IronFilm

ha, of course Canon does! correction: "so that leaves you with: line-skipped uncropped 4K 30fps." Thanks for the clarification

Yes, if these new Canons live up to even 80% of their promise then Sony APS-C is dead in the water, and Fujifilm has a real fight on their hands.

The Mini is easily US$30K+ secondhand. So it still has a looooong way to drop! Could literally fall to half its current price and still be outside the reach of over 97% of the forum users here. And the ARRI Mini shots internal 4K, the fact it has a subtle uprez and isn't "true 4K" won't matter to some people. (I mean, if you're on a budget, and your output is to YouTube to be seen on smartphones, do you really care that much? You'll choose the ARRI Mini if the rental is a lot cheaper than the latest ARRI model)

I agree with you that in the balance of probabilities, that it is likely ARRI pull off successfully this transition over to their new sensor. And ARRI will do everything in their powers to make sure it is succesful. But there is still is a risk, the greatest risk posed to the ARRI digital cameras so far in their history. Yup, it is rare to see an ALEXA Classic for $4K on eBay, but the release of the ARRI 4K S35 sensor will make these deals become more common place.

Purely because of the FF for stills? Maybe once they release dedicated APS-C lenses that might help tip the balance.

Canon might have released their first ever camera which tempts me. Maybe. (let's see how many hidden gotchas there are... ) But my will power shall remain strong to resist!

An uploaded then deleted picture (probably this is the body! Got leaked): This is ARRI's first ever new digital sensor since their original one they've been reusing over and over and over again (with great success of course!). If they don't drop the ball on it, then the ARRI Mini S35 4K is going to insanely HUGE! (on all sorts of productions) But if they fumble the ball, then this might be the best chance Sony & RED (maaaaybe Panasonic?? They've been a bit AWOL, where is their Varicam LT mk2? Where is a higher end pro version of the BS1H from their Varicam division?) will have in the next decade to take away the #1 top spot from ARRI. Eh, their new range of LF cameras were already needing a 24V power draw? At the level this new ARRI camera operates, the batteries it needs won't be a deal breaker

Is being demoed to Australian cinematographers in another fortnight in Sydney (I presume there must be many more of these happening world wide).

That's the BIG news! Sony isn't going to cripple their non-a7S cameras? And give them the goodies too. However, take that with a grain of salt, as the link which Andrew tweeted out yesterday suggests it is not going to be all true: https://www.sonyalpharumors.com/these-a7riv-specs-are-likely-not-correct/

Makes it a pain to mix and match REDs from different eras in a production But mixing and matching an ARRI Alexa Classic with an ARRI Mini LF?? Even in the same shot? No big deal A pity the Sigma FP is such a pain to shoot with.

The Panasonic BS1H has no latency on their SDI output? I guess the BS1H is a way you could get some of the benefits of a cinema camera, at the low price of a S1H with its great image as well.

I've got a friend who loves the look of his RED ONE M! (yes, the M, not the MX) There is a taste to suit everyone.

I saw that tweet back when Andrew posted it, bravo on entering into a whole new world! Not sure if it is a path I'd personally take though (but then again, I don't know how much of a steal he got it for?? And a certain point you just can't say no!). As I keep an eye on RED prices now and then. RED ONEs have for a while now been ultra affordable, but they're such extremely heavy beasts! (and suck up power & media) That's why all those years ago I went with a Sony PMW-F3 instead, as my personal experiences with RED ONE meant I didn't want one myself. RED Scarlet MX have finally got to the point they're ultra cheap too, but they're a bit too crippled vs an Epic. Plus the MX sensor is so old. (who wants to go back to always shooting at 800 ISO? And never going higher. Not me. And arguably you should even still shoot 320 ISO, if you want a cleaner image, say if you doing green screen) Thus I feel you have to look at the bare minimum of an DSMC1 Epic Dragon (or newer) But you could buy a brand new Sony FX6 / Canon C70 for that price! Or an URSA Mini 12K. Or if looking at secondhand, a Sony F55 or original ALEXA. Or a Panasonic Varicam LT / Canon C300 mk3 is also in the same ballpark. And if you start looking at the more recent REDs than that (DSMC2 bodies), you're then reaching into ballpark price territory for an AMIRA, or Sony FX9, or Canon C500mk2. Is a personal preference thing, but I'd happily take any of those other alternatives instead.

