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Terrific range... And tool by consequence BTW:

I thought that about picking up some FX3’s and my next wedding film would look like a sequel to The Creator. But stupidly, I stuck with my S5ii’s 😒

... and this is part of the problem. A lot of people will think that they just need to pick up a Ronin and they'll remake Adolescence. And yet, they won't be working with 3-4 camera ops, an entire lighting crew, huge drone + operator, car crane + operator, multiple sound engineers, etc. Local film competitions next year should be a little wild. 😅

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I probably mistyped and the bloody thing replaced by Sigma instead (and I didn't take notice to correct it just in time) but the idea of three to four grand off STANDS anyway with... that Samyang you already know but that f/2.8 is only from 100mm on BTW: https://www.ephotozine.com/article/samyang-af-35-150mm-f-2-2-8-fe-lens-review-36714 You even have that extra stop you're willing to pay a premium price for at a wider end for a fraction of the price ; ) and a Sony's product design after all (since the Tamron is owned by them) with extra euros and not such a little difference though, just in the case you want to pay for QC you can do by your own* ;- ) * I'd rather suggest to take two units and you'll diminish in 50% your chances to not be down, that's the way my maths works... : P

I’d also be taking a look at the new Nikon Z5ii. Those more compact Tamron lenses will also work near natively with the Megadap adapter. It would make for a great relatively low cost, compact, high performing, affordable set up.

Each to their own Emanuel but your mathematics are not quite correct. Let’s say you are buying new and instead of the 2 Tamron lenses I referenced, you went with the new Sony, then the maths (in euros anyway) are: 4350 - (840 + 860) =2 650 f2 vs f2.8 is a pretty big deal to anyone that shoots indoors or very low light outdoors as I do. Not having to switch lenses is a massive deal to someone like me, even if that ‘one & done’ in the hand is more than the alternative. I have to work with 2 cameras (for stills) regardless because no single lens covers my needs nor ever will. At least not in my career lifetime because my focal range requirements on pretty much every job is 20-200mm. My current limit is 180mm but my A7Rv can easily make that last 20mm up. It can easily make up +90mm actually by switching to 26mp APSC crop mode, so the 150mm of the new Sony is no gap at all. Yes it can’t go wider than 50mm but that is a non-issue because the limitation when using the 70-180 is it is not quite wide enough (without lens switching) and when using the 28-75, not quite long enough. Having the 20-40 on a second body though only leave a gap of 40-50mm and that just is not something even worth considering. So for my specific use case, ball park $2500 (adjust for tariffs as an when), it’s a no-brainer! Yes it will cost me a bit more than that as I will have to sell 2x lenses to make it happen, but even then, it makes sense to me. Sigma doesn’t have anything currently that can compete against this. The closest would be the 28-105mm f2.8 and that is not close at all. Tamron and Samyang have their 35-150’s but they get to f2.8 very quickly and they extend when zooming like excited donkeys.

I am actually in the camp of ‘gear is great’ and love a chat about kit, but just saying that too many focus on the camera and only the camera above all else as in, “if only I had Camera X, I would make it in this industry”. I’m all for filmmakers large and small to break away from the norms and don’t think kit should be restricted to just the most expensive stuff when some very very ‘low’ end gear has been proven to work just as well and in some cases, has made certain shots possible on the first place. As already referenced, The Creator being shot on FX3’s and The Batman (for certain scenes) using a lens that can be purchased of eBay for under 100. I think the Ronin is such an example but could this show have been made without it? Yes. Will the way this show was shot influence others to emulate? Probably. Will some of them buy or rent a Ronin as a result? Probably, but the result was not solely down to a single piece of kit.

I know that's not my fav 8K outcome going with the Ace Pro 2 (actually AP1 except for much worse sound capture so better to wait for the AP3 in half a year : D) but that fairly surprised me above any previous expectations from anyone over here too, I'd dare to say in advance... huge difference TBH : ) these guys are actually adding something to their line, no many doubts left after all :- ) Moment's guys provide here an interesting sorta tutorial why a 360º device (and 8K capture BTW ; ) is not so out of the box for video acquisition in 2025.

About three to four grand for an extra SINGLE stop against Sigma (as for instance) ?! It doesn't seem worthy to tell you very straightforward :- )

That's simply not true. The focus motor is an additional $270 purchase. The 6K version of the Ronin 4D also doesn't come able to shoot ProRes RAW or 4444 XQ. For that, you'll need to add the ProSSD mount ($200) and a 1TB ProSSD ($800). For most MF lenses, you'd also need to buy a mount other than the one included with the camera - I haven't seen many DJI DL mount to anything else adapters. A Leica M mount costs $300 new. Used prices on most of the above are about 2/3 of new cost. The 8K version of the camera includes the mount and a ProSSD, but (if I remember right) not the motor. And while almost none of the cameras that I mentioned include ProRes RAW (except the S1R Mark II), a majority of them are capable of shooting raw (many of them in a format that works in Resolve without conversion (additional $80 fee for Raw Convertor license if PRR). For those that don't, you can buy a used Ninja V or Video Assist 12G for $200-500. For stabilization, you can add a $400 gimbal - though compared with using the R4D, it will be much more of a pain in the ass. On the other hand, most of the other cameras can support lenses weighing more than about 1000g which is about all the R4D can support if you want to use the 4th axis. External 5" screen? If you don't already have one sitting around, you can get one of equal or better quality to the R4D screen for about $200-300. Any of those other cameras can also be set up in such a way that they will be small/light/unintrusive. That's simply not possible with the R4D. The closest you'll come is the Flex unit which costs $900 and then you'll be in a backpack ($200-300 if you buy the official PGY Tech one) and still carrying a pretty big/obtrusive camera. The main advantage of the Ronin 4D is the integrated 4th axis which eliminates a lot of footstep motion and helps smooth things out on a car mount, etc. In my experience, it's better than using an EasyRig with the springy arm or a ReadyRig Nimbus - and can be used with either for even more smoothness. The second advantage of the R4D is that everything is tightly integrated. If you get a Gimbal with subject tracking, that'll be on a separate screen and is usually driven by a second camera rather than through the camera's lens. If you get a DJI Focus Pro or other Lidar-based manual focuser, that'll also be driven through a second camera and another screen. With the R4D, you can draw a box around a subject and turn on AF and when you start tracking, it will do so uncannily well... about 95% of the time, and randomly lose the subject the other 5%. It's a great single operator camera - but again, it's far from the device I'd choose as my only camera. If I could have only one, I'd take something else for sure. It would be my first choice for my second camera, though... hands down.

