IronFilm

Oh well, time to wait for their low end "Z3"? Then wait another two more years to see it pop up cheap on eBay secondhand... ha! I'm in no rush. My hope is Nikon will quickly follow the path Panasonic took, of GH4 to GH5. And quickly with their next round of releases update it from 10bit external to 10bit internal! As at least with 10bit external, they've still got themselves ahead of Sony!! Because your main camera can serve double purposes. 1) You live with 4K 8bit 420 internal for the bulk of your shoots, after all Sony mirrorless shooters do! ha 2) But then now and then when you have some specific need for 10bit, maybe for some greenscreen work, or you just want to rig it up for some more series work like say a feature film or TVC to be shot (but you don't quite have the budget to rent a whole new camera such as a FS7/C300mk2) then the 10bit external is awesome!

That is just progress, new better products coming out every year. But I mean, is it even shipping yet? I think maybe not, is still in pre order status on B&H, which means for right now the BMD VA is still arguably the "best" option you can buy today

Pixel binning isn't really raw now is it. As that is processing being done. How quickly we get greedy and lose wider context! With all the tools the BMD VA, even without the recorder built in, the BMD VA is still a pretty sharply priced screen! And with the built in recorder that just makes it even more of a killer deal. Before the BMD VA came out then even 1080 recorders still were fairly pricey. So when you look back, the BMD VA looks like even more of a killer deal. And even 1080 still is handy for a number of folks, for instance: 1) various 1080 camera owners: C100 / F3 / etc 2) for on set playback to check shots, you can use this in the video village to get playback on the spot without needing to get the camera crew to do it for you 3) for on set proxies to be made immediately for later use after wrap

Basically @photographer-at-large wants a BMD VA with a brighter screen. In an ideal world you would be able to pick from either option: Line skipping when you want to not bother about needing to change lenses . And cropping for when you think moire might be an issue in that particular scene.

So it is all Napoleon's fault? Exactly! If S35 is the sweet spot for big big budget films with trained actors, good 2nd ACs to lay down markets, time for rehearsals, and skilled 1st ACs, then it is reasonably logical that for indie shooters like ourselves that the slightly smaller MFT sensor is out sweet spot size! Nope, I feel like you're still missing my point. Think specifically about DoF and how you'd light a scene once you've picked that DoF, and how that changes as change sensor size. (you've almost figured that out... you realize you'll use a four times slower f stop: f2 to f4 as you move from MFT to FF to maintain the same working DoF in practice. What impact does this now have on your lighting team and your production? If as you suggest, you want to keep shutter angle and ISO the same, what needs to be done by you and your gaffer to keep the same exposure?)

Oh frick, I just purchased one! Then I see it for that price

I'm talking here about DoF. As sensor size goes up, to maintain DoF the F stop goes up (which means the ISO must go up and/or the lighting must increase)

Just arrived in the country today! Hopefully I'll get it soon. I'll probably start then using my BMPCC more then for my vlogs. Sometimes I really hate the look from my Samsung S7, and the iPod Touch is even worse!

Ahhhhh! That makes way more sense now. Thanks.

Put yourself in the shoes of a DoP, with the various constraints you have of director/story/crew/actors/resources/time. Thus (taking into account all those factors) you pick a certain DoF you want to shoot at for this particular shot. For whatever that DoF is, you will need more light if shooting with a larger sensor. It is as simple as that. Thus the complaints from vistavision shooters on redusers because they hadn't considered the obvious.

Not really a major mirrorless competitor if it doesn't have a lens mount to swap out for other lenses.

No 60fps, but I've got figures crossed holding out hope for 10bit! Pretty please

I guess I should have been more comprehensive in my response: Cropping/skipping. (in a way... skipping is still "cropping"! Just spread out across the whole sensor what you are cropping out)

Raw HD must by definition be cropped. This is true for all cameras. (unless it is a native HD sensor)

But these were never branded as Zeiss cameras. Lots of products have had Zeiss branded lenses.

If only Nikon had released their Nikon DL18-50! Wish they had. Was really looking forward to it. I don't think BMD can take all the credit for that. People were rigging up and putting PL lenses on MFT cameras even back when the old Panasonic GH2 was popular.

Good point about #3! Panasonic and Olympus probably thought their best chance at not just survival but to thrive, would be to target a niche and dominate it: thus the birth of Micro Four Thirds! But if they'd ever thought they could be The #1 Player in the camera industry, then they might have tried to have left the door open for full frame or at least have made the lenses suitable for APS-C.

Interesting! A new type of sensor can get an image from the edges of a pane of glass. Opens up a lot of possibilities. One I thought of is that we can finally have a FaceTime or Video chat where the two people look right into each other's eyes, instead of off axis at the camera. https://www.sciencedaily.com/releases/2018/08/180821094155.htm Casey Neistat might finally stop wearing sunglasses! Many more years yet until this hits the mainstream though.

Except many many many more factors go into lowlight performance than purely sensor size. As the Panasonic GH5S has shown, which is the best mirrorless camera on the market for lowlight video. (split hairs if you like and argue the a7Smk2 is better instead) Then you need to think about it from a practical aspect as well, who is shooting wide open at f1.2 all the time? You need to pick a DoF which matches the needs of the blocking/schedule and the story, that translates into a F stop which is always going to be faster on the GH5S. Thus allowing in even more light! Giving it an additional advantage on top of already starting out ahead of the pack to begin with anyway. Just yesterday there was a thread over on reduser with the vistavision sensor guys realizing and complaining about how they need to pump in more light into their sets to reach the F stops they have to work at due to the larger sensor. Well d'oh!

Nikon had better bring their A Game, if Fujifilm is bringing out the Fujifilm X-T3 for sub US$1.5K with 4K 60fps 10bit (dunno if at the same time and internal?) with APS-C IBIS (well, at least I hope they don't drop IBIS! But then again the GH5S happened) etc Very appealing!

All the GH series have been able to be purchased (I think) without a time limit. Even many of the other Panasonic mirrorless have no limit with a hack. Is why I filmed weddings in the past with a handful of Panasonic mirrorless cameras: 1) no time limit 2) video quality 3) low cost 4) decent battery life 5) can use almost any lenses in the world

Ah I see! So I'll ask a new question instead: "When did Zeiss last make a digital camera??" That is my guess too, a reskinned Sony camera.

That is unusual! One can only hope it indicates toward excellent video. Although darn, why those wide bezels on the LCD screen???

When did Zeiss last make a camera?!?!

Yeah it is pretty crazy how a FS700 on eBay sells for around the same as a C100mk1, or even cheaper! A total raging bargain.