IronFilm

You'd take the Tamron 20-40mm f/2.8 over the Tamron 11-20mm f/2.8? You don't ever need anything wider than 17mm? Do the Tokina / Viltrox / Sigma sets of fast f1.2/f1.4 primes for APS-C appeal to you? They're very affordable! https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Atokina%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses https://www.bhphotovideo.com/c/product/1723065-REG/tokina_szmf33_fe_sz_33mm_f_1_2_mf.html (I'm guessing more are coming soon? To fill out the set?) https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Asigma%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Aviltrox%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses (I feel like Viltrox has the best range of AF APS-C primes for Sony E Mount, unless splurging out for the Sony branded lenses) Or TTArtisan which has lots of fast primes for Sony APS-C that are sub $100! 😮 (although, of course, they're only manual focus) https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Amanual-focus-only%2Cfct_brand_name%3Attartisan%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses oh just realized there is a nifty Meike 12mm f/2 Lens for Sony E at only $199! Of course with a MFT level "crop" in 120fps UHD, that's no longer ultrawide, but it is still a nifty wide angle lens with a fast f2 aperture for very little money! https://www.bhphotovideo.com/c/product/1714074-REG/meike_mk_1220cfmf_e_12mm_f_2_0_aps_c_manual.html (or go 2mm wider for more than double the cost! With the Meike 10mm f/2)

Or the Meike 10mm f/2 APS-C for E Mount at only $449: https://www.bhphotovideo.com/c/product/1725738-REG/meike_mk_1020cfmf_e_10mm_f_2_0_aps_c_manual.html Or get AF with the Sony 11mm f/1.8 Lens: https://www.bhphotovideo.com/c/product/1709231-REG/sony_e_11mm_f_1_8_lens.html Or go adapt MFT lenses to E Mount, with the super super cheap SLR Magic 8mm f4 for only US$149! (I've got this lens myself) https://www.bhphotovideo.com/c/product/1322738-REG/slr_magic_slr8m4_8mm_f_4_lens.html The image quality would be such a massive leap up for you from a FS700! Heck, even for me with the FS7, the FX30 would be an improvement. (well, in terms of picture, of course a move backwards in lots of other areas such as SDI/Genlock/NDs/EVF/etc) Exactly, people in the comments online I have seen hating upon the FX30 for its rolling shutter performance simply because the FX30 isn't the best ever possible they've seen, yet in reality vs the comparable competition then the FX30's rolling shutter performances holds up very well!

Adapt your MFT manual lenses to E Mount perhaps? Helped thanks to much greater resolution of the FX30 sensor vs the low resolution FX3 sensor. Another reason to get the FX30 vs the FX3: The FX30 has much better battery life than the FX3! Yup, people complain about that crop but just put a 7.5mm lens on it and you've got your wiiiiide angle sorted! It really isn't the big deal people make it out to be. Venus Optics Laowa Zero-D S35 7.5mm T/2.9 Cine Lens for Sony E Mount: https://www.bhphotovideo.com/c/product/1695493-REG/venus_optics_ve7529se_laowa_7_5mm_t_2_9_zero_d.html

But JinniMag shut down two years ago? And their videos have been pulled down. (did anybody save copies of them??)

Apparently the FX30 is doing less in camera noise reduction too than the FX3/a7Smk3. (which is what some people actually want)

Yeah seems like once you equalize for DoF being the same on both the FX30 and FX3, then the FX3 has maybe just a half stop better low light than the FX30. Not much difference really between them if you'll be shooting at ISO values the FX30 does.

whoops, yes, I was half asleep and wrote that back to front of course! What an idiot. Yes, am wondering about ISO 2500 from the FX30 vs ISO 2500 from the FX3? Exactly. I can't help but wonder if the FX30 might be a "better" camera for low light than the FX3 is! (once you exclude the totally extreme edge cases of shooting in the depths of hell itself, which practically for many of us never happens)

Has anybody seen any comparisons between the FX3 and FX30 at 12800 ISO? As I have heard that the FX30 is a true dual ISO sensor, with both 800 & 12800 being equally clean. But the second sensitivity of the FX3 of 2500 ISO (i.e. basically the same as the FX30's once you adjust for equal DoF on both cameras!) I've heard isn't as clean as its lower base ISO?

Hundreds of thousands of euros??? Oh no, I bet ARRI spent tens of millions on development of the new ARRI 35 camera! Wow, digital has become (when done right) "more filmlike" than film itself!

Oh yes, I'm a big fan of Noam Kroll! Been reading him for many years. Although of course those blog articles / costings are rather American-centric. If you don't have a local lab then costs / difficulties go sharply up.

I wonder how the ratios for each of those cameras broke down. Wouldn't be surprised if the 35mm / 70mm film where each very minimal, just so they could lean into the marketing press of "shot on film".

Similar here. After the ARRI 35 / Mini / LF (which are all still very high priced), then the AMIRA would be the one I'd want. Top Gun 2 didn't use film, it was shot almost entirely on VENICE. Where did you read that? Take a look at this list: https://www.premiumbeat.com/blog/cameras-behind-oscar-nominated-films/ Only one movie on that list was shot on film! And only because the director pushed hard for it. It is possibly my experiences in NZ are radically different, as we are a vert remote country with no commercial film labs. So I'm sure LA does more film movies than we do, but I do suspect that being shot on film is still very much the niche minority. 32bit float internal recording??? Where did you read that. I don't believe it does that.

