Django

No there are zero compatibility issues with Sony Slog and Davinci. FWIW Sony were the first to introduce log on a mirrorless camera so its supported in every NLE. FX3 is super compact so ideal for confined spaces like a car. Reason I recommend it is that the FF 12MP sensor is optimal for low-light situations with a second base ISO of 12,800. Other strong points is super low rolling shutter (great for fast run & gun), IBIS and cine features like shutter angle and in-camera LUT support. And it comes with an XLR handle. Oh and The Creator was shot entirely on it so yeah its pretty legit even on the high end.

Can’t chime in on the vehicle talk but getting back to camera needs I’d look nowhere else than Sony FX3 / FX6. Since OP mentioned lowlight / nightscape / astro. Pair em with a 24-70mm f2.8 GM.

On a pure IQ level, mirrorless has definitely made significant strides wether in DR, color science, resolution, rolling shutter etc. And more importantly now with chunky internal RAW/ProRes/10-bit/Log files the gap towards high-end cinematic imagery has definitely narrowed significantly. RED/ARRI still rule in highlight roll off, DR but all the extra mileage you see on an image is indeed mostly lens, light, color grading related. On a related note, with CST in Davinci you can transform your log footage to RED/ARRI Clog and apply their LUTs & look files. Results may vary but the gap isn't as big as you'd think.

C70 is great but I’m a FF hybrid shooter. I wanna invest in RF lenses (24-70mm f2.8, 35mm 1.4 VCM) so FF makes a lot more sense. Plus with 8K/45MP resolution you have great cropping power. The 35mm prime can become a 50mm & 105mm at a flick of a button on R5C. That’s great because I don’t like changing lenses on run & gun shoots. The new teleconverter feature is what’s pushing me towards R5C at the moment.

Yeah Josh Sattin did a 8K RAW Clog2 comparison test in between both and the R5C has significantly more noise, color shift and banding issues, so it seems you're right! My bad it was herein2020. SRAW 4K is interesting to me as it is a downsampled from 8K RAW so it gives really sharp 4K with cropping possibility but much smaller file sizes and easier project management. I'd probably use it quite a bit with 8K RAW for high-end projects. Yeah the AF appears next-level, not sure if the R5 ii has face-only AF from the cine line though? Interesting so R5C battery still sucks when shooting RAW huh? But I guess the upside is no overheating. Yeah its really hard for me to choose, the R5C is almost half the price and I could finance a nice RF lens like the 24-70mm f2.8 IS with the saved funds. Losing IBIS is my biggest concern but gaining all the video centric features like shutter angle, LUT baking, S35/S16 modes, the new digi teleconverter cropping etc makes it really tempting. I will probably rarely shoot 8K60 so maybe R5C is a good option with maybe an R5 mk2 further down the line as second body?

Hey have you read my questions above? Really curious about your take on 4K60p SRAW. I've played with test footage and found that reducing the default sharpness setting from 10 to under 3 seems to get rid of any moiré issues and still leaves a much more detailed image than the soft HEVC 4K60p. I'm overall quite impressed with the R5 mk2 footage I've downloaded, especially Clog2. Skin tones are so much more natural and DR a lot less crushed than every Clog3 footage I've had previously. Gives a way more filmic image and nuance to grading. That said R5C in RAW does give Clog2 option although I haven't played with that footage. Anything else you miss or recommend vs R5C (aside from WFM on/off!)?

I've seen that video and for sure there are some surprises in there! Main IQ advantage of R5C is in 4K60p which is actually quite a big deal. However I've found that shooting 4K60p in SRAW gives a very sharp detailed image on R5 mk2. SRAW is really a great option, I'd probably shoot that a lot. And again its nice to have Clog2 in every mode. I shoot mostly handheld and appreciate IBIS for locked tripod stability. I also have quite a few non IS lenses so IBIS would benefit my type of shooting. Other than that, R5C has the edge in a lot of video centric features and is for sure excellent value compared to R5 mk2. Still leaning towards R5 mk2 for reasons mentioned above but you make some valid points! That TC feature for punching-in is definitely ace, especially if quality doesn't take too much a hit.

Is the TC basically cropping the sensor the same way you can select S35 (x1.5) and S16 (x3)? Or can you use the Digital TC on top of those crop modes? I saw a vid on YT showing how you can now assign the TC to a button for quick punch-in like you'd do on an iPhone with the x1 x2 buttons. Does this work while you are recording? I was set on an R5C but I'm now more interested in the R5 mk2 because of Clog2 + SRAW and IBIS. That said when shooting RAW on R5C I guess you gain access to Clog2 right? Still would rather have Clog2 in all shooting modes but its a workaround I guess.

