Phil A

No, the IR filter helps with the IR contamination (black turning red/brown) but for the moire you need the OLPF that Mattias mentioned. Seeing how the BMPCC has "only" exactly 1920x1080 pixel and a bayer-sensor should be downscaled slightly to get the real resolution, I'm just still on the fence. The BMCC is perfect in that regard due to the 2.5k sensor. The OLPF will further reduce the resolution a bit afaik, so you end up with something between 1080p and 720p in real image information... but then you have those amazing colors so who cares really?! I don't need slow motion (I always wanted it but I find no real use outside of tech demos and "food dropping into water" kind of gimmicks), I don't need 4k, I could live with speed-boosted ISO 800/1600. I think a problem is that the system just keeps to sum up. BMMCC (because I'd rather have the LP-E6 power solution and improved processing vs the BMPCC's screen) + SpeedBooster + OLPF is already over 2000€ (I'll ignore a field monitor because a lot of people probably have one already). You probably want one of those cute control grips people sell, there go another 200€. Add the cage to put everything together, another 100-200€. The system is not as cheap as it seems if you really want to use it as an A cam, so the BMMCC rigged out is actually more expensive than a F3 body used.That's why I'm one of the people who would love if the BMCC or BMPC4k would make a return in a better form factor (exchangeable batteries would have been a big win already). But yeah, I'm probably going to sell some stuff and buy one, even though I'm really spoiled by the Sony AF-C. But how many movies need wide aperture gimbal/steadicam shots?! Edit: on the other hand I'm having an eye on the GH5. Combined with Voigtländer MFT lenses it might have a nice image (compared to the clinical Panasonic zooms) and 10bit VLOG will maybe not be much worse than 10bit ProRes of the BMPCC (and clearly better than 8bit S-LOG3).

I guess I could go back to shooting medium format film then. I heard you save money buying used and not needing a speed booster

I ordered from toneart-shop here in Germany, it's the Sanho HyperThin HDMI cable. There's also websites selling them in the US (way cheaper there, 20 US$ vs 32€). One disadvantage I forgot to mention: when you use a HDMI cable in the A6300 you can't plug in the angled Crane control cable.

Because you don't want no blurry pictures shot with a shutter speed of 1/50?

The pocket breaks my heart. Ever since grading the raw files I want one (and get a meltdown grading my XAVC-S) and always eye the Micro Cinema. The colors are great and the image is so organic. But the moire and aliasing is just too risky for unrepeatable shots and the 2.77 crop factor is bad if you don't shell out big bucks to get a set of Zeiss s16 Super Speeds. There's the Speed Booster but there aren't really that many APS-C lenses that make sense to adapt and with full frame it gets huge. I'm consistently on the brink to get the BMMCC. There's a really big empty spot for that compact dream camera from BMD, the BMCC/BMPC4k should get updated as not everyone can do a big camera as the Ursa Mini.

If it's the same screen dimming as the A6300, it works okish on cloudy days but if it's sunny (imagine on a tropical beach, in the desert, etc.) it's invsible. You'll want to use the EVF then or a screen loupe. About the cage, just keep in mind that you will probably not be able to balance the camera with the native lenses (16-50mm kit, 35mm 1.8, etc) on a gimbal if you put it in a cage. At least I can't get the A6300 in SmallRig cage balanced on the Zhiyun Crane. By the way, the A6500 is supposed to show the overheating warning but not shut down like the A6300. That's how I use it, just waiting on my UltraThin HDMI cable at the moment: I have quick release plates on the camera and the crane so they can quickly go on my mini-tripod or tripod with fluid head. I also use some small quick releases specific for accessories so I can swap the arm with the monitor between the crane and my shoulder brace.

That doesn't work. One speed booster already uses the whole difference in flange to sensor distance of the mount, it's impossible to stack them.

