IronFilm

Biggest understatement on this forum IBIS would make the battery life shorter too That will be 2024

Eh, 35mm and 50mm look quite different! It's worthwhile to own both. You were attacking me before over if a few milliseconds of rolling shutter in either direction matters when we're in a thread talking about filming landscapes! And now you think 35 vs 50 doesn't matter? Feels like very weird priorities to me! So anyway, I guess OP could get the 8 lens package instead of the 10 lens package: https://www.bhphotovideo.com/c/product/1679957-REG/dzofilm_dzo_v21k8pli_vespid_prime_cine_8_lens.html But do they want a macro lens? And now you're left with an awkwardly large gap between 16mm and 25mm! I do not like that at all. So got to buy the 21mm?? If they don't want the Macro, there is the six lens kit: https://www.bhphotovideo.com/c/product/1602171-REG/dzofilm_dzo_v21a6pl_vespid_6_lens_kit_a.html But then they'd have to buy themselves individually the 16mm and 21mm The other caveats: Mirrorless mount only No wide angle zoom

Get a PL to L Mount adapter with a foot on it, and you'll be able to use even the Angenieux Optimo Ultra 12X lens on the BS1H! https://www.bhphotovideo.com/c/product/1363501-REG/angenieux_ou12xfp_optimo_ultra_12x_full.html For heavy zooms, it is normal to use extra lens support as well: https://www.bhphotovideo.com/c/product/1554784-REG/smallrig_15mm_lws_universal_lens.html Although, with that Optimo zoom, you'd likely be using not 15mm but 19mm rails: https://www.bhphotovideo.com/c/product/1076923-REG/wooden_camera_wc_175500_universal_lens_support_19mm_15mm.html Anyway, a range of adapters: https://www.bhphotovideo.com/c/products/Lens-Mount-Adapters/ci/12013/N/4028759365?filters=fct_camera-mount_6854%3Al-mount%2Cfct_lens-mount_6855%3Apl-mount You might in particular like these adapters, which have a drop in filter: https://www.bhphotovideo.com/c/products/Lens-Mount-Adapters/ci/12013/N/4028759365?filters=fct_camera-mount_6854%3Al-mount%2Cfct_features_6856%3Adrop-in-filter-slot%2Cfct_lens-mount_6855%3Apl-mount yes, the BS1H does do H.264 as well But why not record raw out to the BS1H to a Ninja V?

OP isn't filming any spinning blades, neither are they doing any wild and crazy hand held footage. So what? You're talking about the most completely normal of normal setups here, where you power your monitoring setup (be it a 7" / 10" / whatever on camera monitor, or/and an EVF) via your V Lock. I only cared about stills autofocus on my Nikon DSLRs. As I'm pulling focus by hand when doing video (and on this point, screw drive Nikon lenses feel a lot better to pull manual focus with than modern Canon lenses) Still, having some DZOFilm lenses would be even nicer... 😄 From my perspective everything is weird and backwards on Canon lenses 😉 yeah it really sucks that Canon decided to exclude all other lens manufacturers from using RF Mount (unless they're based in say China, and just don't care about Canon's lawyers coming after them!)

