IronFilm

ARRI S got used for 16mm as well, do you know if your lenses are 35mm or 16mm? You're looking at a 44mm vs 52mm difference in flange depth, so I guess 8mm makes it technically possible. This might work for you: https://rafcamera.com/adapter-arri-b-to-canon-eos But take care!

But also, the question of, what's the price?? Am certain the pro sports photographers on the sideline at the next Winter Olympic Games won't be wastefully spitting out images at 120fps. Just because a camera can do it, doesn't mean you must.

Yes, I feel deceived now by Sony! Could be a worthwhile niche exploring. dxomark (which is of course famous in the photography world, for their sensor reviews/tests), has a smartphone dedicated section: https://www.dxomark.com/category/smartphone-reviews/

The sheer irony that literally in the opening seconds that video starts off with bad audio! No wireless on the planet, not even one you spend thousands and thousands of dollars on, is going to be as robustly good as a quality XLR cable for twenty bucks or so. But practically speaking, we can't on a modern film set use hardwired mics. As priority is camera 1st, not sound! 🤣 (imagine if camera dept got told we can't use your internal camera recordings... only what's recorded wirelessly to the 1st AC's monitor remotely!) Thus everything on set is wireless, and why I've got dozens of channels of Lectrosonics. If lockdown hadn't happened, and all the other mess going on, then I was earlier this year very seriously considering investing in a few channels of Shure Axient Digital: https://www.bhphotovideo.com/c/product/1404861-REG/shure_adx1m_g57_adx1_diversity_showlink_enabled_micro.html https://www.trewaudio.com/product/shure-axient-digital-adx5d/ https://www.gothamsound.com/product/ad3-plug-transmitter But with what the future is looking like now with all that uncertainty, I'm putting off those plans, am glad I did that. Another local mixer friend of mine is in the same boat, he'd even already placed in his order. But cancelled it once they arrived, because we're in lockdown now. A damn pity though, as Shure Axient Digital is the closest you can get to perfect wireless like a hardline XLR cable!

My point is that in the photography world we hit "good enough" a long time ago (and diminishing returns has kicked in hard since then). The ancient Nikon D700 I referred to earlier is plenty great enough for sports photography! (what matters more, is the right lenses, knowing the sport, practice, timing, and dialing in your settings) But reviewers / YouTubers / bloggers / commentators will focus in (or even just make up stuff they create... there is definitely a few YouTubers like that who drum up fake drama) on little small minutia (be it good or bad) to create hype / clickbait and thus views and discussions.

https://www.dxomark.com/Cameras/Canon/EOS-5DS That's what I mean, all those cameras I mentioned earlier clearly exceed the Canon 5DS at a technological level (and 46 vs 50 megapixels is really trivial difference). And someone looking just at those specs might think Scott Choucino is stupid to pick a 5DS today in 2021 (or even back when he brought it in... 2019?), because clearly the others are "better". But nope, it is all about those other factors which matter more to Scott than just pure technical performance. (such as the fact Canon has got the best selection of tilt shift lenses! Although, Nikon helped close that gap by just a little bit more when they released their Nikon PC NIKKOR 19mm f/4E ED Tilt-Shift Lens in late 2016. Bringing their total to four: 19,24, 45, 85)

Well with that context, for nonprofessional standard of sports photography, then I'm sure the Panasonic S1H or S5 is overkill, and is more than good enough for your needs. You don't have your next mortgage payment riding on the fact if you can snap that next front page image before anybody else does. Heck, if had to shoot a friend's sports event tomorrow for free/fun (not that any of that is happening right now... in lockdowns) then I'd grab my Nikon D90 with the Nikon 70-300mm f4.5-5.6G lens that I've got. (or perhaps my Panasonic GH4 with the Panasonic Lumix G Vario 45-200mm f/4.0-5.6) And I'd be happy! And my hypothetical "friend" would be stoked with the images too. People sh*t all over the Panasonic S series AF performance, but I'd be surprised if it is worse than either of those two cameras that I mentioned. People forget how in the photography world that their DSLRs have become "good enough" for many years now for the majority of casual amateur photographers. (heck, even smartphones are "good enough" for many. That's why the P&S genre of cameras are almost extinct) This "plateau" of "good enough" for photos got hit many years earlier for DSLRs than it did for videos with HDSLRs/mirrorless. (I'd say that happened only just very recently, when internal 4K 10bit became mainstream in mirrorless) That's why I'll make the controversial statement (for a gear geek forum! As we pixel peep too much, and argue over small 5% differences in performance) "for the majority of casual snappers a Nikon D90 with good glass is going to be good enough image quality". (and if you splurge a little more for say a Nikon D700, that only costs a couple of hundred extra bucks on eBay, then you've got a camera that's got "good enough" image quality for not just the majority of casual snappers but I'd say 90%+ of them!) Just browse for instance the pics from a Nikon D700 on 500px: https://500px.com/gear/cameras/nikon/d700/ Now, are there reasons other than the photos why an average casual photo snapper might want something other than a D90/D700? Such as better video, WiFi, lighter, modern UI, etc etc etc Yes! Of course. But I don't think photography image quality or even stills AF should be ranked in the top three concerns for most casual snappers. Look at the broader picture of what else you want/need. (such as price / weight / compactness / lens selection / ergonomics / UI / etc ) I linked before to a few videos Tin House Studio did about gear selection, and he uses a Canon 5DR! Do I think that's a great camera body??? Oh hell no!! The Nikon D850 / Sony a7Rmk4 / Nikon Z7mk2 / Panasonic S1R all are objectively bodies with more features, better design, and better image quality. But even though he is a professional photographer, and thus has far far higher standards of image quality than any of us in this thread, the Canon 5DR makes more sense for him, because the image quality easily exceeds "good enough" 95%+ of the time (and those few rare times it doesn't he can just hire in a Hasselblad or whatever) and all those other factors are important to him such as: lens selection (FE / L / Z mount for instance don't have any of the lenses he needs for his work), ease of transitioning over (almost zero downtime for him in moving over from a 5Dmk3 to a 5DR, and "time = money"), and slots into his existing ecosystem (everything he has already for his half a dozen 5D bodies he already has can be interchangeably used with his 5DR as well).

