TomTheDP

If it can deliver 8ms rolling shutter and a solid 10 bit 4k 120p that has dynamic range and a noise floor similar to the 24p that would be a buy for me. 8k would be a plus too as long as it also has a nice downsampled 4k.

I might be interested though its hard to want anything less than the S1 in terms of dynamic range. It's got me spoiled. Global shutter would be very interesting.

Yeah Fuji is definitely behind with auto focus. It seems like only Canon and Sony can have stellar auto focus. Everyone else is behind. I guess Nikon isn't far behind though. Would really be nice if they could catch up but it feels like they'll be stuck in the panasonic rut. Do you mean a firmware update for the 27mm 2.8 and 10-24mm ? I don't think the firmware can take care mechanics that weren't designed for the new AF system.

I think on the low end of the market the merge of photographers and video pushed full frame. Photographers were all accustomed to Full frame. The people who said S35 will always be the standard were people who had a background in solely video work. Not sure the exact same thing will happen with medium format as no one really uses medium format outside of a very niche market of people. Video people are all over the market with the sensor size though there is definitely a preference for full frame or Large format as Arri likes to call it. Full frame is such a nice marketing word. Anything else but Full is subpar, a crop sensor. The word medium format is confusing to your average user. Where do you go beyond full frame. No one is jumping on the MF wagon, that could definitely change but i don't see it happening like the full frame push has. Just my worthless opinion though. That said Its still Arri LF, Arri S35 <everything else. been three years since the LF came out. Arri is putting out a new camera this year(rumored), though I think it's likely to be a smaller S35 camera with higher resolution. Hollywood is pretty slow to the trigger though. In terms of the magic vs math on the 3D look that certain lenses give, I think it of course is mathematical, we just aren't aware of whats going on. An engineer that designs or works on lenses could probably give some great input on that.

I think it just comes down to being able to do two jobs at once, which saves money. But yeah the backend up picking out a good still from hours of video would be a pain, though probably not that bad if you do it while you edit the video. Now if you were just taking stills I'd see no point in shooting video for most situations. Depends on the situation. If you need tact sharp high shutter speed photos its just not going to work.

Its gonna take a while for Medium format to really catch on for video. The golden standard for Cinema is the Alexa LF, which is really just full frame. Arri doesn't put out new cameras too often.

It really helps if it’s a long day of shooting.

Was just working on a doc for one of the big 3 motor companies in Detroit. The most utilized setup was two easy rigs shooting from hip height. Working with two Alexa minis. From my experience they’ve been very common place on set. I would think they are rarely used for traditional Hollywood narrative films or high end commercials.

A lot of the better tutorials I've found are for higher end gimbals which allow a lot more fine tuning. The usual suggestion I've seen is to hold the gimbal horizontally and drop it. The time it takes to drop should be about 3 seconds. It's just a matter of adding the right amount of weight on the bottom and making sure the camera/lens's weight is in the dead center.

Thanks for the input. My only drone experience was short and ended with a crash into the Pittsburgh river. That said insurance is actually pretty cheap I have found so I may be in the market for another one. One of these guys is on eBay for a really good price right now..... 🤔🤔🤔

Not sure what you mean exactly. You can replicate DOF on a bigger sensor to a point until you run into lens limitations. Can't get past .95, which is pretty rare on lenses to begin with outside of M43. Of course M43 or S35 is much more ideal if you want a longer DOF. Was shooting between f16 and f22 today to get everything in focus on a 6D. Of course most big sensors have great high ISO performance so you can compensate for the light loss. Some S35 and M43 sensors these days are doing pretty well in that regard too though. I definitely see how the GFX could be appealing to the hybrid shooter. I am fortunate that I rarely do stills and when I do resolution isn't a factor. Right now the A7S3 is the most attractive camera for me outside of one single issue. The internal noise reduction. I'd probably end up using the internal recording more than external RAW(which bypasses the issue). As of now the internal recording on my Panasonic S1 is superior, more organic looking and better dynamic range with more resolution. That said for me if I am shooting in RAW I prefer 4k as its smaller files. The A7S3 also has very minimal rolling shutter which I put above resolution. It also has full frame recording at higher frame rates. If only Sony would allow for that damned noise reduction to be lowered. How hard of an ask is that?? My only real complaint on the S1 is the rolling shutter in full frame and the lack of high quality 120p. I hear the RED Komodo calling me haha

I’d get the A7s3 if it didn’t have so much video noise reduction.

