TomTheDP

The R5 seems like a great option. Still sticking with my Pana S1.

The A1 8k is less sharp than the A7S3 4K?

If shooting in LOG definitely go 10 bit. If shooting REC709 you won't really see a difference. My 2 cents It does largely depend on the camera though. CLOG is also a less flat log curve so it doesn't really benefit from as much data.

I think you'd be better off going with the URSA mini pro as they go for pretty cheap these days. Internal ND's are a huge plus. If you get a good sensor the OG URSA 4.6k is solid though. The old 5in screen was really nice to have. CDNG is the best RAW you can get though the files are pretty big, you do have the option to do 4:1 though. You also can do HD or 2k at 444 which is great and not an option on the Pocket cams. 4.6K up to 60fps in prores is nice too and makes the camera still competitive today in my opinion. FPN isn't an issue unless you really push the shadows or if you shoot above 800 iso. I actually like the URSA size, its about 5 pounds and easy to rig up. The power draw isn't too bad either like some older cine cameras. Having SDI is nice for a lot of work. You won't have to deal with monitor lag like with HDMI. For media I'd recommend Cfast to SDD options. There are a lot of small and cheap options if you go that route. Overall its a solid camera unless you need to shoot at high ISO. I'd also spring for the Mini Pro as ND's are a big advantage in my book. If buying use make sure to test if the sensor has the magenta tone vignetting. Also keep in mind you'll want an IR cut filter when using ND's, the URSA is pretty sensitive when it comes to that.

Wouldn't opening the film door only kill a couple frames ?

I've been doing it lately. I got a Nikon 6006. The viewfinder is very nice and clear though it can be hard to see when the light gets dim. Battery powered so using it doesn't feel very vintage esque. I actually got a bunch of outdated film recently. Just finished a roll of Kodak gold 1600, really interested to see how it looks. It expired in 1993 before I was born haha. I've been wanting to get something like your with a fixed lens though, maybe even something with auto focus.

Yeah Fuji is probably the closest. 4K 60p, 10 bit, LOG are all upgrades coming from the NX1. Fuji AF is probably not as reliable as the NX1 though and I don't think low light is much better. I do love Fuji color a lot. I think the Sony A7S3 is a good option, colors are a lot better than previous attempts from Sony. However its a bit of cash to shell out at $4000. I personally think the Pana S1 is the best deal on the market right now, you just have to deal with subpar Auto focus. Colors are a good deal better than the M43 cameras IMO. I prefer Fuji color but Fuji's 4k files just feel a bit thin compared to Panasonic's.

The bad thing about the URSA 4.6K is fixed noise pattern when pushing shadows or shooting above 800 iso. The 12k doesn't have that as far as I am aware. To me that is a huge advantage, which results in more usable dynamic range as well as being able to shoot at 3200 iso in a pinch. I've also found the Pocket 6k to be significantly better than the URSA in terms of dynamic range.

This is pretty cool. Just waiting on a new release from Fuji that will compete with the S1 image but with Fuji color. Will be an instant buy for me.

Finally!! Maybe used Amira and Classic bodies will drop even more in price.

I think its really project dependent. The URSA with a light lens and light v mount can be thrown on a relatively cheap gimbal. Of course for longer shoots you'd want a support system so your back isn't dying carrying such a setup. That said you can get great handheld shots with the URSA. I've found with a camera that size, about 5 pounds, I can shoot up to 50mm with no problems. I did a wedding the other day and shot a ton of handheld on my Sony F3 which is the same size as the URSA. You don't have auto focus but I don't think that is really needed. I really only use manual focus and rarely have a focus puller. I'd want three 200wh v mounts, a charger, and a Ronin RS2 or similar gimbal. That's an extra $1400 considering you have lenses. A lot of people already have such a gimbal though. Most stuff will be tripod or handheld with the occasional gimbal shot. Really depends on the type of work you do though. Aside from that subject the price drop is pretty crazy. It should have been lower priced to begin with. I don't really care that much but spending $10k only to have the camera be worth 6k in a few months is a bad look. Definitely would make me question dropping a large amount on a blackmagic camera in the future. That's why I almost always buy used these days.

Yeah the S1 can't do all-i so you are all good. I've found the S1 dynamic range is really good even in the natural profile.

Why would you need v90 cards? V30 works fine for me in all the recording modes including 4k 60p and 6k.

Yeah the RX100 could be a good idea!

I've been using BM premium batteries for a while now on the S1 with no issues. The panasonic batteries last a little longer but the third party ones aren't bad. I just got a bunch of Kastar batteries but haven't used them yet to comment on them.

I use V30 as well with no problems in 4k 60p, 4k 24p, and 6k hevc.

The S1 and S1H at least share the a variant of a very similar sensor. S1R is definitely completely different.

Get one of the Sony A6 cameras. A6100 A used A6300, A6400, A6500. The 70d works too. Bad low light performance though and of course no where near as detailed of an image. But yeah for a video like that the lighting seems good and the shots are static without need of focus change. Literally any camera would work. Maybe two Panasonic G6's with a samyang/rokinon 12mm f2 and a Panasonic 25 1.7

You just need to carry all a lot of different fixed ND's to compensate for any scenario, 1-10 stops. Doesn't really work for run and gun of course. I personally don't mind adjusting aperture by a stop. Being able to expose 4 over on the Panasonic S1 also gives me a lot of leeway. Sony END is amazing to have though. For gigs the client doesn't usually care about the look enough for it to matter a lot, 2-4-6 stops on the BM cameras are enough to work with. At least for jobs where you are using a Blackmagic camera in the first place.

The thing about screw on ND's is they cause glare, that's why people use matte boxes. I'd rather not have to use a matte box as it adds a lot of bulk and requires a hassle when switching lenses. I really want to see internal ND's in the next Panasonic camera, if the Canon C70 can do it Pana should too. Maybe not with the GH6 as a big appeal with M43 is the smaller size. However the S1H2 should definitely have it.

Do you find the dynamic range lacking at all? Some talk of that early on but I feel like it may just be that more info is placed in the shadows rather than the highlights like the S1 favors.

The footage looks like this off the camera or is it an artifact from rendering or uploading to youtube?

No I think the F3 image is nicer, unless you need 4k.

Yeah I don't know about down sampling in post but I have heard getting say 4k from 6k is essential for getting an image without moire. I don't know if that is true or why or how it works. The GH5 didn't have an OLPF filter yet was free from any moire problems. I really dislike moire but its often avoidable by simply reframing, though its not always possible especially with run and gun work.

Can't downsample in 4k highspeed unfortunately. I do wonder if simply downsampling will reduce moire. I know I have heard to get a moire free image you need to downsample from a higher resolution, but I am not sure if there is more to it than that. I fondly remember the GH5 being completely moire free.