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And from what little I've been able to see and hear, at least here in Europe, DoPs who work exclusively in film are some of the most reactionary and traditionalist people out there. That is why these over-excitements about GH7's ARRI-certified LUT make me smile a lot. It is something that will not touch real film productions at all. Maybe I expect some real use for high end advertising and TV productions and of course all the wannabes but real film environment is pretty much "watertight" In that sense, even Red acquisition supposed motivation to put a foot in the movie business is a gamble

Hello 🤗 For those that are interested, finally, I reached 'peak camera' for my needs. When I say 'peak camera' I really mean 'peak set up' which includes; camera bodies, lenses, audio gear, tripods, etc, ie, 'everything' I need to do my job. My job is a multi-day coverage, destination wedding, hybrid shooter and has been for the last 24 years, the most recent 22 full-time and the hybrid part for the last 14. It's been a real battle these last 14 years as a one man band to get that balance of kit that allows for 3 factors: A. Creativity, not stifled by... B. operating issues which could be anything from too many units, to too big & heavy, through ergonomics to...well anything that is more operational and logistical. C. Repeatable consistency at or above a certain level. I haven't tried every combo known to man because that would be impossible, but far too many to mention, but as above, 100% confident I have now reached 'peak set up'. As the title suggest, that is a combo of principally Lumix and Sony for bodies, Lumix, Sigma and Tamron for lenses, Rode for audio, Smallrig for cages/grips and tripods. Specifically: My previous set up to date was: 1 static video + 1 roaming/semi-static video + 2 photo It's now 2 static video + 1 roaming video + 1 photo So it's still a 4 unit set up, but with two considerable exceptions: A. Instead of 1 static and 3 cameras on my person, I now only ever have 2 on me, which is a big deal. B. Both of those units on me are smaller and lighter than they previously were, which adds even further in significance because smaller & lighter = faster, more creative and less fatigue. I did want to go to a 3 unit set up and it's possible, but it's just that one step too complicated and financially starts getting very silly, so just a no. I'm sticking with L Mount for video. For my needs, whether static or roaming handheld with IBIS and no gimbal, it just works for me. The output is very high quality and the log footage is very easy to work with and the file sizes not stupidly large. A used pair of S5ii's are doing the business here. One I already had and has been my workhorse since it came out last year and the other just arrived with a pair of used (most of my gear I buy used if and when I can) battery grips as during longer ceremonies and speeches, a single battery gets me concerned whereas two I have no concerns over. A brand spanking new S9 is inbound next month. Until then, the S1H will solider on until it arrives but then sadly, has to go as it will be surplus to requirement. Sadly, because it's the best camera I have ever owned (to date) for video and stills. OK, it does not have the AF of the S5ii, but otherwise kicks its arse everywhere. But gathering dust serves no purpose and it cannot do what the S9 can do at a fraction of the size and weight so... And for stills? Well that's the Sony, obviously. A7RV. It was always an option lurking in the wings which is why even though I went back to Nikon with the Zf and Z6ii earlier this year purely for stills, I did so with adapted E Mount Tamron glass so that I could go either direction, remain with Nikon or go Sony, any time I felt. That time is now and Sony won. Z9? Too big and heavy and not 100% convinced by the e only shutter. Probably would have been fine, but it's a MASSIVE LUMP. Z8? Nah. I'd rather have a Z9 as there are too many compromises with the Z8 IMO, but see above. The Zf I have? Nope. Ergonomic pig to use. Z6ii? Nope, too slow. It's like wading through mud operating that thing, unlike the Zf which is fast, but ergonomically shite. Z6iii? I thought it was going to be but I am having a few niggling issues with the adapted E Mount Tamron lenses. They work well enough most of the time, but not ALL the time. They do require more processing work as they are not native. Posted in error so with only a brief opportunity to edit, will have to continue in another post below!

True. I would like Panasonic to resurrect the brand name of Varicam and call their flagship DSLM something like Varicam VH1, with internal electronic vari ND, SDI, Dual Gain sensor, a cinema camera the size of a S1H. It could also be used to take photographs.:) Signal processing as pure and raw as of the og S1H. The DOP of the S1H Cannes film used a Sony Venice on his current Cannes 2024 entry. S1H was Bcam. So a traditionalist to the craft, but an open minded one to the tech and art of cinematography.🙂

I had an URSA Mini Pro 4.6k that shot Cinema DNG and BRAW (a firmware upgrade discontinued Cinema DNG). The BRAW was slightly less resolved with a slight color shift compare to the Cinema DNG. Once color corrected I did not notice which shots were which on YouTube. From the online comparison between BRAW and Pro Res RAW it seems that Pro Res RAW has a finer noise structure, which makes the Pro Res RAW slightly better looking IMHO. BRAW at higher resolutions like with the URSA 12k shooting 8k resolution, I have no complaints unless I don't provide enough light, then I see the slight limitations of BRAW as compared to Pro Res RAW.

