IronFilm

I've worked with more than one professional cameraman / DoP who uses the monopod in a belt pouch technique. With small cameras, all the way up to a C300 in this manner. If you take long enough to make the film then you'll end up being able to outright buy an ARRI for your next film 😉 Not only is there the crazy talk of an ARRI Alexa Classic for as little as US$6K (or even, I know of one person who got one for only US$3.5K!!! Although I tend to see them usually up for sale for around US$7K to $8K+), but I have even seen an AMIRA sell for under US$15K!! Working with an AMIRA currently on a film, wish I could own one!!

The Mavo models all got BIG price drops, a pity that even though Terra 4K is the oldest (and has never got a price drop before) it got the smallest price drop of them all. As it is, the Terra is over 3x more expensive than a BMPCC4K. Is it better? Yes. Is it 3x better?? Hmmm.... If Terra 4K had at least the same sized price drop as either of the Mavos, then a Terra would then be still more than double the price of a BMPCC4K but at least slightly cheaper than a BMPCC6K. (although, that's just for the bare camera, overall the Terra 4K would still come out as more expensive)

Time for Panasonic to give us a GH6 in 2020 from 2023! 😉

I've many times worked on documentary shoots, with a minimal skeleton crew of just myself (sound), DoP, and director and we're shooting on the likes of an AMIRA or Alexa Mini. It's doable. I've always thought of the battery in the BMD cameras (except for URSA series, which are V Mount) as an added bonus. As no matter of you're using a BMCC, BMPC4K, Micro, or any of the Pockets, the internal battery is just there to allow you hot swapping of external batteries. Very handy indeed! Or for super stripped lightweight shooting in short burst, specialised shots such as gimbals or car rigs.

That is the beauty of the Nikon system, you can mount it on anything! The URSA Mini Pro can get a "native" Nikon F mount though

I'm amazed people are analyzing the details of my wording so carefully! Ha Getting into the nitty gritty of arguing You are right People used to be very hyped about the release of each new DSLR, as it meant such a huge leap forward for them. Like we are when the GH3 to GH4, then the GH5 etc (hopefully soon GH6!) came along. As each step along the way was a BIG LEAP, made a big difference even for very casual users. Those big leap forwards stopped a few years ago for casual stills photographers. Yes, each new release is still an improvement, but no longer are they BIG step forwards. Plenty of 5Dmk3 (heck, even mk2) owners were happy to stay put rather than "upgrade" to a 5Dmk4 You can look at other tiers of cameras, from other brands too, say a semi pro APS-C from Nikon: look at the improvements (ignoring video) from D7100 to D7200 to D7500? Not anything that makes the casual photographer say they MUST upgrade Yet in video, almost any brand (even those who are dragging their feet, such as Canon, or who were totally AWOL initially such as Fuji, or who started then stopped only to start again such as Nikon) if you look at them over three whole generations of cameras it is easy for even a casual consumer to see reasons why they might say to themselves I must upgrade. What videographers don't very very much so want to go from a X-T1 to a X-T3? Or a GH3 to a GH5? D7100 to a D7500? Or a 5Dmk2 to a 5Dmk4? Yet there are shockingly many people who are just casual photographers and would feel "meh" about that upgrade (X-T1 > X-T3, D7100 > D7500, etc). Yes, they'd like that upgrade if it you gave it to them, but they won't spend their hard cold cash on it.

I'd take a wild guess and bet his agent has a few other guys on his books as well? So his costs are even lower

How was the X-H1 a "disappointment"?? I remember many on here being excited about it, as it was Fuji's best camera at the time! Is only in context of history as we look back with the X-T3 does the X-H1 seem a little "disappointing" This. THIS! Exactly this. X-T4 doesn't need 4K. Just add IBIS, plus further refinements (such as a full size HDMI, and my personal pet hobby horse... TC I/O!!).

Wellllllllllllll........ he isn't proven wrong yet! Let's first wait (another two years?) and see if the a7s mk3 has a raw unit or not 😉

With SmallHD and others making affordable high-bright screens which are daylight viewable, this doesn't seem like such a big deal? what if they implement IBIS worse than Sony? No thanks We want Panasonic levels of IBIS! There is already a Pocket 6K though??? Yup, we're always expecting to own our own gear. (then producers are shocked our rates are so high... ??? They're not! You're spending waaaaaaaaaaay more on the camera dept labour + rentals!) But anyway, my point is why shouldn't it be unreasonable to expect the DoP has a BMPCC4K / GH5S / whatever standing by if this is a critical shoot? And indeed, on many big budget shoots they'll often have a spare camera rented on standby "just in case" (especially if shooting on RED! Or on any very newly released camera, such as VENICE straight after it came out) I'm hoping for the URSA Micro with the P4K sensor in it! (and ND filters)

Not the Pro version like you had originally planned?