Which Sachtler? Some of these cameras, might need that to be upgraded. You might like to go out for a weekend to focus just on recording good wildlife / landscape / ambience audio for a change? That you can use with your videos, build up your own little library of sounds. And you can definitely do very big upgrades from the Rode NTG2 you have currently. Keep in mind, you might want your wide angle lenses to be specific to S35 if that is the format your camera is. As they'll then be better quality lenses. (but otherwise, your other focal lengths could all be LF instead of S35 if you wish) Presuming you like the look of DZOFilm Vespids, then yes, I think that's a good choice. You might like to buy it right now, while it is on sale for Black Friday: https://www.bhphotovideo.com/c/product/1788748-REG/dzofilm_dzo_vps10pl_vespid_prime_cine_10_lens.html Although I personally, would go with a set of zooms, as I don't think you need the extra fast aperture of the primes: https://www.bhphotovideo.com/c/product/1745340-REG/dzofilm_dzo_ffcattaa3_bundle_18_35_35_80_70_135mm_t2_9_catta_ff.html And at least from my perspective, it's a faster workflow to use zooms and you'll get better shots because of that. But maybe time matters less for your needs. Well, you should totally rule out an RED then! But I think you're a little too obsessed on reliability. In your shoes, I wouldn't even mind shooting with the original RED ONE. If you get a good one, without any quirks or issues in its history, then even the RED ONE will perform just fine for ages on many shoots of the sort you want to do without any deal breaker issues. (and the RED ONE is infamous! Of course, I'm not recommending the RED ONE. Just pointing out that even going to that extreme of a choice would be fine here) Anyway, if you'd go with a RED Dragon X, then certainly a new URSA Mini of any sorts (G2 or 12K or whatever) would be likely even more reliable than the RED. But if reliability and only reliability matters, then I'd go with: Mint condition secondhand ARRI ALEXA Classic, Panasonic Varicam LT, Sony PMW-F55 Or brand new Sony FX3, FX6, FX9, or Canon C70, C300mk3 or Panasonic S1H / BS1H / S5mk2 But even those famous rock solid workhorses won't be immune to possible problems. Nothing is. Anyway, I think with your criteria, I feel your top considerations should be: Canon C300mk3 or C70 (same sensor inside, might as well get the C70) Any of the Sony FX series (Sony FX3 or FX6 recording raw to an Ninja V?) Secondhand ARRI ALEXA Classic (all the negatives of size / weight don't seem to apply to you, and you want to have the experience of owning and operating a premium top of the line professional camera, then naturally ARRI should be at the top of your list as #1!) Secondhand Panasonic Varicam LT (same point as I just made about the ARRI, except it lacks "the ARRI name", but on paper is the much better camera. I forget why you objected to it, because of P2 cards?? But they're quite affordable to pick up from eBay these days, and you'd still stay way under your budget. And/or you could just record to affordable SSDs via an external recorder) Secondhand Sony PMW-F55 with the R7 or R5 recorder (similar point as I just made before about ALEXA and Varicam. Except this is the CineAlta brand name instead) Panasonic S1H / BS1H recording raw to a Ninja V (it's "a baby Varicam")

Is my memory wrong, but can't you have two external sources plus two internal scratch mics? That's a good enough compromise in my opinion

They also think a Rode NTG2 is just fine. That was the context in which it was said "not a major concern". But yet, it seems like their partner quite likes the sound gathering aspects? Of what they do together. Seems odd to spend $10K on a camera body, but be recording with crappy sound equipment. Why not put just a few thousand dollars of that into a few bits of somewhat half decent audio equipment? The wife would like that? Happy wife, happy life! Yes, but we've no idea if they think "a cine lens" is a $300 lens, and they're just going to get one of them. Or if they've instead got a plan to drop $200K on a full set of anamorphics. (probably they're planning on something in between those extremes) I agree, except I personally went with Nikon F Mount lenses primarily. As you can adapt Nikon F to Canon EF cameras, but the reverse is not true! That's why I like that a lot of manufacturers are allowing their mirrorless mounts to be swapped around by the user to another new mount instead (such as the Fujinon zoom lens, or the Sirui anamorphic lenses, or Meike , or etc) If was to invest into another set of cine lenses then, it would have to be one of: 1) $300ish or less per lens, as then I don't care if the mount I'm stuck with or not 2) be a mirrorless mount that can be swapped out 3) be PL Mount (as that you can adapt to anything), quite viable now it has some very affordable options