I mean I personally don’t see a use for medium format as you already can get super shallow depth of field easily with full frame. But I guess once it becomes affordable why not. There is being able to stop down and potentially get a sharper image without losing the shallow DOF factor. Roger Deacons has mentioned how he likes the LF image better than the Alexa Classic. Something about it looking richer overall. I’ve heard that a lot regarding the look of bigger vs smaller sensors. Some kind of subtle richness that is hard to explain. In terms of the new Fuji, Pixel binned or line skipped 4k is kind of a meh for video. At least when cheaper options exist that can do full frame downsampled.

I personally don’t get anything beyond 24mp. I could zoom in 400% on Pana s1 raw images and see great detail.

Eventually yes, the bigger the better as they say. Size matters 😉

Or just get a Panasonic s1 that does both along with amazing stills. You don’t have to pick and choose anymore.

It may be unfair but it's just how it is for me. I am not going to keep a Fuji around when my Panasonic cameras can do unlimited recording. I wouldn't care but its been an annoying thing to have to deal with on several shoots, enough to where I'd not warrant keeping it over a Panasonic. For weddings I had an external recorder to bypass that, but micro HDMI is too fragile. Plus record limits are just a pointless gimp. The camera is perfectly capable of recording past that, especially in 2k. As to rolling shutter its not usually noticeable, but its nice to have low or global shutter for handheld.

I guess its more about motion blur than framerate. I haven't shot much at 60p with 60 shutter.

We've seen that the Canon R5 can actually handle 8k recording without overheating in most situations and its mainly a software limitation. I am not too worried about Sony pulling it off.

Unlimited recording, full size HDMI, and Prores RAW would be a big start and both fairly easy implementations. Record limits are a big reason I sold my fuji along with micro HDMI. I just can't really take a camera seriously that has a 30 minute record limit, at least they could have gotten rid of it for 2k recording. Micro HDMI is unacceptable too IMHO. The only other ask for me would be improved rolling shutter. It would be nice if the rolling shutter performance on the A7S3 and Canon R5 could be the standard going forward. The first three things I mentioned would be enough for me to buy it though.

Yeah but you may end up not being happy with the results and wasting your money. I'd definitely find ways to add weight to the rig. If you can get it to around 4-5 pounds you'll probably be in good shape. You might still have a hard time getting precise movements with it, especially as an inexperienced operator. Gimbals end up saving a lot of money as they essentially negate the need for a very experienced and very expensive steadicam operator. Of course a steadicam can do things a gimbal can't but for lower end stuff a gimbal is just the way to go.

Andrew reviewed it here. https://www.eoshd.com/review/4k-is-here-blackmagic-production-camera-review/ As long as you understand what that you'll be shooting at iso 400 and no higher you'll be good. Keep in mind also that if you push it to iso 800 in post you'll start seeing fix pattern noise. So make sure you are exposing properly. Having some fast glass will help if you are shooting at night, as long as you have light sources. You'll definitely have to light dimly lit scenes. The plus side is 12 bit RAW will look and grade quite nice and of course the global shutter.

60p looks weird. People say it looks like real life but I don't agree. My eyes see motion blur if I wave my hand quickly. 30p does make panning smoother unless you pan really slow then 24p is fine. I'd be hard pressed to see a difference between 30p and 24p outside of panning.

Steadicam copies often don't as many ways to adjust your balance, haven't been a big fan of any of the ones I've used. If I buy another "steadicam" it will be from Steadicam. Of course you pay a premium for it. The other issue is steadicam's are made to be used with a lot of weight. The more the better really. Something like an XT3 is extremely light. You'll have a much easier time with a gimbal.

A7Rii is my vote