I'll often have a back up right here with me. Sure, I don't have a second Sound Devices 833 (or say a 2nd PMW-F3) but I do have a spare Zaxcom Maxx (or a BMPCC, to carry on giving a camera analogy).

If you didn't have an agent, how much do you think that would impact the brand deals you could land yourself? Wow, that is almost nothing! (for a channel as good/big as yours that is)

Same! It wasn't the FF which sucked me in to lusting over the a7S I came so so so close to buying an a7Smk1 back when it was a current camera, the hiccup was the sale was only to Australia citizens I was struggling to coordinate my ozzie cuzzie to buy it for me before the sale ended. (I couldn't for instance use my own credit card to buy it either)

They might have a little, more than I would? But still, I wouldn't be surprised at all if my gf or sister don't have any makeup/fashion tutorials in the first couple of pages of their YT feed. Heh, I should take a look and ask my gf when I get back from tomorrow's shoot, am curious now myself. I could guess, but would be interesting to see.

Are you 110% sure the cards are legit? Where did you buy them from?

They don't need a Nikon D6! Any of the current lower end Nikon D780 / D500 / D7500 could meet their needs just fine with the right lenses. (which is usually where newbie people get unstuck.... both in the stills and in the film world!)

Even fairly casual or semi serious filmmakers can want to have: Waveforms Ability to apply LUTs to some outputs (on which point... which are there NO mirrorless/DSLR cameras with more than one output? I'd love to see one which gives us both SDI and HDMI at once, or even DIN instead of SDI. Or heck, HDMI + Mini HDMI! The likes of the Panasonic S1H I think should have been the first to have had this, it is more than bulky enough already it could have been included!) TC I/O Raw/10bit + proxy recordings at once. Punch to zoom while recording. Purpose built Audio Accessories (such as the DMW-XLR1) IBIS Built in NDs No major flaws (such as no autofocus while in 4K mode, or a massive crop if in 4K, or overheating, or.... so many ways we've experienced crippling/"gotchas"! Especially from Canon) No record limits Etc etc etc... (note, I haven't even touched image quality yet! I'm inclined to think it is "good enough" in many instances such as the X-T3/GH5S/Z6/etc) Now some cameras have a few of these items ticked off, but none of them hits all the check boxes! Heck, they can't even do most of them. (although the GH5/GH5S is notable in managing to hit up half of these points, a reason why the GH5 can still be a top dog choice for mirrorless even in 2020 years after its release) While for the casual photographer, the likes of a Nikon D750 / D500 / D810 (or Canon etc equivalent) is usually plenty overkill for their needs! As if you wrote up a similar wish list for the casual photographer, then most cameras on the market can hit many of those points already.

Arguably I'd say owner op gear is a better choice, as they know it better and look after it better. However going the path of rentals does kinda CYA ("cover your ass"), giving you a scapegoat to point your finger at if something goes wrong.

I suck at presenting, and I hate it, but the more I push myself, and the more I do it, the more I grow to like it and the better I'm getting at it. Takes practice. That was because that is the type of videos you watch! Go on, fess up, you enjoy them and do watch them 😉 Because I can assure my sister's or my gf's youtube front page looks NOTHING like that! That is a very good idea

I would however buy a S1H or a "X-T4" over a BMPCC6K, but that is because I think its price is overflated (it is squeezed by the S1H just above it, or the "X-T4" below it) and I don't want either the EF mount or 6K

Heh, in my world of Sound Devices and Zaxcom (the two biggest players when it comes to professional recorders) they both have a track record of sometimes releasing products at launch which are not quite ready for prime time... ! And camera brands are not immune to this either, look for instance at Sony with their mirrorless cameras which would at whim randomly overheat on you all the time. (even their latest models still sometimes suffer from this) Heck, even their most expensive professional camera, the Sony VENICE had many teething issues at launch! Not even the mighty ARRI themselves are immune to fundamental troubles at launch. (for one example, their AMIRA couldn't take TC!! wtf, how on earth did they screw up something so straight forward and essential???? Good grief)

Or get a Panasonic G85 for even less, and get 4K + IBIS We are spoiled for choice in 2020! I guess a7Smk1 still makes sense if you've got an unhealthy obsession with "the FF look" or you want obscenely outrageous high ISO performance for dirt cheap.

If you don't care about filmmaking, then "peak camera" hit for DSLRs years ago. For most buyers a Canon 5Dmk2 / Nikon D7100 / etc (zillions of older cameras out there!) are plenty overkill for their stills needs.

Wow, not even a violent wrestling channel with 10 million subs will make only $500/month! (their ad revenue... maybe, but there is so many other avenues than just that!)