Main difference is sensor size. FS7 is S35 and FX3/FX6 are FF. The FX3/FX6 sensor is also that 12MP A7S3 sensor so its got that second base 12,800 ISO for extreme low light. Personally I prefer a lower second base ISO but YMMV. Rolling shutter is also excellent on those FF sensors. Those things aside the image will grade the same and there is no bump in resolution or codec quality, actually you'll get a sharper image from the S35 sensor of the FX30 as it downscales from 6K. FX30 is probably the best bang for buck cine camera in the current Sony roster. C70's currently sell used for as low as 2500€. Lowest I've seen an FX6 is 4900€ so about double the price. Sony will soon release FX3 mk2 and possibly FX6 mk2. That's when those cameras will lower in price. They are still very in demand right now so holding their value quite well (as did the FS7 before being replaced by the FX line).

I love the IQ of my FS7. Nice chunky 4K 10-bit XAVC-S. You can bake in LUTs. I really don't see much difference in specs to the current Sony cams (FX30, FX3, FX6 etc) aside for extreme low-light. Ergonomics are great for shoulder mount, its a workhorse. I keep mine because Sony is used everywhere in pro use and it gives me work. Don't really feel a need to upgrade. That being said for personal hybrid projects I prefer Canon/Nikon. I'd recommend R5C or Z8 if you're a hybrid shooter. Personally I'm thinking of going for R5 mk2 mainly because of Clog2 and tiny bitrate SRAW, total game changer. Guess a C70 would be a good cop, great form factor with NDs and long battery life with that DGO sensor, only caveat is the image is a little too soft for my taste.

@gt3rs I was all set on an R5C since they are great value these days and the 4K60p fine and cine OS are clutch but I found some R5II SRAW files online and it kind of blew me away. SRAW seems unique to the R5II, from what I understand its 8K downsampled 4K RAW however I think its line skipped. The greatest thing is the file sizes are tiny. On an R5C shooting RAW means 2500mbps files. Shooting 4K SRAW can get you files as low as 330mbps with RAW light and 750mbps files in Standard RAW. The quality is pretty outstanding, especially for the file size. This alone feels like a game changer but I see in your original post you warn that this mode has major moiré issues. Have you experimented any more with this? CLog2 being the other obvious benefit of R5ii but when shooting RAW on the R5C you can convert to CLog2 giving it similar rendering right? Just the workflow and file sizes is the obvious drawback versus Clog2 being available in compressed codecs.

I saw this video posted the other day and it got me GASing hard for an FP-L. Love the modularity, compactness and even quirkiness of the Sigmas. The crop modes seem really awesome as the color science and RAW DNG. Me wants!!

M9 user here too, not familiar with this « sigmoid process » do you have a link ? It’s true the M9 highlights are tricky. Also the usable ISO range is pretty limited like a lot of cameras of that era. But the overall rendering when you expose right and nail the shot is fantastic, it’s also my main photography tool. I have a 5D mk1 (aka 5D Classic) and it’s also got great rendering but also suffers from ultra narrow ISO range and center only AF. Sadly my batteries don’t hold charge anymore so it’s been gathering dust, should try and source some as it’s my only Canon at the moment.

The mirror on DSLRs is for the optical viewfinder. It flips up to expose the sensor for exposure so no has no impact on actual image quality. That said you are not crazy and older cameras including 5DIII have a certain mojo. To me its a factor of things, but mainly the pairing of older lenses such as EF with older sensors. Color science has also evolved with each generation towards more neutral look. Also all the lens corrections in newer mirrorless give a more clinical image. I miss my 5DIII and will pick one up again not just for stills but for ML Raw. None of the RAW options now seem to capture such rich colors/image.

I'm not saying its unusable just that its a pretty slow readout. Not a surprise due to the sensor size and MP count. Like you say you can't get everything in one camera, always a tradeoff somewhere. Fair point. However AF is going to be an important factor on a sensor with such shallow DoF. Which also brings up what you were saying the other day about the cliche look of large sensor DoF vs crop sensors. To balance the video specs and MF look, perhaps pairing a GFX with a XH2S is the ideal combo. GFX for those careful dreamy shots and the XH2S for more dynamic run & gun stuff. Assuming the color science matches that could be a killer combo. Crazy to think you could get those two cameras for the price of a R5ii!

Wrong thread I guess, another one was talking about the 5K open-gate which got me interested in it since so few cameras do FF open gate but since its a crop, I don't think it really counts as open-gate. Anyways, the GFX seems like a beast for photography, but for video I kind of wonder if the line-skipped 4K plus 27ms rolling shutter and lack of AF subject tracking makes it such a good hybrid solution versus lets say a Z8/Z9 that can adapt all kind of glass including Leica with AF using the techartpro adapter.. with up to 8K60p resolution. Obviously GFX100s is still a bargain for photography with 100MP and bigger than FF sensor, just not sure if the video specs are that good..

I'm a little confused, so the GFX has a 60MP FF crop mode but when in 100MP MF mode FF lenses fit without needing to crop? SL2 5K "open-gate" mode isn't really open-gate as it has a S35 crop so not full sensor width and of course not FF.

What is this motion vector for DIS? Like gyro info? Official video announcement doesn't even mention this feature lol.

