IronFilm

You'd need to use the SDI output from the FS5 to get any sort of raw from the FS5. Wondered if the AtomX SDI module might allow the Ninja V to support this. Sadly the answer is no, if you read the reviews (which are SAVAGE!) on B&H of this: https://www.bhphotovideo.com/c/product/1471487-REG/atomos_atomxsdi01_atomx_sdi_module_for.html/reviews Seems like it will never ever happen. My dream is that Atomos released a "Samurai V" which is identical to the Ninja V except with a SDI input to handle raw (just like how the Samurai Blade and Ninja Blade were identical to each other). This paired with Atomos AtomX Sync timecode module, with a Sony FS5 or FS700 would be my dream ultra low budget cinema camera setup. https://www.bhphotovideo.com/c/product/1435435-REG/atomos_atomxsync1_modular_expansion_for_ninja.html Nothing else could compete at this price point! Not unless there was a major major disruptive change in the market place, such as the new Arri 4K S35 sensor this year causing the Arri Alexa Classic prices to fall down in price by over half. Or for Blackmagic to do a half price sale for the UMP like they did with the BMPCC. Or if a totally unexpected impossible firmware update happened, such as JVC LS300 or Canon C500mk1 getting 4K 60fps 10bit internal.

Oh many companies keep their prices quite similar (or only modest reductions) over the lifespan of a product. If you really want to get a big shock, look at the price of a Sound Devices 552! Still available to buy brand new today from many stores, and listed by Sound Devices as a "current product": https://www.bhphotovideo.com/c/product/650181-REG/Sound_Devices_552_552_Portable_5_Channel_Production.html It's over three thousand dollars, and it was an amazing machine for its time. (I've got one that I started out with) But "that time" was OVER A DECADE AGO! Since then you've had Sound Devices 633 / 664 / Zaxcom Maxx / Nomad / etc all come out at similar prices! Which are all much much MUCH better recorders to choose instead. (not to mention the competitive pressures from the Sound Devices 688 / 788T / Sonosax SX-R4 / etc coming down on price on the secondhand market, you can get a secondhand 688 for only slightly more than a new 552!! And a 788T for nearing on half the price of a new 552. Plus of course the huge destructive wave of cheaper machines attacking from below with the Zoom F Series and Sound Devices MixPre series) Yet the 552 remains for sale, but not discounted at all, not a penny. You'd have to be bonkers to buy a brand new 552 today in 2020.

Who here would buy a Fujifilm GFX 50R if it was half the price and had 4K 10bit in it? Instead of a Sony/Canon/etc FF Mirrorless for the same mid two thousands price. That hasn't happened yet, but it will happen this decade for certain. As sensor costs continue to fall.

Yeah Sigma could even drop the T stop down from T2 to a T3 lens instead to help save costs/weight. And wouldn't mind if it is a bit flawed zoom lens, doesn't need to be parfocal. As I'd just be treating it as a "6-in-1 lens". A set of primes all put into one lens, so you don't need to waste time swapping lenses back and forth on small shoots.

Haven't used the G5 personally (but I own both the G3, that came just before it, and the G6), but my gut guess is that the image quality is going to be worse than GH3 or at least no better than a GH3. As the G5 was released before the GH3 btw, I just noticed this when reading a review of the G6 vs the G5: "...and now offers 1080p at 24p in addition to 50p or 60p depending on region." Hmmm.... that might be a big negative for you with the G5 if you want 24p. Oh, and the G5 lacks a mic input. (not to mention all the other things the G5 misses vs the G6 that we've already mentioned: no WiFi, no NFC, no focus peaking, etc) If you care about using the EVF, that was also a big upgrade from the G5 to the G6. (better LCD too) Better autofucs too: Another benefit of the G6 over the G5 (and even the GH3): You mention you plan on using this camera a lot for time lapses, this alone might be a key reason you'll go for the G6. In conclusion he says: So in short I'd say there are a lot of reasons to choose a G6 over a G5, now not all of those reasons would be applicable for you, but I'm sure there must be at least a couple there which will make you justify the G6 being the right camera for you over the older G5.