They are also on productions which on these film sets need a tonne of features and have a lot of expectations that simply is not needed by a husband and wife team strolling through the outdoors to take a video clips to compile together. It's a radically different situation that you can't compare directly with. And on those productions, the image quality is merely one out of a wide range of reasons as to why they choose the cameras they choose. (or have we already forgotten the shootout which the Panasonic GH2 won?) It is at all a reassuring thought, then my guess is that Canon will first update one of their EF Cinema Cameras (the C200 / C300mk3 / C500mk2 / C700) to RF Mount (my guess is the C300mk4??? Maybe) before it released "a C70mk2". Or just stick the money into the bank, so then you can do a more frequent upgrade. Say in two years time when the "FX3mk2" eventually comes out as I suppose it will one day. Rather than buying a more expensive camera and being stuck with it for 5 years plus. There are lots of other perspectives to look at this, than to just max out the $XXX budget on only the most expensive possible camera body. Does OP need fast rolling shutter performance? Maybe I should be suggesting they definitely go for a Sony PMW-F55 huh? Nah, from the descriptions so far, it doesn't sound like rolling shutter performance is the top priority for them for what they shoot. Another thought: do you think the audience cares and notices the difference between a film shot with 28ms vs 9ms?? With their budget, they can easily get a high quality external EVF from a third party (if they haven't blown their budget already that is...). Or hey, Blackmagic makes their own EVF for one of their Pocket cameras: https://www.bhphotovideo.com/c/product/1625667-REG/blackmagic_design_pocket_cinema_camera_pro.html But anyway, maybe OP would prefer to shoot with a high quality daylight viewable monitor? https://www.bhphotovideo.com/c/product/1468153-REG/smallhd_mon_702_touch_7_on_camera_touchscreen_monitor.html For the very slow paced types of shoot OP seems to be doing, I don't think internal NDs is a super high priority. A lightweight mattebox with a set of filters would do even better.

The Rode GO has never at any point performed on par with pro equipment, not even previous generation equipment. But a reasonable case can be made for the Pocket 4K being broadly on par with the professional class of cameras. Note how I'm not specifically focusing on saying they must only get the Pocket 4K, you seem to be obsessing over just one particular specific camera I've mentioned out of a huge wide range of them. Sure, I think the FX6 or C70 are also great ones to check out, or at the other extreme even ARRI ALEXA Classic or Varicam LT. My original core recommendation back a few pages ago was that @Jedi Master should borrow / rent a wide range of cameras, to get hands on experience with using them to better be able to decide for himself. And of that wide range of cameras, I suggested one of them should be "a Pocket Cinema Camera", and if it is the 4K, or 6K, or 6K G2, or 6K Pro (or heck, the new L Mount one, even though that isn't technically part of the Pocket range according to BMD??) doesn't matter. So long as they get some bit of experience with it, to see how they like it. Even if they wish to spend $XXX amount on filmmaking, why does all $XXX have to go only towards the camera body? Why not also to microphones and recorder? Why not accessories like filters? Why not even better lenses? Why not various support equipment like a motorized sliders or a better tripod? Or on travel to new filming locations? Very little of this has been discussed. Am glad we agree on something It's a mistake in the first place to think of the Pocket series of cameras as "less great". There are people who prefer a Pocket even over cameras 2x or even 4x the price. Thus it is worthwhile giving the Pocket a try out, to see if it gels with the person or not. 1) it was clearly said tongue in cheek, please locate your sense of humour 2) it's a fair point being made in jest, after all most of us commenting in this thread couldn't squeeze 100% out of the Pocket 4K. Most of the modern cameras being released today are "beyond our capabilities". Nothing wrong with using S35 lenses on a P4K sensor, it's closer in size after all than all those people who use FF lenses on S35 cameras (yet I don't hear people complaining about that as much). Plus, if they wish, they could always just go with the S35 or LF versions of the Pocket instead. That studio camera is packed with new features, it basically is BMD's new generation of the Micro Cinema Camera! But DJI has in the past, it's an example of a company that has supported MFT. And the DJI Zenmuse X5S is still a current generation camera that they sell, and I'd still happily do shots on a X5S! (or X5R) And ditto, all of Insta360 and Kandao etc have made and sold MFT cameras as well. MFT has very wide support (more so than any other mirrorless mount!). I don't see this mount going away any time soon.

