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It's kind of liberating sometimes when you set aside all your perfectionism and just have a good time with modest tech. Recently I went on a several day bike trip on Vancouver Island (beautiful place) so I couldn't bring much. I also wanted something I could pull out of a belt pouch with one hand and click while still cycling. I have a Canon G16 (garage sale find for $6) I was first considering which takes beautiful pictures but is kind of bulky then I found in a drawer an old Sony DSC-T100. It's only does JPGs at 8 megapixels. Below my current standards but then these things are a trade off. I was only just going to email a few people some pics when I got home so it's good enough. I liked how small it was on the trip. I also used my phone but it's an older one without a zoom, also it's awkward to use compared to a camera. I had to stop cycling to take a picture with it. With the "real" camera, I could reach down, put the wrist strap on, flip down the front flap to turn it on and click, and put it back, all while still cycling. So it all worked out and I got some amazing pictures within the limits of the situation.

My friend has that lens for his S5iiX. Steady with IBIS and the AF works well with it... and yes it is razor sharp and contrasty. He originally had the Sigma 24mm but when shooting vLog, at 640 iso on a bright, sunny day with a VND, there was some heavy vignetting. So he returned it and decided on the Panny 35mm.

Loosen it one turn from this original orientation (XLRs up) Gets you to this (XLRs down) Then the battery tray is accessible on the other side like this, so you the don’t have to remove the F3 from the handle to change batterries.

Panasonic 35mm f1.8 L Mount. Frame extracts from 4K file on my Panasonic S5ii. It isn't lacking in sharpness that's for sure.

Take away that downside and put down that hacksaw for me then.

Looks like you can remove the rods based on what I can see from skipping around this video.

For anyone looking to a roll your own version of these top handles, here is my S5ii and F3 handle. Advantages are cost, 32 bit float, wireless sync with the UltraBlue and flexibility in mounting orientation and position (XLRs up and mounted forward in my case). Downside is that the F3 has a pair of mounting bars to enable it to be strapped to a pole or a wrist and they make it awkward to mount with a regular 1/20 to 1/20 screw from the handle to it base so I need to get a longer one at some point. Downside is presuming Zoom might have been silly enough to not make the mounting bars removable.

E-M1 iii hdmi RAW output uses a center crop - it's the inner rectangle in the graphic below (from the video at 4:39): AFAIK, Nikon also use sub-sampling for some frame sizes of N-raw video, and ProRes RAW, BRAW and N-raw use lossy compression - so you don't really get raw sensor data, it's always been processed. The main point of (pseudo) raw video is to give you files with higher bit depth and DR (than e.g. 10-bit log) plus probably metadata about the sensor characteristics to allow more latitude to adjust color balance, correction, exposure etc. in post. This is the same guy's general take on using OM-1 for video (which I'd mostly agree with): Not raw video, but this is DPReview's video test chart comparison of DCI 4K on the OM-1 (10-bit) and GH6 - they are very close in sharpness/resolution and having minimal aliasing/moire. That suggests to me that for internal UHD/C4K 10-bit video at 24/25/30p, the OM-1 is using over-sampling, not line-skipping.

This is what I like: https://www.recordinglimits.com/sony-alpha-fx30/ : D

true. gh7 price is kind of hard to swallow as a m43 camera, $2200 base, plus $200 arri log c, plus $500 xlr module to get 32 bit audio. almost $3000 for a full potential package.

I'll be interested to see how the autofocusing works. I think Panasonic's 1.8 primes are decently priced, as they are better built than their Canon and Sony counterparts, but I also don't think it'd be a bad idea to release more affordable compact primes that are more competitively priced. A third party manufacturer probably shouldn't be the ones releasing a nifty fifty in the sub $200 range when your competitors have ones.

The ideal (for me) if you can't record from the mixer is to put a separate sound recorder and mics on a stand at the back of the hall or somewhere else where they won't be disturbed or bumped into. When you use a camera-mounted mic, the sound changes as you move around, which can be distracting for viewers and disrupt continuity. (If your camera is on a tripod then no worries).

Recording from the mixing desk can work, but it depends on what you're recording. In many smaller venues, not all instruments go through the mixer. For example, drums may not need to be amplified, so there won't be any mics on them. An electric bass or electric guitar player may bring their own amp and not run it through the mixer. I'm doing sound for a jazz quartet tonight where the only things going through the mixer are the vocalist and possibly the keyboard player. In situations like that, recording from the mixer will only give you part of the sound. The other complication is that the engineer is not mixing for your recording; he or she is mixing for the room. The ideal would be to record the ISOs (the individual channels), not the mix, and do your own mix in post. Some digital mixers have the capability of outputting each channel, and you could use something like the Sound Devices MixPre 10 to record those individual channels. All of that depends on whether the engineer is willing, and often they're not because they already have enough to do and to think about without having to set this up on their end. If all the instruments are going into the mixer and you're willing to live with the room mix, you have plenty of options for recording from the mixer: any two-channel recorder will do the job, from Zoom, Sound Devices, or others. Most mixers have multiple outs and you just have to talk to the engineer to see if he/she is willing to route the main mix to another output for you to record from. You could even record from a spare headphone output if the mixer has one. For on-camera recording you could use any of the small camera-mountable recorders with 32-bit float, where you don't need to worry about clipping.