IronFilm

Do you need to do the whole show and pony gig for a client? No? Then don't get an original URSA Mini 4.6K body, get yourself a P6K Pro, or any of the fantastic mirrorless we have now. (S5/X-S10/GH5mk2/etc) Yes? I still don't think you should get it. As likely with a little hunting more, and a little bit more saving, you could get a much more preferable URSA Mini Pro with internal NDs and many numerous smaller refinements as well, plus likely an EVF too and other accessories as a bargain thrown in! Or heck, not even a UMP but something else like a Sony FS7, Sony F5, Panasonic EVA1, Canon C200, etc are all very similar in pricing these days to a UMP. I'd happily any day of the week take one of those Sony cameras or the Panasonic instead of a UMP. I've worked with the UMP on paid shoots, and too much frustrated me about it. Lack of outputs, inability to delete files, the weight and power draw, etc. It is for sure a nice camera, but I'm happier to own another camera instead.

I was a bit worried that this thread hadn't mentioned Panasonic yet! Don't base your judgement of Panasonic autofocus on say old GH3 era experiences, it is a hyperbolic exaggeration to now call it "terrible". The G9 / GH5mk2 / S5 / etc are all top notch video autofocus if you were to ever compare it against that past. If they'd came out back then, people would've been blown away by Panasonic's autofocus and been praising it to the highest extent! And the pricey Panasonic lenses doesn't matter, as Sigma is there too. L Mount really does have all the bases covered: 1) high end luxury premium lenses with Leica 2) high end but practical lenses with Panasonic 3) mid range priced lenses with Sigma 4) low end cheapies from China with manual focus lenses (half a dozen lenses priced sub $400 on B&H alone, and it is still early days, more to come soon for sure)

Wireless lav bodypacks are small, that's why they don't have full size XLR connectors.

The major massive downside of the Rode Go wireless is their lack of a locking connector, if it disconnects midshot then you've lost the shot. The 2nd major downside is their poor 2.4GHz performance (worse than could be possible, even for 2.4GHz). The 3rd major downside is their internal batteries are not swappable, if it goes flat during a shoot, you're screwed. Yes, the Sony UPW-D21 are the best prosumer wireless money can buy for sub US$1K

As the recording is happening on the camera, then 32bit would need to be supported on the camera body itself. (as well as with the Tascam's AD convertors) Ideally I'd want to see both prosumer recorders and prosumer cameras supporting DANTE. (you can run over a thousand channels of 32bit audio with a single ethernet connection) However unfortunately it is only professional recorders which do this. (with but only a couple of exceptions that don't DANTE: 833 & Nova, but that's because they're primarily targeted at ENG bag mixers) Thus the better option could be for them to support AES, as every professional recorder on the planet supports both AES inputs and AES outputs (not just current generation recorders either, but the generation before that, and even the generation before that! My Sound Devices 833 has a total of 10 AES inputs). But once again, unfortunately AES support on cameras is only limited to the small handful of professional cameras. In the end though, this discussion is a bit like discussing if you want your camera to have a micro HDMI output or a SDI output? Easy choice here!! Likewise, don't go for USB audio input, give us AES on the GH6/X-T5/Z6mk3!

Does even better, does 4K 444: https://www.redsharknews.com/production/item/939-sony-f55-f5-gets-4k-444-rgb Did you write that back to front by accident? Depends on the niche you work in, but yeah for most people they're likely to find the FS7 is in somewhat higher demand than a F5.

CCD has so so so many drawbacks to it, that you won't find any modern cinema cameras using it! The only semi recent example was the DB16.

The F5 doesn't have global shutter. The F55 does! (but suffers from a lower base ISO than the F5) I just noticed how much the Sony F55 prices have continued to drop. You can get one here for just US$5.5K: https://www.ebay.com/itm/124658333277 And if you'd prefer an OLED viewfinder instead, here is another Sony F55 for only slightly more: https://www.ebay.com/itm/324443097872

@Matins 2 and now you know what the cost of a high quality global shutter cinema camera can be. Good news for you though, their price has dropped massively on eBay! You might pick one up now for only sub US$5K with some luck. (then start adding on all the costs of all the extras...) Or here is a Sony SRW-9000PL for sub US$4K: https://www.ebay.com/itm/154268601736 Actually, I'll start being serious for a moment, as I just noticed how much the Sony F55 (global shutter!) have continued to drop. You can get one here for just US$5.5K: https://www.ebay.com/itm/124658333277 And if you'd prefer an OLED viewfinder instead, here is another Sony F55 for only slightly more: https://www.ebay.com/itm/324443097872

The F5 is the obvious natural "upgrade" from the F3. However, kinda bizarrely I think the FS7 is worth mildly more out in the free market when it comes to getting work as "a man with a camera". (just because the FS7 has been the "de facto standard" But this here is the biggest reason of all as to why you shouldn't buy a F5 (or FS7).