@Kisaha It's not really aimed at enthusiasts I think, most would rather shoot with a compact camera (RX100, LX15, LX100, ...) on a slightly bigger gimbal. But I consider getting it for my girlfriend so she can have the best Instagram and Snapchat Stories out of her circle of friends. It's aparently going to be really, really cheap. Maybe I'd even borrow it once in a while in vacation. I wouldn't mind a Crane v2 with a slightly shorter handle if that is possible and one or two mounting points for accessories (field monitor, wireless receiver, etc.) and maybe a slightly bigger baseplate for easier balancing of systems with super light lenses but I'm actually really happy with the current one.

It's better than crane, less than 1000$... and will hold your smartphone

Just managed to bring myself to the point of considering to let go of my NX1, a lens and X100s to buy a used X-T2 because I still have the 23mm f/1.4 and I really like Fuji. Then for once I had an itch and decided to first check if the SmallHD field monitors work with the X-T2. Alas, just like the NX1 the X-T2 is also not supported by the SmallHD 500 & 700 series. I really wonder what magic sauce SmallHD uses that they struggle with a bunch of hybrid camers, seems like VideoDevices and Atomos don't have these problems.

Raw is probably easier for the camera than H.264 when it comes to heat. For raw the bottle neck is just how quick you can write it to the card, for compressed formats you need a processor that hardware decodes. I'm quite sure a faster memory interface uses less power (and therefore generates less heat) than the hardware decoder.

It's a question of perspectives. When I was into photography I wanted great AF (which is easier with fly-by-wire because it's not directly coupled) and how lenses manually focus was of no importance, when you do video it's kinda 50/50. The same thing with image. 90% of people who lust over camera gear want perfectly clinical, tack sharp, 0 distortion / flaring lenses, the amount of people who look for lenses with character is way, way smaller. Also I think people who are into videography have a higher tolerance towards weight, because if you shoot with a hybrid you usually rig it out or shoot from a monopod/tripod anyway. For photography, all you really need is a camera, lenses and MAYBE a tripod. With current DR on sensors, you don't even need graduated ND filters anymore for landscapes (I actually like to use them though).

Voigtländer has announced three lenses with Sony E mount at CP+. http://www.sonyalpharumors.com/cosina-voigtlander-announces-three-new-e-mount-lenses/ I think both the 40mm f/1.2 as well as the 60mm Macro sound very interesting.

I love Windows (used 3.1, 95, 98, NT, XP, Vista, 7 and 10; some better than others), build my own desktop systems, had a bunch of laptops. And my systems always run, they have no kinks, no hickups. My girlfriend is stuck knee deep in the Apple environment, every time I use her MacBook Pro I want to scream but she really doesn't enjoy my windows systems. I feel like Apple is getting a bit too deep into "form over function" territory and too expensive, but I think both products can be fitting. Kinda sad though how the professional line gets left behind. On the other hand when my gf's iPhone 6s Plus broke she used my old Samsung Note 3 and she felt it's a superior phone. At the same time I enjoy my company's iPhone 6s workphone more than my private Android since a while. You say tomato, I say tomato.

It's a physical restriction to some degree. The camera sensor with IBIS can only move by a very small margin in all directions without leaving the image circle projected by the lens (one reason why the bigger the sensor, the weaker the IBIS results). To overcome this issue you would need a small sensor (e.g. m4/3) and lenses with a relatively big image circle. A gimbal in contrast can go full potato with movements. Therefore I'm quite sure we will never reach the same possibilities with IBIS that a full external stabilizer gives. Using both together is pretty sweet though!

As a user of the a6300 I have to vote against that camera if you can't afford multiple. The image is great and the lackluster usability can be worked around but the overheating is real. Just had it again today shooting in a moderately warm kitchen. If you use an external field monitor, the camera doesn't go to sleep and will overheat before you manage to empty a single battery. I wish Sony would bring a professional APS-C camera but I don't think that will happen. Semi regretting getting native lenses right now after missing a shot today, wish I would have gone for the BMMCC (but then I'd probably regret moire right now).

BMCC or BMPC4k, depends.