The GH3 seems to be selling for similar or more than a G6, which makes the GH3 overpriced in my opinion unless you really want that live HDMI out / headphone out / weather proofed body. (which to be fair enough, are all legit reasons for some people)

I think Fuji has too many lines of X Mount cameras, with all these ranges: Mx, Ax, Ex, Txx, Tx, Hx, and Prox!! 7 lines just for APS-C is a crazy number, especially for a small brand such as Fuji. Of course, I think we're never going to see a "X-M2" in the future. The X-M1 was a one off, so really it is just six types of cameras. Am suspected the X-H1 will be like the X-M1, and it is going to be a one off that never gets repeated. Which brings down Fuji's line to five different camera bodies, which is still quite a lot, but is a much more manageable number. And that is why they didn't bring out a X-H2 before the X-T4

Personally I'd go with an OG BMPCC and a little cropping in post instead.

You have cheese in your sex shops?? Man, you go to weird sex stores!

The G6 has a little better sensor, has wifi, has 1080 60fps slow motion, and has focus peaking. Might be a few other things the G6 has over the GH2. Basically the G6 is an easy choice over the GH2! The core benefits of the GH2 over the G6: live HDMI out, a hack available, and a MAR sensor. Not enough to sway me to recommend a GH2 over a G6 How about the Panasonic GX7? Is dirt cheap, you lose 4K, but you've still got IBIS (the first ever Panasonic with IBIS!) and is a nice solid semi pro rangefinder body. Also worth considering GM1 (ultra compact!), GX850, and GX1 (is dirt dirt cheap now! Been a long time since I owned one, but I remember liking it a lot back then). G4 doesn't exist. I find the quality gap between a G3 and a G6 to be too big to recommend the G3 at all. (not unless you're basically being given the G3) Good point. When did Panasonic first bring out focus peaking? I know the G6/GM1/GX7 have focus peaking. And the GH2, GH3, GX1, G5, and G3 don't have it.

Just been watching the DPreview Pentax videos! As Chris and Jordan are doing a "Pentax Week". Put this video out as well, which is a brand new APS-C UWA lens design: There should be more Pentax videos coming out this week. Old Pentax film lenses btw were the first set of lenses I bought for my Panasonic GH1, because I picked them up (together with a Pentax film body) for next to nothing at all.

HF??? Do you mean "RF mics"? You ideally need more than just lav mics to do a car scene well. Does you sound mixer have experience doing car scenes?

They're waaaaay outside the reach of almost all users on this forum however. For example that 18-85mm costs US$87,300! Wish there were massively cheaper versions of those.

17.7mm vs 26.7 mm , an adapter should be doable! Would be a tighter fit though for the electronics. However people who buy GFX lenses (they're very expensive) is an extremely small niche of buyers, an adapter wouldn't sell many at all. And I doubt a Fujifilm FF camera should be made, as Fuji would just run into the same problems Sony did. (if not even worse, for Fuji) As Sony never started out with planning to make a FF mirrorless camera, thus when they decided to later on they had to face the decision of: 1) ditching E Mount and creating a new mount, like Canon has done with EOS-M (then making RF Mount instead) 2) squeezing in a shoehorned FF sensor into a mount intended for APS-C, with all those compromises that mean (such as Sony's IBIS never being as good as the competition) I personally think Fuji has been very smart here. They realize they're too small to compete head to head against the big guns of Canon/Nikon/Sony FF. Instead they've got the double headed strategy of: 1) embrace the essence of the purpose of mirrorless, high quality but very compact camera packages. A Sony FF kit will never be quite as compact as a Fuji APS-C kit (Olympus is taking a similar strategy here, but leaning the quality/compact balance further towards the compact side). This allows Fuji to sidestep competing directly against Canon/Nikon/Sony, and Fuji can instead play to their own strengths. 2) bring out mirrorless medium format cameras positioned above FF cameras. As Fuji is gaining the first mover advantage in the medium format mirrorless market, and in the long run sensors will become cheaper and cheaper. Eventually medium format will become "affordable" for even the average joe, just like has happened with FF cameras. Today an entry level FF camera is one anybody could buy, FF is no longer super expensive like it was back at launch. (imagine a world where a Medium Format camera only costs a few hundred bucks more than a Full Frame camera??) It's a nifty business strategy, sidestep the white hot intense competition in FF bodies, and instead bring out the very best there is one stop above and one stop below FF. (which also handily positions Fuji's own products two stops apart, which is a good distance to space them apart. Prevents their own products being so directly in competition with each other as they're spaced far apart. Interestly, Panasonic has a similar strategy wih a gap apart of two stops as well with their cameras: but MFT vs FF, instead of APS-C vs Medium Format) Is a bold strategy which is a bet on the future that Fuji (and Panasonic) are making: They're betting that with time the performance of their smaller sensors will become so good, many people will happily compromise in exchange for having a small compact kit. They're also betting (this was a much eaiser bet for Panasonic to make, than for Fuji. Except that Panasonic is fighting in a tougher market niche... against Sony/Canon/Nikon) that the prices on their large sensors will come down in price far enough that they can become relatively mass market products and not just a small small niche.