Charlotte Bellis (a kiwi journalist in Kabul right now) posted today on Instagram about how she got an Osmo Pocket: She likes how discreet it is. (an understandable benefit when you're in Kabul....) Nikon broke my heart with the Nikon DL18-50, by teasing it, but then never releasing it 😞

Well, we've always known that is false. For a long long long time we've had cameras with NDs that have mirrorless mounts: such as the Sony FS700 and Panasonic AF100. And many many more since then: Canon C70, VENICE, FS7, etc

Finally! Been a loooong time between drinks since we last saw a 1" cellphone. (the Panasonic CM1, launched back in the ancient days of 2014)

Nikon has a good track record of making top notch cameras, but also with a buddy camera at a fraction of the price that still packs almost the same punch. For instance: D3/D300 (or the D3/D700 combo), D3S/D300S. D5/D500. Fingers crossed there is a "Z90" DX camera in the near future at GH5 pricing.

Shoot indoors in small sets, with tonnes of crew (bionic mobile heaters is what people are!), and heaps of lights (some are heaters first, and light emitters as an after thought!) then it will quickly get very hot in there indeed during even a normal summer. But thank goodness LEDs are on their way in, and space heater style lights are on their way out.

Out of what you mentioned, it is an easy pick for the Panasonic S1! (take a look at the S5 too) The Sigma FP isn't as polished / all round camera, the RED ONE MX is an ancient old heavy beast of a camera. Think very very carefully before buying, isn't suitable for 97% of people. There is also the Nikon Z6 with an Atomos Ninja V, for 4K raw. At the US$2.5K ish price point for a 4K camera, you could also consider: Sony FS7 secondhand, BMD Pocket 6K Pro, Z Cam E2-M4 / E2-S6, Panasonic GH5mk2 (heck, the GH5 is waaay under budget, wait for the Panasonic GH6?), and lots more.

Maybe a tighter video edit (especially in the first half) could be worth considering? As I could imagine some people might stop watching before the half way point, and never get the "wow" moment when seeing the second half that's done in a very different manner.

No way to effectively share lenses though? If you're happy to add an Atomos Ninja V (or a Blackmagic recorder) then I don't think they've got weak video specs at all. Plus when it comes to stills, you've got a good advantage that you can tap into the Nikon ecosystem. This is also a good reason why a person should stick with one camera system for as long as possible, rather than jumping back and forth every other year. As let's be honest, even the "worst choice" (if picking a current model) in what is now nearly 2022 is still going to be damn good at both video and especially stills! So stick with it, and get 100% out of it. Rather than choosing "the best" and only getting 80% out of it.

Many people (both photographers and videographers) will have two bodies, because: 1) you need a backup! Could be just "something/anything" to get you out of a pinch in an emergency, but ideally it would be an identical body (or at least, very similar). 2) photographers will often run two bodies at once simultaneously, so they can switch from one to another very quickly. (for instance doing a wedding with a 24mm prime on a D760, and 85mm prime on the other D760. Or perhaps they'll use two zooms, such a Sigma 18-35mm on a D500, and a 50-150mm on the other D500. These setups could also change during the course of the day, same two bodies, but different pairings of lenses) 3) videographers often shoot with two cameras (or more!) rolling at the same time, so they've got another camera they can cut to during the edit that's in the same moment of time Thus you've got many reasons here to go for two bodies, rather than just one. Unless you're working on the very high end for photography (and need something specific that's specialized from your camera kit), I'd go with a Panasonic S1H + S5 pairing as a starting point. If you really need high resolution, beyond 24megapixels, then I might go instead S1H + S1R, or a Nikon Z7mk2 + Z6mk2. But it is unlikely that's a genuine "need", as for most people, even the average professional, the DSLRs have for a long time reach "good enough" standards for photography. (unlike with filmmaking, where each step forward with camera bodies in recent years has been more worthwhile) Heck, even an anciently old Canon 5Dmk2 or Nikon D700 is still "good enough" for many pros to use as their secondary backup! And even an old D810/D750/5DS is still a main camera for many! (Scott Choucino only just "recently" upgraded to the 5DS a couple of years ago) As you can, I really really like Tin House Studio / Scott Choucino! He doesn't talk about gear too much (these videos are some of the exceptions! ha. But in a way, he "talks about gear" only just enough to address this and say "it doesn't matter") But he talks a lot of the philosophy / business behind what he does, which is broadly applicable not just to food photographers like himself, but even what I do as a Production Sound Mixer. Scott provides good food for thought.