Once the Sony FX30 has been around for a couple more years, and I see a lot more of them on eBay at great prices, I think I'll jump on one. As it is perfect as a small camera to complement my Sony FS7 / F3 cameras, and if I want to work as an extra camera op on shoots using a FX6/FX9, then me having a FX30 makes sense. Thus I can't see Fujifilm, Z Cam, or Canon ever releasing anything which would tempt me away. RED can't either, a cheaper Komodo can't tempt me, neither could a bargain priced secondhand RED Scarlet MX for US$2K (as I sometimes see them on eBay going for. Wellll... maybe, if it was a very complete camera package and was available for sale locally. So I didn't have to worry about the costs and risks of shipping / customs / etc. But even so, wouldn't I rather just have a similarly bargained priced Sony PMW-F55??). ARRI are still irrationally too expensive for me (after all, I primarily work as a Production Sound Mixer), not even the old ARRI ALEXA Classic is going to be sub US$2K any time soon. Same logic applies to the Panasonic Varicam LT or Sony FX6, as much as I'd like to get either one of them. I guess it's quite easy to see a bargain priced Pocket 4K or Panasonic GH5S / BGH1 depreciate to sub US$500 within the next couple of years, in which case I might go with them vs a Sony FX30 which secondhand might still cost double the amount if it's holding up its value still. But yeah, otherwise it's kinda hard for me personally to see a better camera than the Sony FX30. (unless Sony releases something underneath the FX30?? Like a Sony FX300, that can't do 4K 120fps, but is limited to only 4K 30fps?? Yeah, I wouldn't mind being forced to do slow motion in 1080, if it means I can save a bunch of $$$$)

1) there is no "settling", the 4/3 sensor (especially a bit larger than average 4/3 sensor, such as in the P4K and GH5S) is quite close to the industry standard S35 2) the MFT mount is not dead. Both Blackmagic and Panasonic just released this year a couple of fantastic cameras for MFT mount. And of course there are all the other camera companies which have supported MFT mount, such as: OM, Z Cam, DJI, Kinefinity, Chronos, Insta360, Kandao , and more. And many many more lens manufacturers which have supported the MFT mount! (more so than any other mount) Really good DR you meant to say Definitely not what I'd describe the P4K as! The original one?? Yeah sure, ok. But still, not even for the OG BMPCC do I think it was the deal breaker people thought it was. As I'd just slap a BP-U30 battery mounted to the top of my BMPCC and I'd be able to shoot for ages and ages. So just do that, and treat the BP-U30 (or NP-F970, or a mini V-lock, or whatever else you prefer) as your "main battery". Ditto for the P4K, just think of the internal battery as an awesome feature that allows you to always hot swap the main battery! Nice! Or you could get the battery grip and be able to shoot for two hours with that. https://www.bhphotovideo.com/c/product/1472973-REG/blackmagic_design_grip_ccpoc4k_pg_pocket_cinema_camera_4k.html (the battery grip for the Pocket 6K Pro allows three hours of shooting: https://www.bhphotovideo.com/c/product/1625668-REG/blackmagic_design_pocket_cinema_camera_battery.html ) So? Lots of other cameras have been discussed as possibilities in this thread which also don't have an internal ND, such as the RED Dragon X, or Panasonic BS1H. 1) basically any cine lens on the planet can be adapted to MFT (well, except maybe a few B4 mount cine lenses which are tricky for that. But it's a far better idea to use B4 cine lenses on a MFT camera than another other modern cine camera!!) 2) there are plenty of great cine lenses purely designed for the MFT mount, such as from DZOFilm, SLR Magic, Kowa, and Meike As even you yourself say, the P4K is sufficient. Arguably even more than sufficient. Would a 20 stops of dynamic range 20K resolution camera that has 1 million ISO low light with 18bit raw files truly make a major difference to the images produced? Nope. It really puts into perspective that debating over if this camera with 1/2 stop more DR or slightly cleaner shadows is basically a bunch of navel gazing. But still, there are lots of different cameras here that are "the right answer" for @Jedi Master, I've myself in this thread advocated for top end premium cameras such as the ARRI ALEXA Classic or Panasonic Varicam LT, and even mildly advocated for the likes of the RED Komodo (although, I don't think it's a great choice, just the best out of the pick at that price point if buying a new RED). But yet, even the humble BMD P4K (or 6K Pro, or the new Cinema 6K camera with the L Mount, or a Z Cam E2 series camera, or the Panasonic BS1H / S1H) could be a great pick! The ease of use and portability will be benefits when getting the shot. And the lower costs shouldn't be overlooked either, that can be put into getting perhaps a bit better lenses than was otherwise planned (I feel this hasn't really been discussed enough, which lenses did you in particular have in mind @Jedi Master? Or at least a lens budget?), or experimenting a bit more with accessories and extras. Perhaps buying a wide range of 4x4 filters to shoot with for instance, having a spare grand or two to put into that could make a real difference. Or splurging on a Sennheiser MKH8030 & MKH8040 for a M/S microphone setup could really make a big difference on the final video. Or getting a few other microphones. Or spending a grand on a weekend trip away to a stunning location to film. Don't be silly, the Canon C70 would depreciate more in just the first year than the entire purchase price of the P4K!!

