IronFilm

Ah yes, that extra context does help make a lot more sense of this! Which glass exactly do you own? Who is going to be the DoP on this music video, you? Very sensible! If you're not making any money at all on it, it makes sense to keep spending tightly under control. But heh, even buying the likes of a GH5 for personal usage is a pretty crazy extravagant luxury! Let alone the likes of an URSA Mini etc

That is with the slog upgrade. I went with the Atomos Samurai Blade instead (as the BMD VA had barely came out at all when I purchased my F3). Size doesn't matter for choosing the Alexa Mini over F3/C300, as you're talking about almost the same thing. So now you're making a point against the Alexa Mini?! Thought you were using sensor size to argue for it. This is making less and less sense. Oh, and it looks like you're getting confused with Arri open gate vs 2K/16:9 ratio. (I wouldn't exactly call that "cropping"! Although in a way I guess it technically is) You're going to need one big ass gimbal! Such as the Came Prodigy (perhaps?): https://www.came-tv.com/collections/came-prodigy Includes the BMD VA? Any other accessories? Local seller or free shipping? (international shipping is what kills most of these deals for me... :-/ ) If so, looks like a great deal, go for it.

Yes, the BMD VA can do 1080 ProRes HQ 60fps. It is right there on the spec sheet. So? Even if the Arri Alexa Mini is a couple of odd millimeters or so bigger (and I'd have some health skepticism as to if that is even true, recommend double checking it) , *so what*?? Doesn't matter. I'd be very worried you're wasting money in places if you're basing your hiring decisions on factors such as "having a bigger sensor than the F3/C300". As for PL mount, why? Do you own PL lenses?

Always time for another thread ;-) As heck, how many GH series threads are there? :-P

Ah, see I completely take the opposite approach! As using a Gimini/Pix with it defeats the core benefit of a F3 in 2017: it is INSANELY GOOD VALUE! And I reckon 422 => 444 is marginal gains, while 420 => 422 is a big leap.

@flip21, Don't stress over AF. I never use it! And in all other ways, Panasonic is quite simply a better implementation.

Well there is always always something else just around the corner.... for instance just today we got news that a Panasonic G9 is coming very soon: https://www.43rumors.com/ft4-new-panasonic-g9-80-mb-shooting-mode-60-frame-burst/

Wonder if it could do 4 channels like the FS7?

Only $500 back when it was on sale! Wish the Pocket or Micro would go on sale again.... Don't care! Better off to just talk about S35 instead. Sadly :-(

Gotham Sound does the first ever unboxing video of the Sound Devices MixPre-10T: https://www.youtube.com/watch?v=6u79d_BT76w

I would like to see tupp name the soundies and specific mics he sees used indoors all the time. As likely he is either misclasifying the mics, or they're just amateur soundies. As he is going against the grain here of what most people do here who specialize in location sound as their career. An even superficial glance at jwsoundgroup.net could tell you that

If you want the best bang for buck then I'd say there is two core choices: A) stick with what you have now (maximum bang for buck! You're getting great results from ZERO spent) B) Panasonic G80/G85 (king of bang for buck out of the current models from all the manufacturers)

Wow. Please *do* post exactly this on jwsoundgroup.net (which is the only forum dedicated just to production sound for film). I'll get my popcorn ready. This will be good. btw, if you just want the narrowest pick up pattern at all times, why not always only use a 816? (What do you use/own now?) I don't buy into that PC / sjw nonsense, some opinions are clearly wrong.

Or just a more general rule: INCLUDE MAXIMUM CONTEXT! As there are many many threads which would benefit from more information: specific budget, overall budget, what country, what do you do already, medium/long term goals, etc

mk1 is from a different generation, mk2 was the current one when the FS5 was released. If we want to talk about older secondhand cameras, then we need to include the likes of the Sony F3 or FS700. Which I'd take over a C100 any day. But yes, the C100 is still an excellent camera (their being better cameras doesn't change that) which can be an absolute workhorse (heh, just last night I did a shoot which had the C100 as one of our cameras).

Is two years since the FS5 came out, I think it might be another year or two until we see a "mk2"

C100mk2 and FS5 were pretty close in price. Currently they're US$3.5K vs US$4.75K, which is really not that far apart.

Wonder if we'll see any over the top "protecting" from Panasonic with their G90/GH5 now they have their entry level cinema camera coming out soon: Panasonic EVA1

Sony already killed the C100 (& C300!) years ago. With their FS5 & a7S mk1/mk2 releases.

FINALLY!!! I grabbed my Samsang NX300 this morning for the first time in ages and the battery was flat, but not a big deal! Didn't need to find a charger, could just grab any one of my many many USB cables I have lying around and charge up the NX300! Very useful. (and this is not even counting the handy feature of using it with a USB powerbank, as an external battery) Made me wish that every camera had USB charging, why isn't this common place with all cameras??

Won't see the a7S mk3 until 2018. And by that point, Panasonic will only be another year away from releasing the GH6? Oh heck, Panasonic might even have released a G90 by the time the a7S mk3 comes out! (and the G90 might very well be a decent competitive alternative at a third of the cost!!)

"Use of the larger NP-FZ100 battery increases the battery life by 2.2x, meaning a CIPA rating of 650 shots per charge when using the rear LCD or 530 shots per charge with the EVF. " <= a "new" battery (same as in the a9) "A faster 'Bionz X' processor, along with the front-end LSI processor featured in recent Sony models, allows the camera to process more data, faster. " <= might mean less overheating? But my money is on the a7Rmk3 still having some overheating.

Yup, Panasonic GH5 remains as king! Ruling over the land of hybrid filmmaking.

Well, seeing as this thread is titled "...addressing some of the myths around..." let's address some of those with the GH5/MFT! Should stating "lowlight" be enough to rule out the GH5? Of course not! Because it is very likely the GH5's lowlight capabilities is sufficient for the asker's needs. It is good to remember some historical context, remember how excited everyone was about how good the 5Dmk2 was in lowlight? (a camera which I don't regard as superior to a GH1+speedbooster combo) Of course now the 5Dmk2 is seen as being "bad" in lowlight by 2017 standards. But then again the MFT world hasn't stood still either since the original MFT camera the GH1 either, which each model (GH2/GH3/GH4/GH5) taking strides forward in improvements in lowlight since the previous model (that is a lot of steps of improvement! We're up to the GH5 now). Look at this shot at night with the old Panasonic GH2 for instance with only practical lighting: Is it perfect? No. Is it unacceptable? No. I think in this day in age, there is no reason in 2017 to be against any of the current cameras due primarily to its low light capabilities. Unless you're in some niche scenario, such as say you are doing a one man doco of homeless people living in underground sewers?! But even then, I'd happily use say my D5200 with a Sigma 18-35mm f1.8, if that is all I had available to me.

Indeed, if a person really really NEEDS extreme lowlight capabilities, on a tight budget, then the a7S mk1 secondhand is a solid buy. (although you're giving up more than just internal 4K, for example IBIS)