IronFilm

Fair enough! I too wouldn't use a C200 if I had a FS7 instead. (which I do) Ouch, that's a painful loss! And yeah the C300mk2 had the same problem too as the C200, as the C300mk2 was priced above the FS7, yet saw a steep drop in value because it didn't become as popular as the FS7. However, it seems now on eBay the C300mk2 is keeping a bit more value than the FS7. Just simply due to the greater number of FS7 bodies for sale??? Yeah I think the C70 is one of the nicest releases Canon has done (when you factor in cost, as if you don't care about price... just get a C500mk2!). But at the end of the day, what compelling reasons are there to get the C70 over the FX6? If it was C70 vs FS7, then I'd side with the C70. But the FX6 is: Lightweight, compact, has timecode, has good AF, SDI out, DCI 4K 60fps 10bit internal, etc

That's a MAJOR "gotcha". Not having playback. But then again... I did once start shooting a feature film with a Sony PMW-F5 that lacked playback! As we'd schemed to get our hands on a Sony PM-F5 (this was years ago, when the only affordable options for 4K would've been I think the GH4 or the Production 4K camera? Or the a7Smk1 with an external recorder), but... discovered it lacked the paid 4K upgrad! wtf Wasn't going to spend that huge chunk of change on a borrowed camera, so I did the Sony F5 4K hack for it. But meant we lacked playback 😕 😞 Oh well. so I connected my Atomos Samurai (which I already had and used with my Sony PMW-F3), so that I could have a way of viewing playbacks of shots! (as the F5 would automatically trigger a proxy recorder on the Samurai)

Or perhaps a Sony RX10mk2, goes for $500ish on eBay secondhand. Simple, compact, all in one, camera that does it all. Panasonic FZ1000 is another to consider, even cheaper. Covers the main situations which a smartphone does not: when you need lots more reach. Any semipro/pro Canon/Sony/Nikon/Pentax DSLR from the last decade still puts more power in a person's hands than 99% of people are capable of fully uralitizing.

What was bad for you about the Canon C200?

And yet, not a single Canon/Nikon/Sony DSLR on the planet has IBIS.

But then AF doesn't matter at all Focal reducers exist.

I think also the fact for most of the weddings I shot over the years, I was a second shooter, which I reckon isolated my from a lot of the core stresses the bride/groom would put on the lead videographer. So in general, I found (once I'd been doing them for a little while) weddings to be quite chill for me. Exactly, there is more stresses involved in getting up to the point of being there to shoot, than there is on the wedding day itself.

eh, everything I said anybody working in the Sound Dept would recognise. Is like saying "sticking with Canon C300m2, resisting the temptation to upgrade to Sony VENICE2" Both massively popular products, both very very good products. But one is clearly better than the other.

5Dmk2 ML raw has so many cons/gotchas, that it only makes sense for small projects with no budgets. Such as a music video, or a fine arts student doing a visual media project. I'd always prefer to film with a X-T3 / P4K / GH5S / G9 / E2-M4 / etc instead. Heck, give me a Nikon D5200 to film with rather than a 5Dmk2!!! That's how far I'd go. My opinion is once DSLR cameras crossed the 12megapixel threshold (which was a loooong time ago!), then all the prosumer/pro cameras since then have been damn good for photography! Especially if you're not a professional yourself, then any of those cameras can do a damn fine job in the right hands. Now, someone might be picky with me and disagree, but that just simply means shifting that threshold of when that starting point was. Say when DSLRs crossed the 20 megapixel barrier? The Nikon D7100 (a nearly decade old camera!) is a very very good camera even in 2022 for stills shooting! It is only video where it took longer to catch up, and I'd say that point when it happened was "five years ago". DXOMark does not have the Panasonic G9 listed, but the GH5 is there, and for stills performance you should get basically the same images out of both the GH5 and G9. So let's see what DXOMark says for GH5/G9 vs 5Dmk2: https://www.dxomark.com/Cameras/Canon/EOS-5D-Mark-II https://www.dxomark.com/Cameras/Panasonic/Lumix-DC-GH5 Overall it is 79 vs 77, which is to say: no difference at all! Color depth: same! Basically with the G9 you're trading off some low light capabilities, but gaining better dynamic range than the 5Dmk2. That's a trade I'll take! Plus when it comes to their feature sets, the Panasonic G9 absolutely thrashes and crushes the 5Dmk2 (or mk3!) when it comes to stills photography. Yup, vs a X-T3 then you lose 10bit internal (got 10bit external though), but is a newer camera and you gain IBIS. All for a similar ish price to a X-T3