Super easy integration within the existing Sony ecosystem/workflow. If you're a FX6/FX9/FS7/etc shooter already, then getting an FX30 over an X-H2 is the easiest of easy no brainer decisions for those shooters to make. Exactly. That's a HUGE number of shooters. I'm too busy with my sound work, and don't shoot enough these days, but if I was to add another supplementary camera to my kit, then I don't understand why I'd possibly choose anything else other than a FX30! It is not even just the lenses. But the whole workflow. Having only one common set of menus to operate, that are all fairly similar, makes life easier for your ACs / second shooters (and yourself too, when switching back and forth between cameras). Having easily matched together cameras in post, that's also incredibly important. Where exactly does the XH2 "thrash" the FX30? For some people, yes, the XH2 does that. But for others, if you don't care about the 8K, or Blackmagic Raw, then for them the FX30 isn't getting thrashed. Keep in mind that sensor is the single biggest hardware cost in a camera, and as sensor size goes up, the price of the sensor goes up faster than linearly.

It isn't even the top end tier, it is "anything with a proper budget". As the rental costs are such a small part of the overall budget, and the rental cost difference per day between the latest and greatest camera and the previous generation isn't that much at all. I'd say $4K for a Classic means they're essentially being "given away". It is a knock on effect. The ARRI 35 will make the Mini a lot more affordable, the Mini being more affordable will push down prices of the SXT & AMIRA, them being more affordable will push down even lower the prices of an XT. The XT being so cheap will force the Alexa Plus to go even cheaper. The Alexa Plus being super cheap will force the OG Classic go to yet even lower.

gah, I hate how I can't edit messages after a very short amount of time has elapsed! Oh well. What I was going to say is: The entire ARRI 35 supply is not being dumped onto the market all at the same moment. Because: a) not everyone can afford to upgrade immediately at the same point in time. And also, for a much more important reason.... b) ARRI can't keep up with demand, they're pumping them out as fast as they can, but will take many months (maybe years!) for them to catch up with demand. And if the next generation ARRI sensor was going to be a success (which it appears it is), then of course all the previous generations of ARRI cameras were going to eventually suffer a steep decline in value, and will never recover again. Imagine if generations between flagship DSLRs were twice as long. Once the Nikon D3 was out, why would anybody ever buy or event rent the Nikon D1H/D1X? Once the Nikon D5 is out, why would the Nikon D3 still be wanted? The previous "generation" (well... double generations here, to make DSLR life cycles comparable to ARRI cinema cameras) will see a very steep decline in desirability.

Of course every ARRI that isn't an ARRI 35 is not a lot less desirable once the new camera came out. For instance, nobody is using the ARRI Classic on big budget TVCs or AAA movies. And it has been like that for a long time now, since well before the ARRI 35 had started shipping. Everyone wants the Mini, or the SXT. (or more recently, sometimes, the LF) The Classic has for years now been just for the low budget short films / low budget features, and some low budget tv series.

Nah, it is extremely rare for Netflix productions to be shot on film. But yes, a lot of Netflix shoots have been using the LF because 4K is forced upon them as a requirement. For productions without the forced requirement, then LF cameras are much less common. Hours don't matter for digital cameras. (how it was used is what matters) I'd much much rather have an AMIRA than a Classic. (except for the cost 😕 ) Being able to use anamorphics is another reason an XT would go for more. Although there are Classics that do 4:3, but they tend to for a little more, and are never the cheapest.

ALEXA Classics and AMIRAs are plummeting in price again. You can go on eBay right now and see an ALEXA Classic for just three grand, and an AMIRA for fourteen grand. And they'll only get even cheaper as more and more orders of the ARRI 35 are shipped out.

When you look at the cameras winning Oscars, it isn't exclusively dominated by ARRI LF cameras. S35 remains very popular at the highest levels. (funnily enough, each time I have worked with an ARRI Mini LF, it has been on a smaller sized production!)

For me personally (as a Sound Mixer, who works with a wide range of DoPs), I more often work with the OG Alexa Mini, then the Mini LF. And even when there is a "full frame" camera on set, such as a VENICE or FX9, then it isn't uncommon it is being used in S35 mode (as was the case on last weekend's film) so they can use it with the S35 lenses of their choice.

An APS-C / S35 camera Which people's biggest objection to seems to be "BuT iT Is NOt fULl FraME", because people think you can't do shallow enough depth of field with APS-C / S35????

You need frame accurate sync, none of the a7 bodies support that. You're playing with fire if you don't have a TC box for each game. You don't want to rely upon the camera itself getting TC right! Nope. Some people go with wireless timecode, fed from a master clock. (such as the Timecode Systems :wave that I've got, which feeds to the TCS Ltd USOs over the :blink network) But it is more normal you'd jam sync each at the start of the day to the Master, and let them run.

Exactly. For purely filmmaking it is an easy no brainer decision to go with FX3/FX30 over an a7 series camera.

Exactly, the $$$ speak loudest. The XH2S won't get you work like a FX6 would. Exactly, compared to the total budget of a production then many times the cost difference between renting a P6K vs ARRI could be trivial, a rounding error.

"pocket"