Shit! That’s a real bummer on job! That’s when clients are glad they have hired a pro, there’s alway plan b or c and more kit.

Well as I asked before: I thought I'd given you the answer at the time but obviously I didn't . Trying to get "absolute certainty" is the cop out to hide behind the "everyone was at it" defence thrown up by Armstrong and his enablers when he was eventually forced to admit the truth. No one can be "absolutely certain" of the actions of another person at every moment of their life. Armstrong himself used the "I've never tested positive" benchmark until it was discovered he had but had colluded with the UCI to cover it up, thus muddying the waters for everyone else as well. So, again, because of his shithousery, the benchmark then gets lowered to suspicion to justify it but even that doesn't make the "everyone else was at it" defence stand up to much scrutiny. Even if we take out all those with subsequent failed tests in their whole career and/or implication in the known indicator stuff like Festina, Michele Ferrari, Bologna raid, Puerto/Fentes etc then are there any that match a top ten finish that you are challenging ? Of course there are. Asking for just one is pretty facile so here is one from each of Armstrong's seven Tour de France "winning" years. 1999 - Daniele Nardello (7th) 2000 - Daniele Nardello (10th) 2001 - Andrei Kivilev (4th) 2002 - Jose Azevedo (6th) 2003 - Haimar Zubledia (5th) 2004 - Jose Azevedo (5th) 2005 - Cadel Evans (8th) The 2006 edition, following Armstrong's first retirement from cycling, five of the top ten finishers hold similarly "clean" records. So, no, they weren't all at it. Anyway, the 2024 edition starts today so lets enjoy the spectacle and hope the little fella gets that 35th stage win.

Very likely to be the later versions. Just like they don't distinguish between OG Komodo or Komodo-X, or OG VENICE vs VENICE 2 If only a couple of films were shot on ARRI, then I bet they also wouldn't bother to distinguish between Mini vs Mini LF To a certain extent I agree with you, however when you're shooting not just by yourself but with a whole crew then the camera size really does matter. Imagine if we could put the exact specs of a BURANO into an a7C body, many DoPs would still be choosing the BURANO for their productions.

The decline of celluloid film and RED would have only been further extended since then. Yes, if I owned and was running RED then I'd have three core cameras (plus maybe some minor variants of them, if cheap enough to do the R&D and handling the extra SKUs. Such as a "RED Komodo Pro" that's full featured vs a "RED Komodo Lite" that's a stripped down much cheaper version. Just like they're doing currently with the OG Komodo vs Komodo-X): Doubling down on their Komodo series, as their (relatively speaking) "mass market camera" (to compete against FX3/FX6 or PYXIS/URSA or E2 or C70/C400). The focus would be on driving down costs (the "Komodo Lite" would ideally be sub $4K) and improving usability (especially for the "Komodo Pro", as pushing tech specs can wait until the next generation after that. As I'd embrace a tick-tock approach, you push the tech specs to the next level then the next cycle you refine it to perfection and push hard with usability/stability/reliability/ergonomics/etc). As this is where the bulk of their sales volume and profit would be. One model that's bleeding edge with the kitchen sink thrown at it. The purpose of this is not so much to sell tonnes of them and make lots of $$$$$, but rather as a real world testing platform and a product that's basically part of marketing RED's "brand image". Have RED be "the first" ever with 16K, or doing 1000fps 4K, or whatever other ridiculous spec they go with. If this product line can simply break even, that's a win for RED. As the main purpose for this product line is to both test out new tech that isn't yet ready for the Komodo range for a fair few more years yet (such as 1000fps 4K) and to marketing the RED as "the cutting edge brand" so that they maintain that mindshare they already have. Although this doesn't necessarily need to be an entirely separate line up of bodies, as it could reuse the same general camera body as what's in the next category... One model that's half a stepdown from the bleeding edge (so reliability/usability is emphasized) and is unashamedly a camera that works well with a camera crew (such as any ARRI that's not an AMIRA, or VENICE, or Varicam, etc), basically a continuation of the RED Ranger series that already exists. (perhaps with couple of variants or so, one with specs pushed hard such as 8K VV or greater, another with a more sensible 4K to 6K ish sensor that's S35. Or in other words, as they're basically doing currently with the RED Ranger series) Again sales volume isn't going to be the greatest here, but it's part of RED's marketing, to get cameras into the hands of big budget productions (thus got to make a camera that appeal to them! And "a Komodo Lite" is not that). As being able to say "Blockbuster Hollywood film with these A Lister actors" is a big factor in RED's branding. And they need to hold onto that, as it will in turn sell lots of Komodos to the average joe.