Don't forget about sound! I've got lots of videos on my YouTube channel about car rigs: https://www.youtube.com/channel/UCniNTuAtkFiSCQNfIaw9SJw/search?query=car And WiFi from the camera won't be a robust and strong enough signal to be able to always monitor from in your follow car.

I moved from a GH1 to a G6, it is just so much better, and the G6 is now so dirt cheap I'd struggle to recommend for settling for anything cheaper. (then again the G7 is only slightly more.... it is a slippery slope! Next step each time just being a little more)

I agree, unless having a mic input is really important then get a G85 or G9 depending on budget. If both are outside your budget, then just move progressively down the chain until something does fit your budget: G7 G6 etc Wow, why so many G7 bodies? btw, I wouldn't pay that much for a G7 body in 2020! As Panasonic G85 bodies have now started to fall into the range of 300ish to 400ish

An ARRI Mini? I'm sure there are a few EOSHD members who own one, there are lots of them out there, and tonnes of registered members of EOSHD. Just none of us active users own a Mini, I think there is a few slightly semi active ish posters who own an old ARRI Alexa Classic? I've seen it mentioned rarely, can't recall who though.

Sports shooters really don't need any more. (and neither do most of us!) It's just like us sound mixers recording at 48KHz for many years, as more really is not necessary. Heck, more megapixels can be BAD if it slows down their workflow of getting images uploaded immediately and instantly to their press agency.

No, there are 10 films exactly. (and 11 different cameras) Some used one camera, some used two or more.

That was ARRI's intention, the Mini was going to be a specialist camera to shut out RED from stealing all those niche roles. (car rigs / drones / gimbals / etc) As RED was making a lot of headway into high end production (especially as gimbal / drone / etc usage became popular). I think it even surprised ARRI themselves just how popular the Mini became as a general purpose camera / A Cam. But it is easy to see why: Mini is more affordable for Owner Ops, and is lighter so can be used by smaller crews more easily. In recent years the ARRI Mini and Sony FS7 easily by far take the top two spots as the most popular cameras I've personally worked with on shoots. 3rd place I'd say is AMIRA. Tricky to say what is 4th, we're getting down to a point which is far far less common than the top two spots. I guess the URSA Mini. 5th place is even less common, probably a fight between Panasonic EVA1 / Panasonic Varicam LT / Canon C300mk2 / etc or even perhaps a mirrorless Panasonic GH5 / Sony a7whatever might be here in 5th place. Wouldn't know for sure, they're all far far less common for me to come across than a FS7 or ARRI Mini. Nah, you need EPO for those.

@barefoot_dp agreeing so much! Am saying the same myself. I'd add to that list a few more (but all are limited in some major way), such as: Sony 18-105mm or 18-110mm, but they're both "only" F4 and restricted to E mount. Plus the various cinema PL zooms which are waaaaaay too expensive.

X-H1 has IBIS (the only Fuji to have this) but lacks 10bit internal, thus is both "the best" and is "not the best", depending on your perspective! And what matters to you. But popular opinion is usually choosing the X-T3 over the X-H1 if they're buying a new camera today from Fuji

Maybe this thread should now be renamed to "OG BMPCC in 2020!" Here is a brand new post from Noam Kroll: Why I Am Revisiting Blackmagic’s Original (1080p) Pocket Cinema Camera https://noamkroll.com/why-i-am-revisiting-blackmagics-original-1080p-pocket-cinema-camera/

https://noamkroll.com/playing-against-filmmaking-trends-on-our-feature-with-arri-alexa-classic-2k-prores-hq-43-aspect-ratio/ Why Shooting 4K Is Becoming Less Important + The Resurgence Of The Arri Alexa Classic https://noamkroll.com/why-shooting-4k-is-becoming-less-important-the-resurgence-of-the-arri-alexa-classic/