IronFilm

This. If you are starting out then just get yourself the Sony FX6. It's a no brainer decision. (unless it's too expensive, then go for the FX3, or if super broke, then the Sony FX30. Or if buying secondhand then maybe a Sony FS7 / F5 / F55). Anything else (S5mk2 / Blackmagic / RED Komodo / X-H2S / Z8 / etc ) is just going to massively limit yourself to only working in the indie filmmaking space or in house productions or music videos or weddings and such. (with the possible exception of maybe the C70 / C300mk3 / C400, depending on your local market conditions. In some part of the world they're not even on the radar, but in other parts they're playing a very strong 2nd place to Sony)

Possibly they're a non-english speaker using ChatGPT to translate their thoughts into something readable for us. I've been doing that a bit lately myself when I've been needing to post in another language! As I find ChatGPT to be more accurate for translations (in either direction) for my purposes than using Google Translate.

What's your total budget? As a secondhand Panasonic GH5S (an older MFT camera, but damn good low light for its time! Note: this is a totally different sensor to the GH5! Don't mix them up) with a full set of f0.95 primes plus a couple of COB lights, couple of 1x1 panels, and a few LED tubes with of course all the stands/modifiers you wish, will cost a similar amount as a new Sony FX3 with a couple of zoom lens and nothing else. Yet that GH5S package will out perform by a large margin the FX3 when you're filming narrative shoots outdoors at night. As can most modern Super 35mm / APS-C cameras! Even good MFT cameras (GH5S / GH7 / P4K / E2-M4) can handle these tasks with ease. Even if your particular location you're using doesn't have any ambient light (or only a very small amount of it), you can still have the possibility of this ambient light existing to drive the motivation of your "artificial" lighting. Could there be a street lamp out of frame that's throwing light onto your subjects? Yes, so place a light there to emulate it. Your scene will look a lot better because of it when done right.

I remember being very impressed with what Brandon Li shot years ago with his Sony RX100 that he put up on vimeo: https://vimeo.com/rungunshoot But I can't seem to find it again. He likely removed remove, like he did with his Sony NEX-5N videos (probably because of the people who were in them, and didn't want his brand image associated with them any longer): https://web.archive.org/web/20130215084133/https://www.rungunshoot.com/the-350-docu-filmmaking-kit-depreciation-is-wonderful/ (ha, I see my old comment there from 2013! Forgot I wrote that)

Wait what... you were shooting for a while professionally with just a Sony RX100V? 😮 Truly we engage in gear overkill... relative to that! (or do you mean just as a secondary camera to your primary?)

Seems that you really want something lighter/smaller..... have you consider Nikon 1? 😉 (am kidding, am kidding)

And now Meike has released an 85mm lens for L Mount: https://meikeglobal.com/products/meike-85mm-f1-4-auto-focus-lens?variant=45431946903780 Rather "expensive" at $499!! Hopefully with time it will see a big price drop, and/or a cheaper f1.8 version

Sure, the photographs reflect the "individual's life experiences and vision" even though the actual content (the photos files that the prints are made from) is made by a machine (a camera). Same will be true for AI generated art of the future, the "AI Art Prompter" will be using their "individual's life experiences and vision" to create the art just like a photographer does with a camera today. Sure, that might still remain, but the other 99% of the market for "hand made videos" could be gone. Sure, but those photos have zero commercial value to anybody else other than the people involved in taking it. (and perhaps their close relatives as well)

Wanted to add "...without having to compromise in some other area" but the editing time ended seconds before I could submit.

Yes... but also no. What if a person wishes to spend less than $200 new? (or the equivalent lower amount, if buying secondhand) Let's also pretend too that 24bit matters to the user. Is there anything better than the DR60D? Nope! What if you go up to $300? $400? Nope. (assuming you don't need the extra channels of a DR70D) It takes spending six hundred dollars before you truly get something better than the Tascam DR60D I'm afraid. For some people that's "not that much more money", for others that's "a lot". Handheld recorders though are poor ergonomics for on set usage. But yes, I can't help but wish, what if Tascam had put the guts of the X8 instead into the form factor of a DR701D / DR680 / HD-P2 instead??? Ehhh... that's true for the H Series from Zoom. But Zoom has been doing fairly well in continuously improving what's on offer with the F Series. (but I do wish a F4n existed! And I wish there was a big leap in improvements from the F8 to the F8n Pro) Sadly Tascam has discontinued most of their recorders from the pre / early F8 era. The only field recorders they've kept are the Tascam DR60D (the mk2 version) and the DR70D. Wish they'd kept the DR701D, it could have undercut even the cheapest of the Zoom F Series (the F6). Perhaps they could have released a DR701D mk2 that added the buzzword of "32bit" but otherwise kept mk2 identical to mk1. Or maybe a Tascam DR680mk3 that was identical to mk2 but added timecode support. Or kept around the Tascam HS-P82 but kept on slashing the price, if they priced it at say US$2K then it maybe could have still competed in a niche against the Zoom F8n Pro and Sound Devices MixPre10. Or updated the Tascam HD-P2 to a HD-P2 mk2 (or perhaps it should be an "HD-P4", as I'd imagine the mk2 should simply add a couple more channels of recording to make it relevant in the modern world of today. As two channel recorders are not much use now). Panasonic is kinda the exception, they don't prioritize audio, but at least they usually treat it a bit better than some other brands do. Such as Canon, who still don't have any XLR accessor yet at all for any of their mirrorless cameras.

