IronFilm

Agree with the first half of the statement. But the Panasonic S1H camera, even though it is very good value, is a high end camera. (so too is the S1R, on par with other high end cameras such as Z7/D850/5DRS/a7Rmk3/etc)

ha! An apt analogy 🙂 Nah, not really, and if so.... only for their cine cameras!

But will the autofocus performance on the Panasonic S5 be just as good with the Sigma lens as the Panasonic 16-35mm f4?

That's because the C100 still output 8bit over HDMI! (might have been 422, but could have still been 420, I forget) Not much surprise that the HDMI recording from the C100 wasn't greatly better.

FX3/FX6 are listed as part of Sony's cinema line up. And the FX6 outputs 16bit raw, just like the FX9. But also for many productions the internal high bitrate XAVC-I of the FX6 is more than good enough.

Lecia gives their branding to their L Mount Alliance, that adds a lot, and gives a lot of legitimacy to the L Mount as well. Imagine if Lecia wasn't part of it? Who'd want to put their trust into a brand new mount which only had cameras made by Panasonic?? (oh, yeah there is Sigma too, a lens company who is also making their weird cameras.... nah, that doesn't help) Panasonic is massively better off thanks to having Lecia (and Sigma) part of the team, as they're in a tough fight against the giants that Nikon/Canon/Sony. (plus of course Fujifilm is providing strong competition a step down at APS-C, and a step up at MF)

That showcases the benefits of having an underlying E Mount which the VENICE has! They can use the very small E Mount lenses you see in that BTS. (although I'm still kinda sad that FZ mount got abandoned, which the F3/F5/F55 used 😕 I understand why though)

FX3 is a bit of an odd camera to me. If you're professional user, then for "only" two grand more you get the vastly better FX6! And only weighs 250gm more, and is barely bigger. It is just a complete no brainer, get the FX6!! (once you average it out per shoot, if you use it for a few years, then it is only costing you pennies extra) If you're not shooting for work, not getting paid, then it makes sense to go for the cheaper option. But then why not go even cheaper and save $500 with the a7Smk3?? You'll gain an EVF, and your trade off is a small risk of overheating (not a big deal on a non-professional shoot). Although, I would argue even spending $3.5K on an a7Smk3 is kinda crazy for a nonpro.... and should get say a GH6/X-H2S/X-T4/S5/Z6/P4K/E2/etc instead! But hey, people spend all sorts of silly money on their hobbies.

I think Luminaries is the only set I've been on where I saw it used, which every time there was a gimbal used then the grip followed behind with the VENICE body in a backpack. Even the bare bones ALEXA Mini is kinda big. If you need to go into a VERY small place, it can be tricky. And for gimbal usage, a Mini is very doable and commonly used, but if you want to do lots of long takes on the roll without killing the operator then the VENICE setup I mentioned could be better? Maybe they think the FX3/FX6 is the "smaller VENICE"? (of which they are waaaaaaaaay smaller!) If you want to rig up a dozen crash cams, then the FX3 makes sense.

Even when shooting with spherical lenses, open gate is handy for all those social media marketing shoots.

Fujifilm's best answer to the Nikon D500! (which the Nikon D500 is still the best sports/wildlife photography camera for anybody on a budget. Edit: then again, when I look into the specs for the X-H2S it is very impressive. 15fps mechanical shutter for raw images, with a 140 buffer for raw. Damn! That's good. I want to see a head to head comparison of the X-H2S vs the Nikon D500)

Yeah you can often find the hospo folks have their own night outs on say a Tuesday evening.

5 minutes into this ARRI presentation video it goes into details about the Sonosax module: Audio normally gets ignored so much by manufactures, nice to have ARRI come out and make claim "this is the BEST sounding audio in any camera available today".

The other downside is that the Ninja Star is only 1080, so you'd need to use a bigger/heavier/expensive recorder to get 4K. But then again @Dan Wake didn't mention wanting 4K??