Yeah wedding guests have totally different standards/expectations than what even a random small business owner for a small corporate video will have in mind. There is a saying in politics: "explaining is losing" Is true in a lot of other areas of life too. Finally, a job for me!

Get an external monitor and a V Lock battery and then you're sorted! 😉 Seriously, it is a good thing for you too. As a monitor helps with shooting the scene (noticing small details you might have missed before you hit the edit afterwards), and a V Mount battery means you never need to worry for a second about battery usage all day long.

The Panasonic L Mount mirrorless cameras are compatible with the GH5's Panasonic DMW-XLR1 XLR microphone adapter as well.

Feel that ARRI would have liked to have released their S35 4K camera a lot earlier if they could have. And that the ALEXA LF and Mini LF were simply stop gap measures aimed to stem the losses of productions switching over to RED/Sony/Panasonic because they had true 4K cameras and ARRI didn't. I thought they were ready to go with their plans for a new S35 4K for last year or even the year before? As I remember ages ago, ARRI put out an announcement that it will be "next year". But I presume covid and other hiccups has put their release plans on ice for a little while ago.

Got to put on a show for the client! It's arguably the most important thing to look after the client. That's why you'll have snacks out for them, a monitor, headsets, etc Why not have 2x S5? One rigged up with all the extras (V Lock / mattebox / preamp-mixer / 7" monitor / EVF / etc) for tripod / shoulder rig / slider shots. And the other permanently configured on a gimbal. Not only does this "look better" for the client, but it also means you're working better and faster yourself. (as you'll have your S5 gimbal ready to go at a moment's notice) Put up a light / cutter / diff / bounce / etc as well, even if the effect is only subtle. Another thought: a Panasonic EVA1 is dirt cheap on eBay these days, could be a good match with your S5?

Maybe they'd ran out of other ways to spend the short film's budget! haha NZ!! The original ARRI S35 sensor has a little bit more life in it still, until the new ARRI S35 4K sensor comes out! (assuming it isn't a flop?? I presume they'll not hold back in making sure the transition over to their first new sensor is a major success)

In my world, the ARRI Mini is still much more common than either of the LFs are. Yesterday's TVC (promoting a big new show coming up) was shot on the original ARRI Mini. Although this weekend I'll be working on a documentary being shot on 2x Mini LF (but it's been a fair few months since I last worked with a Mini LF). Rather you than me! Think I'd rather go for at least an AMIRA, if I was crazy enough to buy an ARRI for myself.

VENICE/FX9/FX5/LF(full size & Mini) are all proving to be very popular cameras being used by professionals. So they haven't overtaken S35 (yet?), but still proving to be rather popular.

Yup, and that's just one person (heck, not even really one whole person... but a person split in their roles between that and in "lighting" as well) with a small handheld machine fogging up everything in view in that forest we were shooting. Get a whole crew in and pipes laid out? Now we're talking!

@kye lol🤣 Of course that "bug machine" wasn't for the bugs, but a fog machine to make it all pretty on camera. Quite common on sets. Never yet caused the Empire to show up!! Although years ago I was working on the lighting department for a music video, and we got a few fire engine trucks show up because they believed there was a real fire in the bush which they needed to respond to 🚒 🔥🔥🔥

As you can see from the other replies, tripods are commonly used throughout the industry everywhere! And even for weddings which are shot gungho nonstop with a gimbal by some keen muscular dude, they'll still be using a tripod for at least some of angles for the ceremony and reception! And when I say "$100K indie film level" (or $500K) I mean also anything else at that "level", i.e. a web series or TVCs etc. Tripods are worth it, I have a nice one, basically the previous generation to this one here: https://www.bhphotovideo.com/c/product/1431251-REG/vinten_vb100_ftms_vision_100_system_with.html

(all shot with a Canon RF mirrorless camera, if anybody is curious)