eatstoomuchjam

Or before he completely crashes the economy and gives us 3000% inflation. 😕 I suppose that I should stock up on vegemite too, just in case.

They already have a compact body around a full frame 6k sensor and an L mount. Also, if I'm not mistaken, that very camera was on sale last year for a crazy low price like $1500 or 1600. So... they already basically did what you're saying, especially in the context of 6k being plenty for 4k delivery with enough room for non-aggressive digital reframing. The pricing strategy on this one was originally V-Raptor [x] performance for about half the price of a brand new V-Raptor [x], but it's 12k and supports 3:2 open gate and 16:9 on a taller sensor than the Red - and also, within about a stop of Arri at... well, a whole lot less than half the price of Arri. The new pricing strategy is the same as a Komodo-X, just a bit more than a C80, and less than a C400, but the performance of V-Raptor [x] and 12k. Will it catch the first time camera buyer? Nope. Does it make their system a compelling option for the mid-range owner-operator? Yup. Theoretical, sure, but I don't think it's even remotely unreasonable to think that they'd support 8kp60 with a v-mount and CFE. Komodo-X does 80fps at 6k and at their chosen price point, that's sort of the competition. Still waiting for some to get in the hands of real users to hear their experiences, but once I'm back in the US, it's likely that I'll be exploring my options to trade in some of my stuff now (and probably some cash, sadly) toward one of these. It's kind of crazy, fwiw, to think that I could soon have a video camera that almost as much resolution in video as my GFX 100 II has for photos... though with maybe a little bit less dynamic range still... at least for single shot mode. When shooting in continuous mode (which never reaches more than 8fps), the GFX reduces DR.

Speaking as a person who needs anything over 24fps only rarely, it's great to know that I could easily do that on this camera, even using just standard CF Express cards, albeit with pretty frequent card swaps. And when needing higher speeds, increasing compression ratio is probably fine - not to mention that they're quoting open gate on that page and not 16:9 which I'd be more likely to use (looks like 17:9 crops 16:9) to crop to 2.39 for delivery (it can do scope internally too, but it's nice to have a little bit of room to shift the image up or down a bit in post, without needing a full 3:2 frame for it). Plus as long as there isn't a hit to the DR, I'd also be more likely to use it at 8K or 9K most of the time than to use it at 12K. It'll be interesting to see what people report once more of these suckers start getting into the hands of real people. Most of the tests I've seen have focused on performance in 12K mode which is understandable, but I'm really more interested in the very high dynamic range combined with very low rolling shutter. Edit: I just realized that in cined's lab test, they at least did the xyla 21 with the 4K mode as well as 12K and they were nearly identical - so the 8k/9k modes probably are too. The biggest drawback so far seems to be low light performance - but my Komodo-X is ISO invariant at 800 in raw with the camera-chosen ISO being more of a suggestion for where to distribute tones than adjusting sensor gain - and that's not been a problem at all since I got it.

The $7k version comes with a dual CF Express Type B module. That'd make its media costs no higher than most of my other current cameras. And sort of "free" since I have like 4-5T of decent CF Express B cards around. If recording to SSD is supported, even better. I have some of them too. 😉

At that point, though, why put the f/2.8 zoom on the A7CR and not... forgive me if I'm forgetting my Sony lenses a bit here, but the 35mm f/2.8 or the 55mm f/1.8? I remember that when I shot Sony, I had both and they were technically excellent (and overly clinical to match). At the time it came out, the 55/1.8 was, I think, considered the technically best 50-ish millimeter autofocus lens ever made. It'd bring the A7CR a lot closer in size to the Leica. And with the 35, it's even smaller than the Leica. I remember there was also a 28mm f/2.0 and a 24mm f/2.8 which were also pretty small/tiny, but I can't remember if I ever had/used them. Anyway, as long as the Sony has 61 megapixels, using a relatively wide lens like a 24, 28, or 35 gives plenty of resolution to crop in post (or maybe the camera supports crop modes for still images internally?). And for video, lots of clear image zoom with minimal/no loss of quality. With the S9, the zoom seems more important since 24 megapixels gives a lot less flexibility for zooming in post or using internal cropping modes. That's the Leica Q3 with a more fair comparison between the A7CR and 35/2.8 ZA and 24/2.8 G. At about $2500 for a used A7CR and $350ish for the 35/2 and $450-500ish for the 24mm, the Sony would be a pretty compelling option vs the $5500-6000ish used Leica. Though Sony shooters won't get as many groupies as Leica shooters so you'll have that working against you.

Yeah. The price is kind of crazy - adding back all the stuff that isn't included doesn't seem to equal the price difference. It seems like there must be something else going on. Battery plate - $99 PL mount - $395 Top handle - $199 Media module - $1,695 Base plate + power supply - prices not currently shown, but apparently about $5,600? Even if the normal kit included the media dock (about $2,000) it doesn't all add up.

