IronFilm

But he probably volunteering for it, or getting paid a pittance. Which would make an a7S mk2 purchase for this gig a very poor business decision. While a G85 can still do just great for the needs of the client expectations/budget.

They should just fire half the people in the pro division. They're causing so much problems! They're the main reason we for instance don't see a Panasonic EVA1 MFT ? Even though that would be completely logical to do!

No chance. The E1 started off at a much lower price point to begin with. Plus I think there is more interest with the E2 than there was with the E1, so their prices will drop slower than the E2 did. Would be a bloody miracle and a half if 18 months from now it is half the price. Kinda don't even see that happening. But who knows, maybe I'll eat my hat.

Different feature sets. It is a high bright one. Actually no, it is nothing like that price, my local shop has it for NZ$600exc ish: https://photogear.co.nz/swit-cm-s73h-7-inch-full-hd-3000nit-high-bright-monitor.html So about a thousand bucks cheaper than you're saying.

Would be hilarious if a camera with this new mount and a 4/3" sensor got released!

Ohhhhhh........ is there going to be a regulation change? Anybody know more about this? Will be a relief for all videographers everywhere if the EU finally decides to join 2018!

Get the classic Sigma 18-35mm f1.8 with a viltrox nikon focal reducer. No. But the reverse is possible. But you'd only use it with fully manual lenses. A pity that isn't possible! ? All day long battery life. Remove a couple more wheels and you'll have yourself a motorbike! It is very disappointing that BMD didn't use a more common industry standard for external powering. Which is strange, as normally BMD tries to use something commonly available. Heck, even if they'd gone with LEMO (as much I hate them being a common industry standard.... gah) that would have been much better! Anyway, it isn't the end of the world, as Wooden Camera have in stock and are shipping right now a D-Tap cable for the BMPCC4K: https://www.woodencamera.com/d-tap-to-bmpcc4k-p/264100.htm

Even with an Arri Alexa it is a pretty extreme scenario if you've got deep dark shadows vs brightly light actors in the center of the stage. I'd think more about your framing so you don't go nuts with extremes.

They are also working on a global shutter sensor version as well:

Fingers crossed I won't be. But maybe I will after next weekend... doing the toughest bike race in the southern hemisphere. It is interesting what the passage of time does to camera values. Both their secondhand marketplace value, and their personal value to the user. Some cease to have any interest whatsoever, while others turn into gems which pack in a lot of value for your dollar. For example my beloved Sony PMW-F3! A very high end camera that is now dirt cheap. Or for another example, the Nikon D700. This was a staple pro workhorse. But now I'd have zero interest in it whatsoever, it does't even have 720 video! ha However.... even old cameras which don't appeal to me, like the D700, under specific circumstances can still make sense. What if I found myself doing a few real estate photo shoots on the side? Just enough to justify a new camera and lens perhaps, but not quite enough to justify buying say a Nikon D750. Then the dirt cheap D700 full frame sensor paired with low budget Rokinon 24mm Tilt Shift might be a wonderful combo! (and the 12MP sensor would be a bonus for high volume real estate shoots, rather have that than big D800 files!)

I can afford it in another decade when they're being given away on ebay ?

Well well well, that might be bang on my US$250 ish price! I want.

Nope, I was in swimming trunks. And drinking. And filming. Next to a pool. Perfect combo for a summer day!

Then your greater worry is the dynamic range, as if the well lit actors in the scene are also in your shot.... that could be trouble to expose for the shadows as well.

Some battery doors require you to then pivot across another lever at the top, is this the case perhaps? If so that is fine, they're very secure, just not fully obvious if never used those kinds before.

Tonnes of uses for a cold shoe! Such as mounting a mini ballhead for a monitor, or a little scratch mic for the camera.

Oh I dunno... I took my Sony PMW-F3 across toWaiheke Island for New Years Eve. The F3 can be a "vaction camera" too ?

I'm a soundie, and even I bring along extension cords! Handy to run power to my cart, or if I want my charging station to be in a particular place which is slightly different to where the power point itself is. Having extension cords in your kit should just be totally normal if you're a DoP (or rather in your gaffer's kit).

It is funny they're using Sanken COS-11 lavs yet can't bother to protect them from the wind. Was a hard video to listen to.

But what do you actually want to capture? As it doesn't matter how dark the sides are, if what you want to capture is on the stage itself (which is well lit). Solid choice. Although you could probably pick up a focal reducer + 35mm f2 lens which would roughly meet your budget.

C300mk2 had a few other advantages: AF / genlock / timecode (without needing Sony's XDCA back) But yes, I agree, very few people felt that was worth the very large extra expense. Plus the C300mk2 had some other weird hidden flaws too (just as the Canon EOS R has!). Like when in 4K mode you couldn't use the camera monitor / EVF / SDI all at once?! I remember that being very frustrating on set. While a Sony FS7 has no such limitations. Another limitation was the C300 couldn't apply a LUT to the SDI output so your director doesn't freak out. The FS7 can do this. Even my old Sony PMW-F3 can do this! This is a very bad thing if you're working with a non-technical director who is obsessing over the look of the film but doesn't understand Log. Of course you can work around this by using a stand alone monitor which supports LUTs, but why should you? When the camera should do this itself.

Yes, the most hopeful we can dream of is that Sony gives us XAVC-L 10bit 422 4K 30fps in the a7s mk3 or new Pro APS-C E mount camera. That would even beat the FS5! What would be less surprising is if they simply matched the FS5 and gave XAVC-L 8bit 420 4K 30fps and XAVC-L 10bit 422 1080 60fps in an E mount stills camera. BTW, XAVC-L 10bit 422 1080 60fps on the FS5 maxes out as 50 MB/s Thus I'd assume the XAVC-L 10bit 422 4K 30fps maxes out 100 MB/s (because roughly 4x for the 4K, then roughly halve it for the 30fps vs 60fps. Just as a quick guesstimate seat of my pants assumption on the spot). These SD cards are somewhat pricey, but still quite "cheap", as they're almost the same price I paid for my slower Extreme Pro cards back when I first purchased my BMPCC: https://www.bhphotovideo.com/c/product/1275619-REG/sandisk_sdsdxpk_064g_ancin_extreme_pro_uhs_ii_64gb.html Their rating: Max. Write Speed: 260 MB/s Yeah, I'm sure the SD cards in an a7Smk3 / a7000 could handle XAVC-L 10bit 422 4K 30fps just fine! (if Sony wants to support it. A big if!)

Sorry. I couldn't resist asking when you said you're from Cairo....