The preamps are great for its (very low) price. Much better than the Zoom H4n, or DSLR preamps.

I'll send them some angrily worded emails telling them off! 😉

If they're old they might have merely half the battery life of what they had when new. And Black Eneloop Pros will themselves give perhaps double (or more!) the run time vs brand new lower quality AA batteries. Get a better charge?? I use a ISDT N24 (honestly, I should probably get a second one of these... a 24x AA charger isn't big enough for me!). https://www.aliexpress.com/item/32959506834.html They're pinching pennies, and being pound foolish. It's so very very expensive in the long run. Not to mention it works worse on set. Just get solid quality rechargeables! Zoom F Series and MIxPre Series has been crushing Tascam I'm afraid. I'm sad Tascam is AWOL 😞 Want to see a Tascam DR680mk3! Or Tascam HD-P2 mk2, or HS-P82 mk2

Are you Black Eneloops Pros? I wouldn't use anything else. Been a long time since the Zoom F4 was my daily driver, but I vaguely recall being able to get through to maybe nearly only lunch time or something like that if only on internal batteries. Because the Zoom F4 had exceptionally low power demands. Not that anybody should ever be running a field recorder/mixer without a BDS / external power!! That's just normal common sense for how to use them. The AA batteries just exist as emergency back up batteries (such as when doing a hot swap).

There is a Sonosax M2D2 on eBay I've been eying for a while, but I just can't justify the cost vs the AJA quadboxes I already have. Am glad ARRI went with Sonosax for the ARRI 35: https://www.arri.com/en/camera-systems/camera-components/aem-1 If you're using V Locks, get yourself a D-Tap to USB-C cable?

I thought it was kinda a genius marketing move. As making a short film to a high level is expensive. But this way they spread out the costs via a bunch of supporting sponsoring companies, and got out a bunch more content pumped out vs normally just the one or two videos made.

Everything comes at a cost. Look at hosting costs when you demand 99.9% uptime vs 99.999% uptime vs 99.9999% uptime That increased reliability comes at a very very hefty cost.

Reality TV exists as a genre because it is cheap (& was union busting) If acceptable level quality TV series can be made for 5% of the cost using AI, then I'm skeptical if showrunners will be making so many Reality TV productions as they are now.

The Zoom F3 also has much better preamps than the H4essential

Every system needs a cheap nifty fifty! Either for the beginner starting out, or even just as a back up lens for someone more established. That was one of the issues with L Mount, their lenses are too high priced. But now one of those pieces of the jigsaw has been solved: The Meike 50mm F1.8 Full Frame Auto Focus L-mount Lens (already available in Z Mount and E Mount) https://meikeglobal.com/products/50mm-f1-8-auto-focus-lens-for-portrait-photography

damn, I didn't realize quite how many of them there are: ZV-1mk1, ZV-1mk2, ZV-1F (plus all the different colors/kits) It is perfect market segmentation, is the ZV-1 not right for you? That's ok, we've got the more expensive ZV-E10mk1! Still not enough for you? How about the ZV-E10mk2 or even the ZV-E1? No? Maybe the FX30 or FX3 then. And so on and so on, all the way up until they're then getting the Sony VENICE2! ha

Voice Over Artists (and those Sound Engineers who are recording them) as so dead as a dodo right now. Yes, but what is the size of that room? 15% of the current/past market for them? Maybe then it's still worthwhile discussing the role and future of human workers in this market. But what if it's just 1% of the past market for them? (As I expect will be the case for Voice Over Artists, it will be an extremely small niche usage of them) Then it's pointless to discuss about the future need for human made products, as for all practical purposes it won't exist. (even though it technically "still exists") Maybe the female version of Jackpot, Campaign, Sleek, or Hype would match better what you're looking for.

That's probably regarded as being at least at "the level of" of a casual semi-pro user, thus they "should" get a Sony FX30. So maybe at most a dozen minutes talking plus a dozen minutes of not recording (but still turned on) afterwards? That fits well inside the overheating specs for the ZV-E10mk2, and is the type of intended users for it. Although on a narrative a camera might easily go 11hrs without ever being turned off for even one second. I don't mind there being "recording limits" if you have a way to override it, such as in settings choosing "High Temperature" allowed.

I guess for their use case (vlogging, so mostly short clips of a few minutes at a time) of Sony's target market then they think stats like this (getting nearly a whole hour or more in most cases for 4K 24fps) is perfectly fine. If you need professional reliability then there is an easy solution: spend twice as more and get a Sony FX30

The current state of the art market proves my point. 99% of people are happy to not have original hand made art work hanging in their homes. Instead they'll have machine made art. (photocopies / prints / photographs / etc) Or even... nothing at all.