tone but a surplus of fat around my middle. I never exercised, had developed asthma, smoked and drank (but not heavily) and it was a gradual erosion/accumulation more than anything. I decided to do something about it around the time of my 40th birthday. I’m 53 in a few weeks and never been in better condition and actually have a fitness competition (Hyrox) that I have traveled to Ireland for from France, in a couple of hours. Why mention this? Fatigue, or reduction of from being in shape. And not just the physical, but the mental which is unseen but contributes. But I still have trouble getting to sleep after an intense 15+ hour day because despite downing tools, I’m still buzzing. The next day though…and I can never lie in and catch up no matter how late I went to bed or how tired I am, by lunchtime, wiped out and can easily grab another 1-2 hours early afternoon, but it’s not until the day after the day after I feel recovered, so never take back to back jobs anymore. No way I could be working the way I have been for the last few years one to two decades ago and I guess another factor why when other photographers or videographers ask me how I do what I do, part of that answer is level of fitness. But as with all these things, it is only a part of a greater whole. 2.8kg unsupported in and out of your hands all day though is a bit nuts which is why it has to go!

This is quite serious stuff. I don't know if you've seen any on P. Bloom's videos from last year, but the guy had massive lower back pain. IMO, humans are not meant for carrying significant weight 8 hours a day for a career. I'm not actually sure can work anymore.