Fascinating reading the FD Times report on the ALEXA 35. Seems all past cameras they took a waterfall approach to development, but the ALEXA 35 was the first time they used agile development. https://www.fdtimes.com/pdfs/free/115FDTimes-June2022-2.04-150.pdf

ALEXA LF and the Mini LF can use the new Reveal Color Science as well. I wouldn't be surprised to see eventually see a LF mk2 based on this new sensor, but I am however doubtful that will be any time soon. Could easily be five plus years away. They'll probably put out a "35 Mini" (Micro?) before that, or a headless version like the ALEXA M (or Sony's Rialto system) for ultra tightly compact shooting. Maybe a live broadcast version as well?

Then why would they release the File transmitter Grip which costs US$1K? (the Fujifilm FT-XH) That clearly indicates they think there will be a strong interest in the camera from photographers. Or perhaps more likely, the FT-XH will also be compatible with the high resolution Fijifilm X-2H as well. (40 megapixel APS-C camera!)

I did a detailed a long look into the audio aspects of the ALEXA 35 over on jwsound if anybody wishes to read that: https://jwsoundgroup.net/index.php?/topic/41343-new-arri-super-35mm-4k-camera-has-been-released-alexa-35/ I think you'll be in for a long wait. In the past ARRI had the AD convertors and the sensor be two separate boards, thus they could more easily use a couple of sensors together for the LF. But now for the ALEXA 35 the two separate boards are gone, and it is all on a single board. oh yeah even I could probably get an invite to go along to the event showcasing it locally, but that video he uploaded was much more than just going to an event and being allowed to film the camera. Seems he actually shot with the camera itself as well.

Was so annoying having to add on the EVF to make a menu change, or even just to simply check the timecode! As often the build wouldn't have an EVF, such as if on a crane or on a gimbal. Hated the placement of the timecode input too on the Mini! Right there at the back, so awkward. Now they've got a battery plate there isn't, as it should be. The ACs didn't like it either, as was tricky for them to get media in and out of the Mini. Wow. What a world we live in! Even ARRI is loaning out their new camera release to YouTubers, harnessing the power of social media promotion. You expect this from Sony and Canon, but not ARRI. Shows the importance of social media marketing now at all levels!

We can expect to see many many of these AELXA 35 cameras on film sets in the future. Assuming they haven't dropped the ball here (and I highly doubt ARRI has), then the ALEXA 35 is going to be just as popular as all the past ALEXA cameras. Maybe even more popular, if that is possible, thanks to the phenomenal 17 stops of dynamic range the ALEXA 35 has. (& ARRI always measures DR conservatively) Seems they've put a little more thought into audio than they have before. Has built in scratch mics like the Mini LF has, and has optional accessory backs, such as this one made by Sonosax: Hope this Sonasax audio module ends up becoming the industry standard we see on all ALEXA 35's rented out!

Not just Panasonic doing open gate now for mirrorless! The newly announced Fujfilm X-H2S has open gate, I'll be better more Fujifilm cameras such as the X-T5 will get open gate as well.

Really? Is it that bad? I'd have assumed at least within the L Mount Alliance that performance would be very good if you wanted to mix and match.

Only the Canon R10 is with their budget, but both the R7 and R10 overheat. (although it seems maybe they're harder to overheat than some other Canons in the past, but they still overheat! BTW, with the Fujifilm X-T4 you might get overheating issues with the X-T4 when recording 4K 60fps which you'll need to work around, but if you're doing 4K 30fps then the X-T4 will never overheat on you. The Panasonic S5 though is rock solid for recording at any resolution/framerate)

If you included MFT sized sensors (which are really only barely smaller than APS-C) then this question is easy to answer: Secondhand Panasonic GH5 / G9! (you might even include the Panasonic G85 if you a "good" 8bit codec you feel is sufficient, as you'd still find it to be better than your 70D codec. But of course nowhere at the level of the GH5 / G9 10bit codec) Otherwise, you're completely out of luck! If you're going to ignore MFT, but want a camera which won't overheat, with IBIS & 10bit then you'll have to spend more to go with: Panasonic S5 or Fujifilm X-T4 (or say the X-S10 which is sub US$1K, but is 8bit 422 but you could pair it with an external recorder to get 10bit 422)

Also. the FT-XH File Transmitter might excite some photographers? But at US$1K I doubt many if any of us in this forum will be getting it! As we're videographers/filmmakers.