IronFilm

Yes, "The Hobbit" was more than just "a few years ago", and it has decisively proved the case against higher frame rates than 24fps. You'll be shooting yourself in the foot if you film and release a film in 60fps. It's not what people want. You might believe millions/billions of people "are wrong", but this is what reality it, and you're not going to change this by yourself.

Can't see why a rental house would be interested, when you consider the up front costs + overheads vs how often they could rent this out, then there isn't any sensible price they could rent this out at per day where they could make a profit on it.

I think I'm floating dangerously in the middle between those two groups, straddling both worlds.

I can't seem to see any news about a new camera module?? Not sure what OP is referring to. There is no CinePi 3. Even if a 1" CinePi 3 comes out, I reckon a person would be still better of with a secondhand P4K if they value their own time at anything above minimum wage. As the out of pocket differences between a possible future CinePi 3 and a secondhand P4K (the fact it is "secondhand" is irrelevant, it would still be more reliable than a brand new "CinePi 3"!) would only be a few hundred dollars, which would be completely swallowed up when you consider the many hours you'd have to put into getting the CinePi3 up and running from scratch

oh wow, I'd forgotten about Alamby! Wondered what she's up to, I see she's got a YT channel herself: https://www.youtube.com/@alambyl Hasn't uploaded however in 3yrs

And after a century plus of films being in 24p, then all of us have had our brains trained to think 24p = voila, cinema! You'd not going to undo a lifetime of conditioning of the brain for everyone in the world. I'd say just move on, and fight a different battle that's more winnable.

As soon as I read the first paragraph, I was thinking of the FX30 for you. Maybe buy the lens secondhand, but get the FX30 brand new? That should keep you close to within budget

My "one camera": ARRI 35! (I'd also accept a Sony VENICE 2) If all ARRI and CineAlta cameras are excluded, I'd take a Sony FX6 please (not technically a CineAlta camera). Or are we sticking only to say sub $2K cameras? Would be a toss up for me between a new Sony FX30 vs a new Panasonic S5mk2 vs a secondhand Sony PMW-F5 / F55 (or maaaaybe a Panasonic Varicam LT, but that's just a little outside the budget).

Seems that this happened a month ago, there are a tonne of reddit threads about it: Tony & Chelsea Northrup covered it: Linus covered it as well:

Ah, getting say an ARRI ALEXA Classic might be pushing it beyond the reasonable max for it. Nobody can really accurately tell apart a Zoom F8 vs a Sound Devices 788T (or a F8n vs a 888) in a double blind test. So it's more about the feature set and workflows, you can just handle more with the Sound Devices 8 Series. (I wish it was also about reliability too... but I tend to feel the Zoom F8n has the slight edge in reliability over my Sound Devices 833! Although, I am recording to not one, not two, but three media with my 833!)

Just put the mic input on the opposite side! Or put the mic input on the top, like the URSA Mini does! (a bit of a dumb design, but "ok" if you have a rubber cover for it?)

But why ever use EF if you have the option for PL????

Yeah, who the hell needs 4K 120fps anyway??? Not me

Me, being the tight ass I am, would recommend you go for the secondhand M1. As why, what do you need it for specifically? The M1 is already quite powerful, do you need more?

I wonder if Panasonic would be crazy enough to bring out a GH5 mk3, that is simply identical to the GH5 mk1 / mk2, but with DPAF added! Especially if they could hold the price the same, or even better drop it slightly to fall under the magical US$1K mark. Could be a smash hit then. (although, I would dream that they make one more addition to the GH5 mk3: add timecode support! At least like the GH5S has) The GH7 can get the kitchen sink at it, but let the GH5mk3 carry on all that is great with the GH5, but with PDAF

With the boom in vlogging and social media it's insane to release a camera without at least a 3.5mm mic jack Hmmm... I should check out the Sony ZV-1 if I'm foolish enough to buy another camera in 2024

That's true for 90%+ of cameras released today that are priced over $1K

Fascinating, they used hardwired booms! 😮 Shows how very old this is. I guess the Lectrosonics UH400 had only came out about six years beforehand.

And budget for several lighting trucks. And budget for a six figure sound package. And budget for all the crew, and actors. And feeding them. And budget for all the locations. Yiiiikes, that doco starts out harsh "There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op. Poor guy

Well, of course from my perspective internal batteries is a major negative. I do know the Theos TX & RX can be powered via USB, but I wonder if it can also charge via USB? Nothing in the manual I just read now seems to indicate that though. Fair enough. (although, that logic is what kept Canon so very strong throughout the DSLR & HDSLR years...)

Not at all true, I'll commonly be suggesting mid range to premium grade cameras. Such as FX6 / FX9 / URSA Mini / etc to ALEXA Classic / Varicam LT / etc (when it is appropriate) The thing though is that there is a much much broader range of camera prices, and the level for "acceptable" reaches down far far lower than for audio. (such as Unsane and Tangerine, which were shot on an iPhone, yet still used a Sound Mixer with $50K+ worth of audio) So there is a huge range of pricing with cameras that could be used, while I'm going to bring a pretty much similar audio package to a shoot no matter if it is being filmed on a P4K/FX3/GH6 or FX6/C70/URSA Mini or VENICE/ARRI/Varicam Prosumer audio recorder will cost about $1K ish, give or take a few hundred. Prosumer wireless will cost around $600 ish. Professional wireless will cost over $1K per channel for the receivers, and about $1K ish to $3K ish per transmitter Professional recorders will cost around $5K ish to roughly double that (except for the outlier that is the Aaton Cantar X3, at over $17K) Professional mics will cost from around $1K ish, to about roughly double that. It's a much tight spread in prices than for cameras and lenses. It's no secret MSM are some of those feeling the most crushed of crushed budgets. But anyway, their sound needs have always been low and basic for many instances of basic reporting. Using for instance just a handheld mic, or a hardwired lav. As you've typically got one (maybe two) people talking on camera, mere feet away. With low expectations for audio quality.

Give a serious thought to the Deity Theos system it's only just came out. It's very affordable, not much more expensive. (especially when you factor in the extra cost factor of buying lavs for the Rode GO) More range, better design, more features, also is internal recording (for non-Americans, such as yourself). https://deitymic.com/products/theos-digital-wireless/ https://www.bhphotovideo.com/c/product/1779378-REG/deity_microphones_dtu0253d56_theos_digital_uhf_wireless.html

Got Phantom Power? (Panasonic DMW-XLR1 https://www.bhphotovideo.com/c/product/1304877-REG/panasonic_dmw_xlr1_xlr_microphone_adapter.html ) Get the Sanken CSM1 https://www.bhphotovideo.com/c/product/1404643-REG/sanken_cs_m1_super_cardioid_short.html No phantom power? Get the RODE VideoMic NTG? https://www.bhphotovideo.com/c/product/1521595-REG/rode_vmntg_videomic_ntg_camera_mount_shotgun.html Or the even cheaper Deity Microphones V-Mic D4? https://www.bhphotovideo.com/c/product/1733776-REG/deity_microphones_v_mic_d4_camera_mount_shotgun.html

https://time.com/collection/best-inventions-2023/6324047/sony-fx3/ https://www.xdcam-user.com/2023/11/sonys-fx3-wins-time-magazine-award/

https://ymcinema.com/2023/11/21/sony-fx3-wins-the-best-inventions-of-2023-by-time/