I didn’t dismiss it because it wasn’t even in the conversation. It would be like, “OK, you were shopping around for a hot hatchback circa €15k on the used market, why didn’t you consider a lightly used €75k Porsche Cayenne?” Pair of bare bones S5ii and a single under 1kg with lens S9 vs 3x rigged out Red Komodo? No offense, but it would be an utter fucking nightmare! 😂

For the S9, testing overheating please, ibis modes in open gate. How much does it crop with highest Ibis when in S35 mode? I am asking due to using 4K60. HD quality in ff and S35. That's a lot. Thanks.:) @MrSMW

When you get it, I'd like to know what you think of the S9 when you get in hand.

And as I was saying before I rudely interrupted myself, the A7RV was always lurking in the wings. Fantastic stills camera with option of 60mp full frame super-detailed files but ability to shoot 26mp crop at a slightly higher res than 24mp FF cameras. That's flexibility! AF is just best in class. Rear screen is superb in both resolution and how it rotates and tilts etc. All 3 Tamron lenses are native so all niggles re. performance, reliability and corrections etc removed. It's tiny for what it is and so fits with my mantra of 'smaller, lighter, faster'. My only criticism is it takes a stoopid cfexpress type A card, but hey ho, I got a 500GB for €270 so can't really complain... So in summary, happy days. The proof of the pudding as they say is in the eating and that will be the rest of this season, but as far as I am concerned, I have now removed every issue I previously had to juggle or deal with, whether it be cameras, or lenses, or audio, or lighting or tripod heads sagging or gimbals having an electronic jerking fit mid shoot, all whilst sweating profusely on a 35+ degree Celcius French Summers day. Not that we have head any of those this year. Yet... To conclude, anyone that is interested, feel free too ask anything.

As a 12 year professional editor and content creator who's used all FCPX, Davinci, and Premiere extensively, I would highly recommend putting in the time to learn Davinci Resolve. The only reason to lean the direction of Final Cut would be if you only plan on a simple editing workflow and will be limited on computing power.

I think he's referring to the s16 sensor 4K camera being developed by Octopus Camera and CinePi. There isn't much info they've put out besides some test footage, specs, and a rendering of the camera body.

Andrew... with this, you finally made me sign up and send my first post! After nearly a decade of only reading, I read this and couldn't resist the strong urge to reply your thoughts about Panasonic S1. After months of meticulous comparing, I reached the same conclusions as you highlighted here and bought an S1 with 24-105. As a reseller in ebay, I'm lucky to always have a closet full of interesting lenses. No other camera is better than Panasonic S1 at breathing life into those lenses. It is an extremely convenient camera, which can deliver a stunning image with absolutely minimal effort at post video editing. The superb EVF makes it a dream to manually focus. IBIS so good that you never need a tripod. Auto ISO and auto WB always work perfect. The list goes on and on. It is not the perfect allrounder like A7III. But as you say, if your priority is to make videos with manual focus, this camera is a no-brainer! Of course, I'd be very happy if it were less clumsier, if AF were better and if it had a wider lens selection (I especially miss a Sonnar 2.8/35 type compact lens). But for the price, this is complaining on a high level. Here are some shots with 4 nice old gems:

Carnage on Shoot 01 Second Rode WG2 was DOA At least I knew about this in advance… Within the space of 10 mins, damaged my video workhorse Sigma 28-70 and totally destroyed my stills Tamron 28-75, plus A7 baseplate. Managed to soldier on with the Sigma for video but could have switched to a 20-60 but it’s going to need to go into repair ASAP. Just had to order a new Tamron though and then see if this one can be fixed as the lens came clean off the mount. Had to switch early to the 10-40 which is a bit wider than I’d have liked but hey ho, nothing like a baptism of fire. The damage was all caused by the Cotton Carrier system and first thing when I get back will be switching back to my previous twin set up of harness plus Spider Holster. The harness system means you cannot drop a camera. The Spider Holster takes the weight off your shoulders/back and on to your hips and stops the cameras swinging around as they tend to with a harness. Lessons learned 🤑 Otherwise GREAT set up.