.. Z9 just got the new firmware bringing shutter angle and some WFM & zebra enhancements: ..these will surely trickle down to Z8, Z6iii. So another plus point for Z mount!

CaNikon were actually pretty slow to the mirrorless transition. And their DSLRs are still up for sale in every camera shop I visit so they haven't yet fully abandoned them, the majority of consumers have. As much as I have fond memories of DSLR days, mirrorless brings so much more to the table, I don't see how/why things would go back. All I really also miss is the OVF for certain stills situations, but EVF has its own benefits. I also wish bodies were a little sturdier/chunkier as the overall goal seems to be towards lightness/compactness vs robustness/balance/ergonomics. Just like any premium brand sure you pay for the badge but also the materials, design, craftsmanship, made in Germany (M,Q, SL range) and the aftermarket service which in my experience is quite unique. Walk in any Leica store and get your camera serviced on the spot by the in-house tech. In contrast I ended ditching Nikon after my D750 got recalled and took 3 months to get back to me due to parts shortage in South Asia. Also if you pay second hand for older model the price hit isn't that bad and the cameras last forever. My M9P from 2010 still looks and operates like new. Doubt the current mirrorless crop will withstand the test of time that well. Z9 is getting shutter angle and other video enhancements in the next update. I'm quite sure custom LUTs will appear soon as well with the whole RED acquisition. They are priced quite aggressively too, I feel they could eat up Panasonic shares as the outsider in the hybrid video field. Canon hasn't really changed their lens strategy imo. L glass on top, entry-level lenses on the bottom. The middle ground is actually EF lenses! A lot of Canon mirrorless shooters adapt their EF lenses. RF wise Canon has started to develop hybrid stills/video lenses with the VCM primes which is nice but still L priced. Nikon Z has an even more interesting strategy with their entry priced non S f1.4 primes. Tamron & Sigma are just now releasing RF lenses but yeah the RF gates are pretty much closed. Worst system for sure if you wanna adapt glass.

Oh I agree, I was thinking more about the photography world. Also depends on the scene, here in the EU Leica is pretty well known, especially in the art/music scene. That's where I mainly see Fujis & Leicas. Art galleries, concert halls, red carpet events etc. It's why I said its niche! But beyond the prestige/hype I really do like Leica products and color science. I only shot video on a Q2 and it was pretty great to be honest. The real time punch in crop modes especially. That's another premium camera that is slowly becoming accessible as it goes under the 3K bar. For pure video work, the FX line is everywhere around me. Will probably upgrade my FS7 soon to an FX something just because it gets you work. It's rather annoying because Sony is my least favourite brand and I find them trailing behind as a result of being number one (a bit like Canon back in the day) but so it is. Would love a RED and the Komodo is pretty cheap as well but would have to get into more high-end commercial stuff to really justify it. I'm more into events and run & gun situations.

Leica color science for stills is probably my favourite so that alone could entice me towards an SL2. The 10-bit 5K open gate with log is also really interesting even if its a s35 crop. Poor AF compared to Sony, Canon, Nikon is probably the biggest drawback but I'd probably use my Leica M glass. Build quality I'm sure is top notch and yeah the Leica badge always brings a certain prestige although sometimes unwanted attention. I have a blacked out M9P and SL2 with its huge "LEICA" logo is a little too much for my taste. I guess that's where an S1R would make better sense. In the end, for me this would probably be more indeed a personal passion project, artistic, travel cam. Definitely usable for pro applications but more for niche projects..

Excellent write-up! Been experimenting with Runway a lot lately since production company has the unlimited license. But past the initial impressiveness, these prompt based AI generation tools do show quite quickly their limits imo. Never been a fan of stock footage and to me this is really still just customisable stock footage. Great potential if indeed they added log, sensor size, lens choice etc.. Generating from stills can help get you that precise look but its still way too quirky and uncanny valley for pro use. Prompt base also leads to too much free interpretation with odd quirks. At least with Sora and the remix function you can potentially get more accurate results via subsequent prompts a bit like how Chat GPT works. Love the storyboard feature with 4 variations. Very eager to try it.. but I can already see the limits of its actual use. No 4K being a big one as you point out. For story boards and pre-production its fantastic though.

No it has that via "view assist" option. Only during shooting though, not playback. What I meant though is that unlike R5C, you can't load custom LUTs and view/bake them in the file like on most cine cams.

4K60p is what is downsampled on the R5C versus pixel binned on the R5/R5ii. That alongside better codecs, shutter angle, loading LUTs, and the fan is what tilts me in R5C's favour. If it had IBIS it would be perfect but that's a big downer on a 3K euros hybrid cam. I mostly shoot prime lenses with no OIS too. And yes generally speaking the R5's IQ is very similar if not identical and it has a few other advantages such as the C1/C2/C3 custom shooting video banks and all the photo AF options and performances available for video AF. Those are missing on the R5C video side. So yeah in some ways R5 has more to offer for less. Great bang for buck.