IronFilm

The FAN-001 calling accessory is an interesting idea. Acknowledging that under very hot conditions and long recording times, there will be issues. But also being ready with a solution for the user! An easy to integrate fan. Seems like a somewhat smarter idea than building it into the camera itself? As stills photographers don't want that! Neither do the 99% of us who don't shoot for hours and hours in the Sarah Desert. But they have this slick looking "fix" for those who do care about this. Even has internal ProRes like a Blackmagic!

I agree, the Fujinon XF 18-120mm F4 LM PZ WR Parfocal Hybrid Lens is more exciting! First ever collaboration too between the two branches of Fujinon vs Fujifilm.

Yeah I worked on a Netflix show where they had the VENICE head on a gimbal for the cam op, while a grip walked closely behind with the VENICE body in a backpack. But anyway, ARRI did this before Sony!! 😉 With their ARRI ALEXA M

You'd be amazed how cheaply ARRI cameras can be sourced for by desperate indie filmmakers. I mixed a feature film a few years ago which got an AMIRA "for free" from Panavision. Did a few months ago the sound for a feature film which used an ARRI Mini for all of it, not sure about the exact cost, but based on what I know then I wouldn't be surprised if that was obtained at no cost as well. In fact, I'm nearly certain about that. Plus even if you're paying full rental price (no ULB indie film should ever be doing that, you should either get better connections or/and shoot on an URSA Mini Pro / Pocket 6K Pro instead. Or FS7/FX6/Varicam/etc) then if you're shooting it in a couple of weeks (which an indie film should probably aim for, and not drag out the filming) then that's only $5K of camera rental. What's the best RED you could buy for that? An old RED Epic Dragon perhaps?? Nah, an ARRI is streets ahead better than that.

I'd be willing to go for a 50/50 bet though that the Nikon Z6 mk3 (they're currently up to the mk2) will have 10bit internal.

Because a C100 was vastly cheaper than the F3, it was never a competitor to the F3 anyway. The C300mk1 (and Sony's own FS700) were the nearest competitors to the Sony PMW-F3 back during that era.

Yeah, that was kinda my joke. The Nikon D2H for instance came out years before the RED ONE, and the Nikon D2H had voice memo feature. https://en.wikipedia.org/wiki/Nikon_D2H

Eh, when you look at the truly high end, the movies which win Oscars and such, then RED is very much underrepresented vs ARRI. And when you look at the overall big big picture of films that are shot (not just only the ones which win Oscars, but say look at everything that is shot with a budget of more than say $5M or $10M), then once again, RED gets shot on "lots", but still RED is very much underrepresented vs ARRI. I do wonder if it is a little bit of a regional thing, if you have a local region which was very slow off the mark to go from C300mk1 to FS7, then all you need is a few productions to decide upon C300mk2 and thus Canon keeps their grip on the local productions for another generation, then no surprise if now in 2022 that C300mk3/C500mk2 are the preferred cameras. But some other part of the world might have moved quicker away from the C300mk1 which was so popular for a while, to the Sony FS7 (which came out long before the C300mk2), and then if FS7 is everywhere, you'll find it more natural if now in 2022 people are using a FX6/FX9 over anything from Canon.