To be fair in those cases, then the camera was either (Unsane) a bit of a gimmick to help market the movie, or (Hardcore Henry) integral to the storytelling of the movie. (you could never have done Hardcore Henry with an ARRI! Although, if Hardcore Henry was re-shoot today in 2022, I would be curious as to how it might go with a Blackmagic Micro Cinema Camera, Sigma FP, or a Z Cam E2-M4. None of those cameras where an option back when Hardcore Henry were filmed) If you're not one of those weird rare exceptions, when you shouldn't use a GoPro or iPhone to film your next feature film. But I agree with your general point: content is king. I agree, any semipro/pro hybrid camera released in the past 5 years is going to be good enough for photography and video! What's the WORST example we can think of which was released since 2018?? Canon R? Does 30MP images, and outputs 4K 10bit. Nikon Z6? Does 4K raw output for goodness sake! Fujifilm X-H1? Panasonic GH5S? Olympus E-M5 mk3? Sony a7mk3? They might not be everyone's cup of tea today in 2022, but they each got a tonne of praise when released and produce nice 4K images. Maybe the only semipro/pro camera released in 2018 we could be critical about is the Fujifilm GFX 50R, but of course that is playing into a small niche focused on medium format photography. So full marks for those types of stills there, but only 1080 video. Oh wait, I just remembered the Pentax K-1 Mark II came out in 2018! We can't criticize its stills capabilities at all, but video... only 1080 😕 So fine, we found ONE (two, if you count the medium format camera, three if you include the 50S mk2 as well) semipro/pro camera released in the last five years which isn't suitable for both stills and video. And it is so obscure, most of us haven't even heard about it, or have forgotten about it already. I'm trying to take this same philosophy and apply it to my work as a Sound Mixer as well. (one of the reasons I enjoy listening to Scott Choucino, even though I'm not a professional photographer, as I feel there is still a lot of overlap that I can learn from) Avoid the temptation to upgrade to DPA 6060! When my Sanken COS11D / DPA 4060 work just fine. Why get a Sanken CSM1 when I have 3x Sanken CS1e? Resist the desire to get a teeny tiny Lectrosonics SSM transmitter when my still rather small Lectrosonics SMV do the job! (and I've got five of them!) Put off the plan to do the big upgrade to Shure Axient Digital Wireless, when my Lectrosonics Digital Hybrids are still "the industry standard" and do a great job. Don't ever buy an Anton Cantar (as much as I'd love to have all those features/ergonomics!), as it isn't like I'm ever going to get anything which my my Sound Devices 833 with its 16 track recorder can't handle.

I always found weddings less stressful than major budget film sets. But it is a different kind of stress, and I guess I'd done more years of wedding than major level films. Perhaps in a few more years I'll be more at ease. Even the old Canon 5Dmk2 (let alone a much more capable camera such as the Nikon D750, which is still a very old camera itself!) is so capable I can understand if photographers are not necessarily upgrading (or perhaps only upgrading their main camera, but not their backup camera). As they're running a business and can't just waste money unnecessarily. Scott Choucino talks about this a lot in his youtube channel, I highly recommend subscribing:

Don't understand why a Canon 5Dmk2 is on your list of considerations??!! And I'd add to your considering the Panasonic S5, and Panasonic G9 (maybe even the Panasonic G85 for cheap). Plus the Fujifilm X-S10

Yeah for all the horrible insane prices increase we see, with pricey cameras like the Z9, FX6, or R5C etc, we've actually never been living in better time ever in history for filmmaking! As cameras such as the Panasonic S5 / GH5S, Z Cam E2-M4, Pocket 4K, Fujifilm X-T3, all offer amazing image quality for very very low prices!