Or even worse, what a Sony F35 cost back in the day!

Sadly the Z Cam eND is only for their EF Mount, which sucks if you want NDs with a mirrorless mount. (as they do offer both an E Mount and MFT Mount option for the Z Cam cameras)

It is like when you're shooting in a kitchen with a noisy fridge, you surely want it turned off, right? But if you can't, you don't go telling the director "we can't do your interview with the chef in the kitchen like you wanted to do". No, instead you just "live with it". But just because you go ahead and shoot with the background noise, does that mean it doesn't exist and isn't frustrating? No, of course not. As for in post, can it be removed? Maybe, maybe not, at what damage to the dialogue though? And it depends on the skill of the Dialogue Editor, and what tools they've got at hand. (read: depends on the budget/time they've got for post) I just find it so infuriating that equipment specifically designed for the film industry is so NOISY!! For goodness sake, it should be obvious to everyone that it needs to be compatible with recording high quality audio as well!! Or are all the designers deaf? I can't believe that explanation, as that must mean every deaf person on the planet has gone and found themselves jobs as product designers for film gear companies. Of course it wouldn't matter if these were lights designed for DJs to use on the dance floor for weddings, who cares then? Because drunk wedding guests have far lower standards when it comes to subtle ambient noises than a Production Sound Mixer does, plus also you're blasting out LOUD MUSIC so nobody could hear your lights anyway even if they were as loud as a hairdryer! But these lights are not for DJs, they're targeted for the film industry and out to be fit for purpose. Of course, one factor is that I'm wanting to do a high standard of work as audio is my specialty. Someone shooting a Tiktok video wouldn't even perceive there being any noise, let alone care!

Well, at least we can agree then that the XC10/XC15 is not being used regularly on major Hollywood AAA Blockbusters as Main Unit's B Cam or even C Cam. As there is no logic reason behind why they would be, nor evidence of it. Why would you attack with a comment like "personal lack of experience"?? I'm out there every week working on film & tv sets, the whole range of them, from small indie ones to big major productions with top talent.

Agreed with @barefoot_dp, unless your "gun-for-hire" work is only a small overall proportion of your work (say only one twentieth of your work is that, thus you don't mind if you see a 50% drop in that type of work), then get the FS7. But again, depends on the particular "gun-for-hire" work you do, perhaps you only work with a small handful of people (and rarely ever a random contact outside those) and you're tight with all them, and you know they love you and will be happy with whatever you bring along, then for sure, get a P6K Pro if you wish!

I'd disagree, where for instance is the SDI? People complain cinema cameras are "too heavy". Thus Panasonic makes one of the most lightweight fully featured cinema cameras ever made, and they complain it has "build quality issues". (I disagree, Mitch Gross has explained that although it "feels flimsy" to some, in reality it has a very tough build to itself underneath)

"Cinealta" is a branding Sony uses.

What about a Panasonic EVA1? (if it wasn't for the EF Mount, I'd call it basically "a better FS7") Usually they've been priced perhaps a little higher than a FS7, but just lately them seem to have come down to a comparable (sometimes even cheaper) price to a FS7. https://www.ebay.com/itm/274865364977

If they're priced the same, and I'm wanting an A Cam, I'd always picked an EVA1 over a FS5. Can't understand why you'd say a FS5 ties with it as "equal worst"??

Which do you do more? Which is more important to you?

You can count on one hand (with fingers left over!) the current cinema available with a global shutter. It is zero surprise, and zero deal breaker, when a camera is released without a global shutter. That's normal.

Ugh. Just finished working on the first day of a film which the mini lighting package was Aputure 600D + Nanlite 300 + Nanlite 60 (& a few other things. For the curious, camera package was an AMIRA with Tokina primes). Arrrrrrrrrrgggggggggggghhhhhhhhhhhhh................ Those things are damn noisy. Not quite enough to be a deal breaker (as of course I can't tell the DoP and Director they can't use their lights!!), but more than loud enough to be a pain. Sigh.

To me the question is extremely simple, are you: Working for others as a cameraman / DoP / etc You're not working directly with the client / end consumer, you're hired to operate the camera. Working for others as a producer / director / preditor / creative / etc You're creating and delivering the content directly (including tight control over the post pipeline, likely doing it yourself) to the client / consumer. If you're the first category, then get yourself the popular mainstream camera that is in demand. (which for now is the FS7, but it is on its way out.... you should strongly consider a FX6 instead if you can afford it) If you're in the second category, it doesn't matter at all what camera you get!! Just get whatever camera you want to get. Get the camera which makes pretty pictures and is a great bang for your buck. (which quite likely is the BMD P6K Pro) As you can see, once you break down the question, it's very simple to answer which one of the two to get.

That was Sony's earlier generation. HOT! But Sony has dropped that feature from their current range of cameras. (we hope...)

Why get another 5Dmk3??? Get rid of them all. And get yourself another X-T3 instead.