I did broaden the statement to say not just high end DoPs but "even just your average run of the mill mid tier mid career professional DoP", and if we're not talking about only REDs which are the latest Helium/Monstro/Gemini/etc but even Dragon/MX sensors as well, then FX9/FX6 (and even FS7) are definitely potentially part of the same general conversation. I agree, Netflix's 4K demands has pushed up the usage of VENICE/Varicam/RED. Is why ARRI had to come out with their LF cameras! (& I think now ARRI is back on top as the most popular choice for Netflix commissioned movies/series?) Will be interesting if VENICE2 / Varicam (where is the successor??) / Raptor etc will be able to grow their market share for their respective companies, once the ARRI S35 4K is out. I am curious, what does a VENICE rent for vs a Mini LF or Mini OG, not sure the exact prices locally, but I looked it up on Lens Rentals and it says: US$2.5K for 7 days for Sony VENICE (slightly more than $2.5K with all the firmware goodies enabled, slightly less than $2.5K if it is without): https://www.lensrentals.com/rent/sony-venice-6k-camera-w-ff-hfr-and-anamorphic-licenses https://www.lensrentals.com/rent/sony-venice-6k-digital-motion-picture-camera Sony VENICE 2 is $3.3K for 7 days: https://www.lensrentals.com/rent/sony-venice-2-8k-digital-motion-picture-camera (for reference, the FX9 goes for $564 and FX6 for $355, mere pennies in comparison! But then again I'm sure deals can be got very very cheap for a VENICE. I know of a TVC I worked on, that was going to shot on the DoP's FX9, but the rental house threw in a VENICE for free with the set of anamorphic lenses they rented) ARRI Mini LF is $2.5K for seven days: https://www.lensrentals.com/rent/arri-alexa-mini-lf-body ARRI Mini is US$2.3K for seven days: https://www.lensrentals.com/rent/arri-alexa-mini-body Hmmm... doesn't seem like there is a budgetary reason to go for Sony VENICE over ARRI after all?? (unless, as I mentioned before, Rental Houses are chucking out some insane deals, even lower than the listed prices. Which is very possible?) Panasonic Varicam LT is silly cheap, $683 for the body for seven days: https://www.lensrentals.com/rent/panasonic-varicam-lt-4k-s35-pl-mount Sony PMW-F5 is $1K for seven days (F55 is $1.9K/7days): https://www.lensrentals.com/rent/sony-pmw-f5-cinealta

Easy enough to find a Nikon Z6 for sub $1K: https://www.ebay.com/sch/i.html?_from=R40&_nkw=nikon+z6&_sacat=0&_sop=15 But yeah, if only they did a firmware update for 10bit internal then the Z6 might be untouchable for its price!

The C100 was very good 1080 8bit 420 for its time, but 1080 10bit 444 (or even 422) is going to be better when you really need it. But for me, I didn't like the C100 (and liked the F3) for all the many other things the C100 lacked, such as no SDI and no TC. Pretty big deal breakers for many.

Fair enough, and besides we're probably just now talking in circles and splitting hairs. I don't disagree that the AF in the FX6 and FX9 is nice, and useful at times for certain cases. Just I am saying that people attack Panasonic for their AF performance too eagerly, and overstate the overall importance of AF. So yeah, we possibly don't broadly differ in opinion radically so, just in degrees. Or maybe I'm turning into a grumpy old man, "it was good enough in the past, it is good enough for you now!"

Does it??? Not compared to how often ARRI and Sony are used. Think Cowboy Bebop is the only production I worked on which used the Panavision DXL (maybe it was the DLX2, it had only just came out). You'd get even more work with the ARRI S35 4K instead.

The point was that for many years (until quite recently) the FS7 was the mainstream camera for all low/medium budget shoots. And is still very relevant and used today in 2022. The specs are still 100% relevant and the benchmark to compare against. Against that benchmark then Panasonic mirrorless AF does very well indeed. Is that statement also true for all the many FX6/C300mk2/C300mk3/FX9/C500mk2 users who don't own any autofocus lenses, are they also "accepting their fate"? Oh wait, no they're not, they're choosing to not use autofocus. Maybe it is less of a big deal than you think it is.

Can't hold a flame up to RED WEAPON MONSTRO!! With skulls on it. It is kinda crazy how many people outside the professional sphere (which means unfortunately, a large chunk of the indie scene) are totally unaware of ARRI. Yet will have heard of RED. As your random hobby photography enthusiast, and odds are high they'll have heard of RED, but odds are low they'll know about ARRI. Of course it depends on how you define "bottom of the barrel" (of course nobody is going to count a flip camera as part of our discussion! So that can't be what "bottom of the barrel" means), but I reckon @TomTheDP is right. For a high end DoP (or heck, not even a "high end" DoP, but even just your average run of the mill mid tier mid career professional DoP) the main topics of conversation will likely go: #1 ARRI "something" #2 Sony "something" (either VENICE, or perhaps FX9/FX6 if the budget is tight or the shoot is more doco/ENG/R&G/OMB. Or perhaps even the old FS7 workhorse, if the budget is very small) #3 RED "something" So yeah, RED is at the bottom of that ranking. (sure you could argue Blackmagic or a mirrorless camera is the real "bottom of the barrel", but often they're not even part of the conversation)

