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...which means it's using a smaller area than a M43 sensor when capturing 4k60p (1.5 x 1.5 = 2.25 crop relative to FF). If you enable EIS (it has no IBIS) that adds an additional crop.

Has waveform too! Looks like Nikon isn't reserving the video goodies for the FF/higher-end bodies.

Possibly the less than stellar IBIS and AF, but even back in my Fuji days ending with XT3 for stills and XH1 with adapted Canon lens, I found both to be OK. Not great, but OK and it’s come a long way since with more recent models. I could EASILY shoot a GFX stills unit plus a pair of XH2’s for video. But just as easily an all Nikon set up based around a Z8 for stills and pair of Z6iii’s for video. Or an all Canon set up of R5ii stills plus a pair of R6ii’s for video. So many great options these days. For my needs anyway, but just 2 years ago, I did struggle to suit my specific needs, but knowing it was so close…

Having been part of this industry, with insider-knowledge on the tactics these people use, I can tell you that this is EXACTLY the kind of thing that happens. It's impossible to prove this level of malfeasance, and this is the reason why it is so effective. Remember that Google is a well-evidenced CIA-project. Google's objective online is 'intelligence'-harvesting and psychological-manipulation for power and profit. As you have noted, anything that competes with the CIA (Google)'s ability to gather information, censor voices, and manipulate public-opinion, becomes a target for infiltration. Vimeo was a serious-threat to power because it offered an independent, community-run information stream. It is the purpose of Google / the CIA to destroy human-community, where it discovers it, and to replace natural-conversation with top-down programming. Existing power-systems do not like the free-flow of information because it exposes their crimes. Freedom of speech is the antithesis of evil; therefore evil despises it at every turn. As Google's founders, the CIA, famously said: "We'll know our disinformation program is complete when everything the American public believes is false." - William J. Casey, CIA Director (1981)

f5 has internal rgb444 2k 440 mbps, where f3 lacks. its 4k is the same as 2k. shoulder ergonomics is great, only second to top tier 2/3 pro eng cams. pro I/o.

Thanks for this great interview with Kazuto Yamaki and Takuma Wakamatsu. Here in 2024, we're still waiting for a major update to the Sigma FP, so I wanted to offer my thoughts to Sigma: Sigma is the only manufacturer making a cinema-camera in an ethical region (Japan). This makes their cameras VERY desirable to ethical filmmakers. Admittedly Arri (sort-of made in Germany...) and Sony (Indonesia) are getting closer. As a cinematographer, my suggestions for an update to the Sigma FP/FP-L are: - Add Global Shutter: Even if this requires a drop in resolution. Sigma could capture the entire market for ethical-filmmakers seeking a close-to-celluloid look. Rolling-shutter is over. Even if it's fast, it adds sub-perceptual oddness that does not replicate film. - Focus on film-looks: The post-processing market is big (Dehancer / Filmbox / LUTs etc) and there is an entire generation chasing the Kodak-Eastman stock that defined the 70s/80s golden-age of movies. Why not offer a camera that has been specifically designed to properly recreate this stock in hardware? In summary: Other cinema-camera manufacturers appear to have lost all sensitivity to the 'romance' of the image they seek to capture. I'm not sure what most video camera-companies are aiming for anymore. Some kind of super-sharp; hyper-resolute; bland-scrutinization of the 'real'; or so it seems. The result is ugly without extensive post-processing. Instead: Sigma could make a cinema camera that takes Eastman Color 5247/7247 film (or similar) as its benchmark. Sigma could refer back to the time when movies had SOUL, and use that as a starting point for a new ethos in the industry. A new wave of filmmakers are tired of spec-sheet-junkie-YouTube-streamer-cams and ten-billion-pixel sensors made for instagram-yuppies. Some of us are ARTISTS and want a cinema camera with "Made in Japan" ethics, and an image that prioritizes BEAUTY and GRACE; not pixel-counts and a bizarre-preoccupation with uncanny / creepy-levels of sharpness. We were happy with Super16. I hope Kazuto Yamaki is somewhere out there, reading this. Sending you, and everyone at Sigma, courage!

