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Not to mention that a touchscreen interface becomes somewhat useless.

I'm probably the last person to ask about such things, I own a tripod and a monopod which are both extremely cheap, which extends not only to their purchase price but also to their performance! In terms of table-top tripods, it depends on the size of the legs you want. I've used the larger of the Manfrotto Pocket tripods, but they're basically just fold out flaps on a plate that allows you to angle the camera setup or level out uneven surfaces, so they're ultra compact but not that flexible in terms of height. For something larger I've seen the Manfrotto Pixi get good reviews, and there's a more recent model of it that IIRC has some additional features, so that might be worthwhile having a look at.

Maybe a compromise is to be had where the legs are cheap and almost disposable but the head is decent quality so you can do pans/tilts smoothly?

Maybe someone will invent a connector that allows the screen to be mounted in either a tilt or floppy type arrangement. That would be cool. I'd appreciate having the option depending on what situation I was in.

I think screens are an impossible challenge. You either build it so it tilts up and down or so that it flips out and then tilts. There are pros and cons to both designs, and neither design helps that much in bright sunlight. I've had times when the flippy screen on the GH5 was a PITA because I wanted to tilt it up but didn't want to basically double the width of the camera. Other times I've appreciated the fact I could angle the screen more than facing directly up or down, and occasionally I've used it in selfie-mode. I also routinely use the EVF because it's not bright enough for full sun. At our current level of technology it's basically an unsolvable problem.

Out of Canon or Sony I picked the 10-bit internal recording of Panasonic. But the Canon colours are just lovely and every time I see something like this I remind myself to go and try to reverse-engineer their colour science!

It's a POV cam from someone stuck inside working on a follow-focus who really wants to go outside... with ADHD.

Setups that are larger and more complicated definitely have their downsides, that's for sure...

Thanks. There was nothing interesting for me in the discounts, but I found something else I liked.... *sigh* I thought I'd just have a quick look for 85mm lenses, and I found some Rokinon 85/1.4 lenses. Then I couldn't remember what the killer lens was from @BTM_Pixs advertisments for alchoholism lens tests, and for the 85mm lineup it was..... and the 24mm tests for a little triangulation.... So this leads me to the question - is Rokinon 85/1.4 the same as Samyang 85/1.4?

The problem with big / bright screens is battery life. All those nits have to come from somewhere!

Sorry to hear that your lens broke - my FD 70-210 is a lovely piece of kit and I'd imagine your FD 35-105 would have been similar. It will be interesting to see how well the Sigma holds up

Great work! What a classic moment! That's hilarious!!

I think it's about outcomes and priorities. If you're a working pro then a lot of it (or maybe almost all of it) is about getting the job done and getting paid and feeding your family, which is just as relevant a goal and perspective as any other, including the pursuit of art. My goals are to have fun, shoot stuff for my family, and learn new things, so I have minimal time while shooting (because I don't want shooting to be too impactful on my experiences) but I have heaps of time in post to play with footage because I have no deadlines or expectations. If you can get what you want SOOC then that's perfect because it's more efficient. Film-making has more aspects to it than anyone can possibly master, which is why it's always best to focus on the things you're good at and only work on the things that you're not good to ensure they're acceptable. Working in post is a pretty narrow aspect of the whole picture, so even though I'm into it as almost my main focus, I can understand why relatively few people overall give it the attention that I try to.

Yep, download links are still beta and main page still has the beta announcement too.

I do, but that's not what I was using. I think the tools I was using weren't precision enough... Lol.. not quite. While strictly not a cinema camera, it has been used in quite a number of Hollywood films, and the lens I was trying to attach to it is a genuine cine lens. Its actually a bit of a pity because I haven't seen anyone do it before and I have been wondering what this combo would be like for some time now, and kind of used this competition as an excuse to break things apart and give it a go.

Hahaha... the mystery of the dead camera!! I tried it again and still no joy, and I don't have the stupid obscure-shaped screwdriver to take it apart. I think I might have cracked a circuit board trying to screw the new lens into the mangled plastic of the old mount.

I was mucking around with camera #3 but now it won't turn on... Turning up my nose at the idea of "fixed lens" I'd almost cut away enough of the lens mount casing to get the right flange distance. I'd even been super careful to plug up the sensor so it didn't get metal filings in it and everything! I think I must have knocked something with the side-cutters.

Not necessarily.... That's camera #1. I'm still yet to shoot with camera #2. Stay tuned.

Nice work! I should have thought of uploading first.. that way my entry would have been winning for a short period before coming in dead last.

Thanks all for your information and ... spirited debate I've ordered the Razer Core X eGPU chassis, and am really tempted by the new Radeon RX 5700 card. For my application it needs to be natively supported as an eGPU under Mac OSX, and Apple don't support any Nvidia cards which is a bummer. Also, apparently Apple are slow to have support for the newer cards so it might be a few months wait I was looking at the Vega 64 until I heard that the 5700 had just been released, and a couple of years does make a difference in tech like this so it's probably the smart move. The 64 has a score of 11880 and the 5700 has a score of 12663 which are way better than cards like the 580. The 580 or Vega 56 are the best bang-for-buck looking at second-hand deals on ebay, but the wife wants a card that has VR capability, and after spending money on the chassis it's not a huge additional cost for the extra performance.

Not until after judging!

Everyone probably knows this, but I've seen people rig up cine-type cameras before they leave for the shoot and just pull out the whole rig and then can start using it. Obviously you need a decent case and it will take up a bit more room, but it's a way to cut out some time and get a bit more flexibility if you need to.

No idea between those two, but the most important thing about doing colour post-production work is calibrating your monitor, rather than the monitor itself.

So, if I make a few assumptions... Assuming it does multiple frames to not clip due to overexposure, ISO 6 requires 16 frames, ISO 12 requires 8, 24 requires 4, 48 requires 2 and 96 can do it in one. Therefore its base ISO for video will be 100, which isn't anything impressive at all. I have an app for my iPhone that does long exposures by doing many short exposures and averaging them, which seems to be a similar logic to the low ISO via multiple exposures.

Yeah, I agree. Although, personally, I separate out the weaknesses / requirements of the camera into things that I could work on and things I can't (or have chosen not to). For example, if people shoot run-n-gun with the GH5 and get great low-noise footage then I'm very interested in how they do that. If they do that by having great lighting then that doesn't apply to me and how I shoot (I shoot exclusively in available light) but if they've achieved that in post then I will absolutely work my butt off to learn how to do that. So in a way, I will use the best examples of what is possible as 'inspiration' for me to push myself and learn more about the craft. The GH5 is a funny one actually, because for me the GH5 produces absolutely glorious images and so (for the most part) I can just look at the camera as being infinitely good, and if there's issues with my films then it's basically my fault. I know it's not true for low-light shooting (for example) but mostly I push myself super-hard to create magic. It means that I'm basically always disappointed with the results, but it makes me learn at the fastest rate I can, so in that sense it's still worthwhile. Every now and then the factors I've chosen not to control will come together and magic will get recorded to the SD card and it makes me really happy and makes everything worthwhile. I also have a big skew in my approach because I completely accept that my shooting will be far from perfect, but then I work super hard in post to get the best results I can. In this sense I think that tests like this are great for reminding everyone that there are many cameras that produce workable images, and my personal opinion is that if you know what you're doing then you can really elevate your work by colour grading and otherwise manipulating images.