Yup, prices of vintage lens sets have been going a bit insane lately.

I guess in a way, it is much harder to shoot day time boudoir video, as you've got much less control over the light (relatively speaking, as there is more of it. And you're just the one crew member). Maybe a thought to consider for next time, is smoke the place up for atmosphere, and try to cut back the ambient light as much as you reasonably can to shape the light more. Perhaps the bright high key sunny day outdoors look works if shooting a model strutting in a bikini by a pool, but not so much in lingerie for a boudoir film shoot?

Now I think about it, am not sure I can remember exactly what lenses he used back with the FS7? Even though I worked for them quite a few times. (plus I was manly just brought in on their "bigger jobs", when it is more likely he'd be renting in lenses) But many people use FF on S35, such as Rokinon primes, with maybe just one or two S35 specific lenses to handle the very wide end. And even if they were using exclusively using S35 lenses, it wouldn't have been a huge deal for him to swap those over to a new set I'd guess. Additionally, URSA Mini Pro is EF/PL mount, the FS7 is E Mount. Thus if you just had E Mount lenses, then no matter for what sensor size they are, if you've only got E Mount lenses, you'd have to be swapping over your lens collection to something else anyway.

Internal ND filters are so mainstream, it is time for those last hold outs to give in and get NDs! All these have NDs: ARRI Mini, Varicam LT, URSA Mini Pro, Sony VENICE, RED Ranger, etc

I agree, but I was answering the very different question of: "Where will the DJI Ronin 4D fit in the high end? (where ARRI is situated)" And in that specific situation, then I think the Ronin 4D will only find very niche usages. And won't be a mainstream A Cam (not even 5% of this particular market) unless DJI brings out those alternative (non-Ronin) systems for it, and addresses those questions I asked at the end. If DJI doesn't achieve that, that's ok. They didn't price the Ronin 4D high enough to be at that price point of the market, plus this is just their first go at it.

Yup, when I saw that green I went wow. But it is even better than you think, because do you see that green line too? And the yellow line. That's the focus plane of the lens itself, makes it so easy a baby could align those two lines together. (ok, am joking.... as there is a certain art to it. Plus you need to anticipate moves, not be reacting to the image) And having the waveform data presented as well, helps gives you insights for when the camera gets it "wrong" and you need to be a bit further in front / behind of where the calculated line is. They need to make this be A Cam standard. If you're shooting on an ARRI Mini / RED V-RAPTOR / Sony VENICE / etc as A Cam, why on earth would you want to use a DJI Ronin 4D as the B Cam for say 20% of the shots? You wouldn't! All of those other cameras are perfectly easy to rig up for a gimbal, they won't even mind having a second camera fully dedicated to that. Thus the Ronin 4D will only be used for very niche usages. But this is what I expect will happen next: DJI will release a DJI Inspire 3 for the X9. And they'll release a non-gimbal system that heavily supports the X9 camera, so it can be used with massive PL lenses or anamorphics. That will be "the X9 in A Cam form factor". Now the math changes, and it becomes much much more interesting. An X9 camera that can quickly swap from being your A Cam, to Ronin 4D, to Inspire 3? Hell yeah! The only remaining questions are: can the X9 be premium reliability? (don't be another RED, be another ARRI) Can the X9 have a premium experience? (no random crippling / "gotchas", don't be like Canon) Does X9 have the premium image quality? (can it compete with ARRI?) Does DJI give premium support? (don't be Blackmagic, be ARRI) if it ticks off all of those checkboxes, then yup, it could be the next #1 A Cam for Hollywood. But you could say that about anything. Those are some high targets! What are the answers to those questions? Will take a while to find out all those answers, the answers are not discovered quickly. And I am definitely not the right person to answer those questions either. (neither are any of the YouTube "reviews" uploaded today! None of those have even 10% of the expertise level to answer those questions definitively)

It's like leaping forward from histograms to waveforms for exposure! A biiiiiiig improvement. To make a waveform analogy for the waveforms 🤣

https://youtu.be/TiVJnRXUwKw?t=418 These LiDAR waveforms look incredible! Wonder how it is in real life. Is anybody else doing this already? Been chatting a lot today with a high end professional 1st AC I know. Seems that nobody else is doing exactly this. Perhaps the closest to this that exists might be this: But they're using this blocky bar chart method of displaying the info, which is neither as informative or as elegant as showing a focus waveform like DJI is showing off.

"Confused" for picking a Sony FX9 over URSA? Nope, is just that an in house DoP at an Advertising Agency has very different needs and wants to what an average forum poster has.