From memory, wasn't the NX1 insanely good rolling shutter at 1080 but only "so so" at 4K?

Are you referring to Jedi Master's thread? He doesn't need any of the professional features required by productions. Just needs a sensor to capture pretty landscapes in a slow paced chill manner on the weekends. That's like expecting someone to read an article before commenting on it on Facebook! Totally unrealistic expectations.

The URSA Mini Pro G2 is a good choice. But I fully agree, if you want a camera with the best ROI to get the most work then go for a Sony FX6 (or FX9. Or heck, even an older Sony FS7. Or even a Canon C70/C300mk2/C300mk3 would be a better choice than BMD cameras, although I wouldn't recommend Canon unless you're in some niche where it is more popular). But if you're working in house, or focused more in the narrative space or music videos, etc, then sure, go for an URSA Mini.

I too was tempted to go give a lol reaction instead a like But I support @QuickHitRecord on their impossible mission!

With a multi aspect ratio sensor! And BNC (or mini BNC at least) for both TC and SDI? Maybe even a mini-XLR or two with phantom power built in.

FX3 body only = 640 g FX6 body only = 890 g 250 gram difference.

I do reckon @Jedi Master should take a second look at the Panasonic S1H (or the BS1H, which is the same camera, but in a different form factor).

Large... large?? 😛

For an aspiring professional DoP? Absolutely 100% is worth it. For you? No, I don't think it is worth it. But if there is actually the sensor differences they indicated, perhaps it isn't the slam dunk decision in favor of the cheaper option that I thought it was. Anyway, I still think you should go for the RED Komodo OG vs a brand new Epic Dragon X (but of course in my, somewhat biased opinion, I still think any of many many other options are a better buy than a RED: such as URSA Mini Pro G2 / P6K Pro / Varicam LT / ARRI ALEXA Classic / Sony FX3 / Panasonic BS1H / Kinefinity Mavo / etc ) The "brand name"! haha Canon is probably slashing the prices on their C200/C300mk3/C500mk2 because a new RF mount cinema camera is just around the corner from Canon

@Jedi Master, I thought the RED Komodo X shouldn't be worth considering for you, as I thought the RED Komodos are "identical" to each other aside from the extra I/O etc features which a professional wants. But it seems like the RED Komodo X image might be better as well, cleaner? As this got mentioned in passing during this video: Might be worthwhile for you to investigate? I'll be working for a couple of weeks soon on a production shooting on the OG Komodo + Komodo X (me as the PSM of course). I'll have a deeper look at them then, and ask bit more about it

Interesting, I'd imagine he's always aware of what's available. So if for instance they story needs two different locations and Location A & B has be put in the script, but he might realize a third location C would do just as well if changed in the script for being the second location as location B does. But Locations A & B are miles apart (would have to be separated into two different days), but Location C is just across the road from Location A, so it would be a very easy company move (Unit etc wouldn't even have to move), and perhaps they could both then be scheduled to be on the same day.

I doubt the lens choice drove the camera choice. It would've been the other way around, the camera choice limited their lens options to that narrow range of lenses to pick from.

Zero need whatsoever to shoot in LF format! This film could have been done with normal S35