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what people who are not in the industry (and that is not to say that i'm some bigwig or whatever), is that this is just not a concern in the first place. the arris work fine 99% of the time, but for this gimmick show, the dji was going to be more efficient to work with, as you can see in the BTS where a bunch of specialised crew members all carry the camera in some specific silly way. which brings me to my point: - a mini lf or a35 rent for about a 1000/day without any discount (and if you're shooting 20 consecutive days at least, you're getting a big ass discount per day). multiply that by 3 and thats the your camera package with lenses accessories, a van, a magliner, etc. - now look at the imdb page for adolescence, and look at the camera and electric dept, look at the quantity of people in there. those people don't get discounts, you will probably have to pay them overtime, and can they ask somewhere between 300 and 1500 per day each. - now look at the quantity of the rest of the crew. if you do a bit of math it seems to me like that camera package is fairly insignificant on the budget of an 'industry' production.

This is a topic that comes up in this forum frequently. I don't think you'll get any argument from the majority of people here that there are a number of sub-$10,000 cameras that will get you really close to Arri quality. But for a majority of Hollywood productions, they're not reaching for this camera. As I said in another message above, it's extremely polarizing among people who have used it. If your use case is shooting an hour-long oner and you can run 14 takes of it to choose your favorite, it may be the best cinema camera on the market. If you're shooting nature, it's a pretty awful camera - lidar autofocus doesn't work that far out and the focus motor can only go about an inch past the lens mount, not to mention that balancing a lens longer than 130mm or so will definitely put you over the 4th axis' weight capacity. If your use case is putting the camera on sticks and using Arri Master Primes, it may be the absolute worst camera on the market. I'm not even sure that they could be mounted, even using the Flex + a cage to add rods. It's a really cool niche camera that is finding success (and will continue to find success, I think) for specific use cases in Hollywood... and in my own short films too. But if people at Arri are losing any sleep, it's not for the DJI chicken head camera.

LX10 in photo raw is very nice. If it had 10bit HLG for video, it would be a perfect pocket camera, even moreso with an evf. I don't enjoy slippery phones for taking images, billions of people do though. I love the 24 to 70 F1.4-2.8 zoom on the LX btw. A 24 to 50 zoom coupled with a 1 or 1/1.5" sensor would be nice and a mechanical focus wheel as well. Afaik only a few phones offer the latter. Is that right? Are these your shots? @Andrew Reid Nice images and colours. @Cosimo Colors remind me of GH2 palette when in use of skilled hands. Old school digi vintage look by oldschool 8bit masters like Martin Walgren or Andrew Reid.:) That reminds me how much of imagelovers GH2 users were when creating their pieces. I barely find any good stuff shot on recent cameras. The destruction of vimeo didn't help that I guess.

Defocus Test: 1+8 pro with Vega20mm @f2 wide open (78mm FF equivalent) Vs canon 5D3 with Lomo 75mm @f4