Well, the Panasonic S5 already has the Panasonic DMW-XLR1, which is pretty much the best OEM accessory for audio for a hybrid. And doesn't overheat. Just need Panasonic to add ND filters to it now.... pity the Panasonic BS1H didn't have ND filters, as nobody will ever be shooting photos with that!

The Canon C70? The same sweet dual gain sensor as the C300mk3 The C70 is definitely the path I'd go if I was tempted to the evil dark side of Canon. Worked with it for a couple of weeks earlier this year (by "worked with", I of course mean I was the sound mixer on a shoot with it).

But does the Pocket 6K Pro tempt you? With its NDs. (I wish there was a Pocket 4K Pro! That would be my dream camera from BMD which I could realistically have a hopefully high expectation of them releasing this year)

oh it was merely one of most recent example I'd read today I could instead refer to say the plasterboard shortages and price increases instead, is so extremely bad that it is making regular front page news here in New Zealand! Or the price of lettuce? (the shortages have got so bad it was in the news today that KFC was substituting some lettuce in their burgers with cabbage instead!!) Price increases and supply chain delays are everywhere, it isn't just the Nikon Z9.

It's a worldwide problem for many many products, both supply chain shortages and inflation hitting hard. Look at these prices increases I just saw announced today for fertilizer in New Zealand: Makes the +1500 euro premium to pay for a camera seem like a pretty trivial increase in comparison. At least you're not seeing over 1500% price increases!

ARRI has the top five places (and more!). RED squeezes in with a last place.

I have been expecting this to come out as a stand alone product, I wonder what price point it will be at?

yeah earlier this year I worked on a feature film shot on an ARRI Mini, but the snorricam rig was using a BMD Pocket Likewise Cowboy Bebop (NZ's biggest ever Netflix production) used Pockets for a stunts day I mixed.

I think the difficult part with ALEXAs is just all the factors adding up, by itself any one isn't a deal breaker though. But they are: No easy access to quick audio changes. (not true for the AMIRA) No built in ND filters. (not true for the Mini cameras and AMIRA) The heavy weight, which in turns makes all the support equipment heavier too! (Although the Mini cameras are again of course smaller, and the AMIRA is somewhat slightly slimmer than the full size ALEXAs by a tad) Needing a human chain of batteries supplied to it to keep it on and running (I exaggerate a little! ha, but yeah, the battery demands are quite a bit heavier than anything you'd be used to). No info/controls on the operator side (except for the AMIRA). So the ALEXA 35 with the Sonosax module mostly addresses all of those points, except for the battery demands which has got heavier than ever.

Sure, we as humans are attached an extra special meaning onto 24fps over 23fps Just like we've attached extra special meaning to the resolution of 4096 × 2160 But fundamentally, there is no great technical difference between 4096 × 2160 and 4000 × 2100 Just like there is no great core fundamental difference between 23fps and 24fps Let's step away from filmmaking for another example instead, let's say this was the early days of electrical vehicles. If someone created an EV with 230km range, and then you asked for an EV with 240km range instead would you response with "no way, a leap from 230km to 240km?? That's would require a total technological revolution, worthy of a patent!" Or to view it from the other direction: if someone tried to patent EVs which go 240kms or further, should that patent be given? And if it was granted, would a prior car that could do 230km be sufficient to invalidate it?

100% relevant, as it doesn't take a genius with a crystal ball to one day see that offboard recorders would get integrated into a camera body itself. That's not at all worthy of a patent. Exactly! 16fps (and later on, 18fps) was the standard fps for 8mm films. Again I'll say the difference the between 23fps and 24fps is pretty arbitrary, any significance you attach to the magical number "24" is sociological. 24 is not filled with special mystical properties that makes it inherently totally different to the number 23, or the number 25. What if some company had a patent for exactly the same but only 24fps and not anything higher? Could RED then have got a patent for "25fps and higher"??? Did RED says their patent only applies for clips of "2hrs length" (or longer), or some other arbitrary length or longer?

Yup, people's actions during a shoot are very different when the post production process will be using people who are charging $100+/hr vs "someone is going to do it for free". You don't have such a haphazard approach to filming.