Everybody's different and is going to cite their own camera choices. I'm brand agonistic even though I have my own subjective preferences. I love Canon for the simplicity, reliability, skin tones & lenses. R5ii, R3, R1, C70/C80 form a good eco system. The Vari-ND adapter paired with the extensive EF lens market is also a unique edge. What I don't like is the third-party RF blockade. Sony, although dominating the video market has ironically fallen behind imo. The Alpha and even FX line still don't have proper +4K resolution, open-gate or built-in RAW, ProRes etc. I also find the alpha bodies very consumerish and uninspiring. That being said the FX30 is definitely a great deal and now that it has shutter angle it makes for good compact solution. For S35 though I prefer Fuji. XH2S is very slept on with 6.2K, Open-gate, ProRes plus its a true hybrid. I don't use Panasonic and they seem to be asleep this year so I won't comment. This brings me to my favourite cam manufacturer this year: Nikon. Z8, Z9, Z6iii. Fantastic cameras at aggressive pricing. Z-mount is also the most adaptable mount. Z9 is still my number one camera with pro build, long battery life, grip, stacked sensor, 8K60p, ProRes etc. Z8 is right behind it. And now with the RED acquisition it's only going to get better for cine users. In fact the first collaboration was done a couple weeks ago with the free release of RED technical and creative LUTs for the system. I've seen a test where they match very closely to RED cameras. Exciting stuff!

I don't think there's a better value out there than the S5ii (and the X) except maybe the original S5, which is an absolute steal on the used market. Having used the FX3 and the FX30, I just don't think either is a better camera than the S5II X. The only real benefit I can think of is Sony's larger user base and lenses.

I would have to split my choice into 4 categories and include lens options in the mix. Group 01 = 'Real World Fantasy' as in if I had the money, but also had to actually use the things for work. For stills, an easy one for me; a pair of Hasselblad X2D's each with a prime. For video, until/unless an S2H appears, honestly, I can't see past the Lumix S5ii. Maybe the Burano paired with another smaller Sony, but I don't know enough about it really as it's so far beyond my pay grade and probably too big anyway. Group 02 = my 'Real World' as in what I have/can afford/choose to use. For stills, Sony A7RV with Tamron trio: 20-40 f2.8, 28-75 f2.8, 70-180 f2.8, for the range, size, weight, performance, price. I will be almost certainly replacing the 28-75 f2.8 with the new 28-70 f2 for next year as the only slight weakness this year has been lower light work within that focal length. I did briefly consider the even faster Sigma 50mm f1.2, but the focal length limited it. For video, Lumix S5ii. As above with my 'fantasy' list, I just can't see beyond it at this time for my needs. I prefer the S1H body and its outright image quality, but it lacks certain features I need. Also as above, if a new 'S2H' comes out that is essentially the old S1H body updated and with equal or better than S5ii spec, it's a no-brainer as my primary, but as things stand, does not exist. Lenses = all Sigma: 20 f2, 28-45 f1.8, 28-105 f2.8, 70-200 f4 which cover all my bases perfectly. Group 03 = 'Honourable Mentions'. Stills camera for primes under 500g, Nikon Zf. That thing is superb...until you add longer/bigger lenses on it. Z6III looks a stellar hybrid unit and the fact that you can easily adapt e Mount lenses... I love the form factor or the OM-1 and those chunky little M4/3 zooms and primes. All things Fuji. Fuji are probably my favourite outright brand despite me having dropped them 3 years ago. Sigma 1 for lenses, Tamron 2. Group 04 = 'One & Done'. If I had to choose just one single body and one single lens and it had to do everything; stills & video, work & personal, absolute no-brainer, my Sony A7RV with Tamron 28-75mm f2.8. The combo of; size, weight, capability/performance/cost, - as a 'one & done', I could do anything with this set up. Summary, the 3 most important factors for me (beyond certain basic minimum specs such as decent IBIS, twin card slots, 6k 30p) are: Lens ranges with minimal swaps when on a job. Low light capability. Realistic minimal size & weight.