You can try slashcam.de for videography related stuff or for mirrorless systems and lenses also dslr-forum.de

I know that the go to solution for creating lower thirds, effects, etc is Adobe After Effects but I wondered if there is any viable alternatives? I know that you could basically do all the same within Blackmagic Fusion which is also free now but the learning curve is crazy steep. Is there any simpler tools with less range of functionality? I feel like DaVinci Resolve has a big gap at this point. So far I create transparent images in Adobe Photoshop to use them in the NLE but you obviously have no real options for animation or anything then. I find it surprising that no one tries to fill the gap for a more consumer/prosumer oriented solution.

Seeing how there is nothing in the video that needs changing of focus while using a wide aperture, I don't see how you would be limited by using an adapted lens. The only advantage with using the native Sony glass is using it wide open with AF-C ... but then the A7s anyway has a bad autofocus system so you probably wouldn't want to do that to begin with.

I think he means in your OS, not scaling in your monitor. I have a Lenovo laptop with a 15" 4k screen for travelling and within Windows 10 I have the scaling set to 250% because at 100% scaling you are nose up to the screen, giving up on hitting anything with your mouse clicks.

Well, I took it on trips (weekend and extended) to Switzerland, Italy and Ghana so far. For actually carrying around when I plan to use it I put it into my camera sling bag which is the Ari Marcopoulos from Incase. I have the a6300 with a small lens mounted on it and put it in top down. It still stands out like an inch or so but that's acceptable. Takes me 10 seconds to take it out and start rolling. This way I can fit the crane, the a6300, the kit lens, the 35mm 1.8 and/or 50 1.8 and a bunch of additional batteries easily into the bag. You can also squish in a Rode VideoMic Pro or a 5" field monitor but then it gets tight and you will have to assemble when you take it out of the bag. For the actual travelling I have a typical, ugly camera backpack by CaseLogic. I take the Crane apart and it easily fits into it. If the batteries are in it you always have the risk that something bumps the power button and the crane goes full potato in your backpack. I really dislike typical black nylon camera bags but there's not much choice for sufficiently sized, stealthy bags for urban use.

Weight under the camera won't help to balance it, the lens is just too light. I used the crane with the 16-50 kit lens, 35 1.8 OSS and 50 1.8 OSS and you can balance all of those but the moment my a6300 is in the smallrig cage it's not possible anymore to balance it because the lenses are too light in comparison even if I move it all to the front. What you could try is to add a screw with some washers as extra weight into the bottom lens support thread facing forward from the camera as was suggested in this thread before. Tried to balance the a6300 with the Zhongyi lens turbo ii and a Samyang 35 1.4 this weekend but couldn't get it to work in the short time I had before heading out. I'd just wish Sony had the lens lineup of Fuji for their APS-C line. Would love the 16mm 1.4 or 23mm 1.4 wide open but with Sony's good AF-C for gimbal use.

Some of the best review/tip vids I've seen lately @mojo43 , way better than watching a 15 minutes unpacking. Thanks! What backpacks are you guys using that can swallow up the Zhiyun crane? Both my Incase sling and my CaseLogic backpack have a small bit of the grip sticking out if I put the crane in head down. I've solved my mounting problems / desires now with getting a new quick release system that is rather light, quick and affordable. I've bought a whole bunch of Cullmann Revomax RX448 clamps and plates. I have clamps on my crane, on the ballhead for my tripod, one on top of a manfrotto quick release plate for my fluid head (which also is the mount for my LCD viewfinder loupe and fits into my shoulder rig) and on a mini tabletop tripod that serves as a stand for the crane but can also fold together into a grip for handholding the camera. Now all I need is a way to mount my field monitor and maybe a rodelink receiver to the crane. Guess a super clamp with a magic arm will be the best solution. What a pity that the crane has no accessory thread on the side like some other one hand gimbals. The a6300 is borderline flying blind on the crane thanks to the dimming screen.

Minus the fact that the memory cards won't be able to record 14bit 4k RAW because it's only a CF + SD card slot and you have no CFast. You'd need the 1Dx II for that and we already know that so far ML never did the 1series.