It looks like today (or very recently, if not today), BMD announced a body-only version of the cine 12k for $7,000. This camera just became a whole lot more interesting (and I'm now thinking about what I could sell/trade in toward one). Compared with the $15k kit, it excludes the top handle, baseplate, power supply, battery plate and PL lens mount. It also omits the 8tb BMD storage device for a module with dual CF Express slots. It ships with an EF mount (which I think is just great, given how many of my lenses are EF). Suddenly, the Ursa Cine 12K just became a lot more interesting to me. I doubt that the dual CFE module can record in all (or even any?) of the 12k modes at any of the higher quality settings... but I'm even more doubtful that 12k is really that important to me (and a lot of other things about the UM12K are really interesting). https://www.blackmagicdesign.com/products/blackmagicursacine

The C70 does have some of the highest DR of any shipping camera - it's a DGO sensor. If highest dynamic range is your deciding factor, you won't find many cameras under $10k to match it. Is your project run and gun which is why you want the internal ND - for super fast changes? Some other options for "internal" ND: - Use EF or PL lenses on an RF mount camera and use a converter with swappable inline ND (such as Canon's EF-RF adapter) - If you don't need it to be on a button and just don't want to deal with front filters, look into a rear clip-in filter - they are available for many cameras and in my experience, work well.

For me, the biggest question for the Fuji compact is about the size. If the body+lens are within 5% of the size of a GFX 100S II + 50/3.5, I'll roll my eyes and not care. If, on the other hand, the size is closer to like a EOS R5 + the Canon consumer 24mm RF prime... I suddenly start to become interested, with or without IBIS. Double bonus will be if it includes the 4k full sensor video mode, 5.8k full sensor width 2.35:1 mode, and the cropped 8K mode... or even better, if it has a 4K mode that can do something like Sony's clear image zoom where I can just zoom by changing the readout window on the sensor all the way down to 1:1 pixels. Starting at 100 megapixels, that's a hell of a lot of zoom before reaching 4096x2160 (starting from a sensor that's 11648 x 8736) (I think that 4k 1:1 would be close to S35? The 8K 1:1 mode on the 100 is pretty close to FF). (I already use the 8K mode on the GFX 100 II to get a bit more telephoto in video mode - usually I prefer the 5.8k 2.35:1 mode for my stuff, but if I want a bit more reach than my lens has...)

I still say that the RX100 V is one of the most fun cameras that I ever owned - and I still have mine somewhere, as well as a ZV-1. Even though the 960 fps mode is potato-quality, the 240 fps mode wasn't bad. And even for photos, 24 fps in raw for around 5 seconds is kind of crazy in a camera that size. In theory, if one didn't need sound, one could do 5.5k raw video for very short clips using that mode. I never did that, but on the occasions when I'd use it for something fast-moving, I remember that the rapid fire tick-tick-tick while I held down the little shutter button on the tiny camera would just make me smile. Also, the built-in ND filter was so useful! It was only about 3 stops which wasn't perfect (c'mon, Sony, give us a 5 stop!), but it meant that shooting s-log video was just possible on a sunny day, albeit stopped down (I'm not home right now to check the base iso, but I think it was 640? That seems about right since I remember shooting at f/11 put highlights just in danger of blowing out). It was also kind of nice for dragging the shutter for like a waterfall or similar.

You can also do a wrap if you really wanna look cool like the kids. https://www.wrapcart.com/products/matrix-design-orange-2-camera-skins https://alphagvrd.com/collections/panasonic/products/panasonic-s5-ii-s5-ii-x-generic-camera-skin?variant=42902796959882

It's definitely improved for very short takes. While I didn't watch the whole thing, the bits I skipped around to see were all very short clips. Anyplace with letters was also a give-away (the wording on the truck). I also wonder how many "takes" they had to do of each clip to get one that looked good and where the physics were mostly realistic. I saw a few clips that seemed in the "weird physics" space - that continues to be a major weakness of AI-generated video. But the main thing that could still slow down the enshittification of everything through AI is that AI-generated material is still not able to be copyrighted - at least not in the US. How long that lasts before the shitheads in Congress/Senate/Presidency "fix" it? Unknown.

The questions are overly broad and lacking in enough detail to answer effectively. What's the crew look like? How "limited" is "limited budget?" Do you already have a set of lenses? Since phones got pretty good, how many of your goals can you accomplish with a modern iPhone? In general, focus less on the camera body - as long as you find something with no recording time limits (or long limits), nearly any camera that has been sold in the last 10 years will be more than sufficient for concert videography. If you need good autofocus, then that's certainly a consideration as well. Also, the cameras you've chosen for the "without budget constraints" option are kind of weird. Why the GH6 if on an unlimited budget? If nothing else, the GH7 exists and is, by most accounts, a far more capable camera.

Looks like it was shot about 40% on the SL2 and about 60% in Blender. 🤣

From that one, I'm known to throw out an "Ohhhh, you are sick" every so often.