It is a little unusual for me to work on a film without a 1st AC who doesn't have a wireless focus system. As they've been so cheap, that even "no budget" indie/student film sets have in recent years started to almost always be using wireless focus now. (at least the ones I'm on) But even in the days before cheap wireless follow focus systems, and even before gimbals were common, it would still be doable for the steadicam op on low/no budget shoots to work with a manual focus lens without a 1st AC pulling focus. They'd just prefocus and then take care to always keep the same distance between themselves and the focus. That's kinda the point, the latest Panasonic MFT (or L Mount cameras) have autofocus which puts the Sony FS7 to shame! Eh, is pretty much the common norm for all discussions about a new Panasonic release to have a "but their autofocus..." and about how much better DPAF is (not saying you do it! But you'd agree it is a common tangent found on Panasonic discussions)

Damn, dropping quicker than I though, already well under sub $30K Just the bare body? Anything else? Here comes sub $20K Minis!! Because colors, dynamic range, and reliability all matter far more than resolution or raw. (although you can shoot raw with ARRI too) lol! A ridiculous analogy, but accurate. Because their patent is ridiculous. It was excessively broad now, and it was then as well. When people were already going over 50mph with nonwheel things, and wheels were already being used here there and everywhere, then it is a no brainer to imagine one day people would go 50mph with wheels too. RED essentially just took the commonly known JPEG-2000 compression standard and went "oh hey we want a patent for doing this at 24fps"

With bonus audio! For err... note taking

It is because if people admit autofocus is not that important for some folks/uses, then they'll be forced to admit that Panasonic would then be their #1 choice. And Panasonic has been so the #1 leader for years and years.

We were shooting this week on an ARRI Mini on a gimbal. Last time I checked.... the ARRI Mini doesn't have autofocus. I think too many people think because Panasonic's DFD AF is second best to the competition's PDAF that mean it must be "bad". Panasonic's autofocus is still pretty darn good, and people would've killed to have had that level of autofocus performance a couple of decades ago.

The AMIRA has internal NDs too. One can dream! Might take 5+ years for that to happen

Of course if you are not counting only stills cameras, then there are heaps more: such as the Sony FS7 & Pocket 6K

I am not surprised, the Mini is their most popular camera ever. And the Mini LF is the hot camera for them right now which everyone was wanting. No surprise here, would be more surprising if it didn't. Both the Mini and Mini LF has built in NDs. (so too does the AMIRA, but that's not so relevant. Oh, and the ALEXA LF "kinda" has internal NDs. They technically have them, but not in the sense you think of them: https://www.bhphotovideo.com/c/product/1389604-REG/arri_k4_0015600_alexa_lf_fsnd_2_1.html ) I know you're joking, but there are people shooting weddings with REDs all the time. Give it another ten years and we'll see people shooting wedding with the ARRI S35K 4K sensor as well. I'd be surprised. That's an extreme low end guess, I'd say more likely half way in between there and double the price. (probably very easily close to double your guess once you add in accessories / media / batteries) Likely in a city such as Auckland (largest city in the country, but still a small city by international standards with one and half million people) then all the rental houses of any substantial size will get it eventually. But you could count on your fingers how many DoPs will own one, and probably a similar number of production houses would own it. Sure, it is likely zero EOSHD regulars will buy one, but probably quite a few of us will end up working with it at some point in time or another. I'm 100% certain I'll end up working with the new ARRI within the year. That's standard operation procedure for ARRI, chase image quality and not resolution. Very likely the image quality hit of an eND is why they didn't use them. The people at that level can be very picky about that.

From what I've read (and what we can see too in the pictures), it is bigger than a Mini LF (which is already a bigger body than a Mini!! And the Mini itself is a very big body compared to Z Cam / BMD Pocket / S1H / FS5 / etc etc) but smaller than an XT (err... a disturbing big camera to be comparing it again!). I wouldn't be surprised if within 5yrs they release an even smaller body than the one they're releasing next month. (and/or ARRI's own version of the Rialto system, like they did before with ARRI's M)