I thought this was a gear forum, but maybe it morphed into something else post-Covid hehe

Unlike the other very good cameras you mentioned the Ronin has the entire FF set-up from the get go: stabilizer, gimbal, remote focusing mechanism for MF lenses, big focusing screen (and AF, of course). ProRes Raw and 4444 XQ. It's just a more compelling package for the brand agnostic.

Further north and more nuclear power station adjacent. Or further west if the S you are thinking of is somewhere on the east coast.

A7iv IMO might be a better hybrid unless prioritising low light video over stills? Tamron 20-40 + 28-75 + 70-180 would make a pretty sweet 3x compact zoom set up. I know this because it was my set up last year for stills and is again for this year. Next year, pretty sure I will trade the 28-75 and 70-180 for the new boy 50-150 f2, both for the convenience and extra stop, albeit sacrificing a bit of reach. But then with my A7Rv I can crop quite hard if required. Personally, I’d go for an A7Rv over an A7iv as it’s a better camera pretty much every department, but A7iv’s are cheaper. All this stuff is available used of course.

I’m intrigued… Does it begin with S?

Davide is 100% correct. Pair that GH7 with one of the cheap Panasonic/Olympus kit servo zooms and you have a tiny camera that works great for street work. Or bring the Olympus 12-100 if you're willing to tolerate the extra weight. Add a couple of fast primes for shooting at night and you have a fantastic usable kit. Otherwise, if you just can't stomach micro 4/3 for... some reason, there's nothing wrong with the A7S III. If light weight is a concern, I'd swap for the f/4 versions of both lenses. You'll still be able to get pretty nice shallow DOF and the lenses will be substantially smaller/lighter. Plus if you're shooting on the street in some of the cities, having smaller lenses won't be shouting "rob me" as loudly as a big white f/2.8 70-200, for example. I'd also give serious consideration to super 35. Fuji has a lot of great options and Sony has the FX30 (or whatever the non-cinema camera version of that is - A6700? Something like that?).

GH7

Hi, I might go on a job trip to south america soon for a job. Video + photo. Travelling between locations, run and gun situations + interviews. So i might want to get a new hybrid camera. (S5 and s5ii atm, but I don't seem to like the highlight rolloff and the colors at times when using it run and gun, while in studio it works as an charm) . But I am unsure which one would be the best. Thinking about an a7siii (SD cards) with 24-70mm 2.8 and 70-200mm 2.8. + gymbal + Lav set. I once used an a7s ii in central america, where I liked the highlight rolloff and the colors of the camera. Low weight and speed is key I think. Long battery life as well. (No vlock batteries as they are too heavy. The camera should not overheat. And only wish to use 1 body for now for weight reasons) Any other recommendations? Cheers,

It will be available in any colour you like as long as its brown.

Jon Snow lives his life on YouTube.

Well you can but I'd only spend it on cameras and lenses as well. I've got all four of the MFT PZ lenses (2 Panasonic and 2 Olympus) and they are lurking somewhere around where I am at the moment. If I can dig them out and get some time next week, I can put them on a P4K and do some quick shots for you if you are keen. Won't be anything fancy, it will just be a couple of locked off shots of a Northern seaside town well past its mid-20th century pomp but it'll all be at f5.6 😉

Just got the LP-E6P battery and it make R5C much less stressful lol, extra 30min of recording is quite nice so don't have constantly worry about the battery life.

Few additional findings and notes: Tested it in bright sunlight conditions. It is great. Fully isolates the eye. Because it perfectly isolates the eye from external light, once brightness is adjusted there is no need to change it. Optics actually are better than thought initially. It has several lenses not just one loupe. Most likely metal housing was designed and used for smaller sensors - 0.5''. Current one is bigger at 0.7'' that's why far end corners aren't perfectly visible. I saw this only when was feeding it with signal from my laptop. When shooting with Sony ZV-E1 as already mentioned it displays a 3:2 crop at 1620x1080px and everything is perfectly visible and in focus. one relatively simple modification would be to cut the current cable and solder a female HDMI and probably glue it to the side of the EVF. This would allow to use better or custom HDMI cables. size is just perfect for cameras like Sony ZV-E1 and all other mirrorless cameras, especially when you don't want to use a rig and have just the camera and a lens, probably also a cage as it is in my case. Nice experience. Makes shooting with an EVF really comfortable. The more I use it, the more I like it 😀

Short answer: no. Whole mounting part can be changed but it will require skills and experience to create and make a new one