Leaderboard

MTF services are a lot more affordable, on the other hand. https://mtfservices.com/products/fuji-mk-lens-conversion-from-e-to-sony-fz-mount?_pos=1&_sid=b99bda7ff&_ss=r Pair that with a used price of about $1,400-1,500 each for the 18-55 and the 50-135 and you've got a $3.5k T2.9 lens set covering everything from 18-135mm (depending on sensor size, that's 24-27mm on the wide end and 180-200mm on the long end). Oh yeah, and each lens is fully parfocal (after about a 5 minute back focus calibration) and has 0 breathing. Oh, and the image is beautiful with great falloff and smooth bokeh, and imo it's sharp without being clinical, but also keep in mind that I've used mine exclusively on a Komodo-X which has OLPF which renders most lenses less clinically sharp than they really are. 😅 The only real drawbacks that I've found so far are that using the macro switch might knock my backfocus adjustment slightly out of whack (I still need to verify, but it seems to be the common factor in both cases - both times, I still had usable images, but with the focus noticeably slightly off) and that on the K-X, I have to take off the hood when using any lens wider than around 22mm or I'll get a hard vignette in the corners. With the hood off, there's plenty of coverage. Anyway, IMO a used MK set is the best value in cinema nowadays. And shoots are going a lot faster without me swapping primes every 20 minutes. 😅

Yeah terrible design choice and that’ll tip some towards the R5ii but me personally I never used an external monitor on my C100/200 and rarely do even on mirrorless. I do really like an EVF and find that missing in the FX3..

I've been seeing Sony PMW-F55 cameras go for half that, which is just insanely cheap. And Panasonic Varicam LT for sub $2K. Those would be at the top of my rankings if talking about purely for video. Cheapest ARRI AMIRA is still close-ish to nearly $10K, unfortunately. Although that's just my personal opinions/preferences, and not what @Andrew Reidis looking for. Not sure why the FX3 doesn't get a mention? As is leaning towards Sony already, and is a more video focused camera than the a7. And could keep the GFX 100 for stills?? Also the Panasonic S5mk2 is worth a litlte bit extra consideration too?

The problem with LOG is first of all that the gamma assists are a bit rubbish. (Aside from the Panasonic S9 and cameras where you can load on a LUT and monitor with it, without resorting to some shitty external monitor) But on the more common and better specced cameras you can't do that... Nikon Z9, Z8, Sony a1, a7 IV, GFX 100, Z6 III, EOS R6 II and so on. Secondly you should never really shoot it WITHOUT a gamma assist. Contrast, tonality and light are a really important judgement in cinematography and you can't really see any of that with a very flat display. Sure you can toggle LOG profile on/off quick in the menu and judge... but doing so is a PITA every time you want to see the real contrast and lighting. The gamma assists are all quite bland looking and flat with not very much pop, I find. Then we come to the LOG profiles themselves... EOS R6 Mark II / R5 / R3 all have C-LOG3, which a lot of people complain about but I don't mind. One of the better ones and easier to grade. C-LOG2 is reserved for the Cinema EOS line. C-LOG3 is closer to the original C-LOG on the 1D C, I seem to remember. Sony a7 IV has S-LOG2 and S-LOG3, they offer the widest dynamic range of the bunch but you still have to get exposure perfect for optimal image quality. Gets noisy really fast if you under expose. N-LOG on the Nikon cameras needs the most colour correction, otherwise you have very green-olive skin. By the way, there is a very small difference in image quality between 50Mbit/s 10bit 420 H265 on the Sony a7 IV and the higher bitrate LOG formats in range of 200-500Mbit... yes even in S-LOG3! So you can save a lot of money and card space there. With standard gamma picture profiles you don't need to shoot 10bit... 8bit will look the same. People tend to overestimate higher numbers on the specs sheet. So those tips in summary: Don't shoot from a flat image off the back screen Nail exposure to get the maximum dynamic range benefit from LOG With modern codecs like H.265 in 4K/24p - don't bother with the higher bitrates in most cases, the laws of diminishing returns apply big time (Although if you're shooting 8K or high frame rates then 200-500Mbit/s is recommended) C-LOG3 is easiest to handle, with N-LOG last Hope that in-camera LUTs/monitoring becomes a common thing, it's really bad that it isn't even 12 years since LOG first came on the mirrorless camera scene.