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For me, you buy what you need when you need it. For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera. (That's still a thing in the circles I'm in) Obviously, you need to know if you're served by playing this sort of game. I've rented camera gear just to impress clients, not for any particular production need. If I was in that situation again, heck, might as well buy a package like this for the same cost. Also, wouldn't be the last time I'd buy gear only to sell it again quickly. Which is kind of like renting, just with more flexibility. Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious. All that nonsense just to do a talking head interview. Whatever, the client enjoyed the spectacle. Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared. Win-win-win.

Its not just the processor that needs cooling. Reading out a large sensor in 8k at 30+fps will heat that sensor up...big time. Its going to suck amps galore and get really hot. Sony often clocks their sensor readouts down to keep them cooler in small passive Alpha bodies. A fast clocked 15 millisecond readout in 8k 30p....in a passive cooled body?...no damn way!!! That sensor will be clocked at 35-45 milliseconds and will jello-o like crazy. Even THEN, it's still going to get hot. I'm betting on 8k clips no longer than 5 min and a required cool down in between clips. 4k?....be ready for pixel binning/line skipping and a forced 29 minute recording limit. You guys wait and see....the "Canon Cripple Hammer" is alive and well. They have to also make the Cine EOS managers happy too. And please.....nobody tell me; "Canon Cine EOS managers have ZERO concern for anything that an R5 has to offer" or "The R5 doesn't compete with the C200 or C300 so Cine EOS managers don't even pay attention to the R5 because they are two different markets" Oh...they care and the have a lot to say about how the R5 should be "properly" crippled.

Useless without the 4:4:4 upgrade. That is the only reason to get the camera at this point. I love my F3 but only because of the 444 slog

If you like lugging around very old heavy cameras, yes.

Some time ago I accidentally bought this bad boy... It's a Cine-NIKKOR-C 13mm F1.9 Nipon Kogaku Japan D-Mount cine lens. It's pictured above sitting on the hot-shoe of my GH5 for scale. Ironically, with all the lenses I've bought thus far, it's the only Cine lens I own, and it's the only lens I own that I haven't ever used - I have no idea what its images look like. I've hatched several plans to mount it and see what it's like but I've never actually carried any of them through. This thread is to kind-of publicly shame myself into actually doing something about this, but I thought it might be of interest to others as well, as I kind of see D-mount lenses as maybe being the most under-utilised vintage lens mount system, especially considering they were all cine lenses. Of course, I'm under no illusions that these will be the best lenses ever, but they must have been pretty good - even 8mm film was still film, after all. Anyone else interested in D-Mount lenses? anyone shoot with them?

- 8k may have a severe recording limit. - The memory cards 😅

In the top photo, it is shot in open shade, looks like just as the sun has dropped down over the horizon (on the viewers right). The clouds are just starting to get lit from underneath. and are starting to skew warm. Probably the whole image has been graded warmer because this looks to be a little later in the day than the "golden hour" and just at the start of twilight. Watching through the first video, there are a lot of scenes where it was shot in open shade, and then some scenes that were shot in harder light conditions. This is what happens when you start drinking bleach and blasting your body with UV light...

No there he can land easily... In this one we manage to take 3 attempts before he missed and he was in the lake😂

It does 60p, you just need the 7Q recorder. The 444 model does 60p to the black magic video assist tho.

Is there a way we can do something like that? By injection inside?

A large majority of anamorphic shooters seem preoccupied - if not obsessed - with run-and-gun setups. Which is totally fair, who wants to drag a heavy hand-held setup around? But for me it has never been an issue, as my goal is to shoot narratives someday. Narratives with pre-planned camera shots, involving tripods and other supports, where weight is far less of a concern. In the grand scheme of things, a B&L is not that huge. Although an FVD-35A will definitely increase the weight to 5-6 pounds. Still, I bought a couple B&Ls on the cheap a few years ago, and I definitely want an FVD when I can afford it. The 335b is another story. Combining the B&H and the Kalee, we're talking 10-11 pounds of glass. Something for that would be for specific needs, like "I need a 24mm low light shot for this John-Car[enter-style horror film I'm shooting." Vazen is too rich for my blood. If I could afford a Vazen, I could afford to pay a CNC machinist to create a B&L rehousing 🙂

@Blackmagic - thanks for the $500 price reduction on the 6k! Please also release a micro 4/3's version of the 6k with same attractive lower price...

If you like cine bodies and don't need 4k and don't need 10 bit beyond 30p then its a good option.

The 6K is at a reasonable price in Aussie now https://www.videopro.com.au/p-12714-blackmagic-design-pocket-cinema-camera-6k-canon-ef-cinecampochdef6k.aspx $AU 3455 which is about £1783/€2039 less the tax back as a tourist and it comes out at £1620 Pity about the 14 days quarantine though!

I bought it on ebay for 30 USD. I did another test today, its actually quite blurry if your shooting at a distance.

$750 for an F3 isn't an exceptional price for an F3 in 2020, but then again you'd struggle to find one substantially cheaper either without a lot of patience / hunting. And the inclusion of the viewfinder, charger/battery, & Nikon-FZ mount adapter are nice bonuses which makes this overall package lean into "a good deal" territory. As for the lack of the RGB upgrade, you've still got 10bit 422 and I don't think 422 vs 444 has to be a deal breaker. Perhaps the biggest negative for you might be not having 1080 60fps output, which needs the RGB upgrade. (you also can't use LUTs for on-set video monitoring without that paid upgrade as another one of the small differences) The number of hours on a digital camera these days is fairly meaningless, other than being perhaps maaaybe a hint at how much usage the camera has got. (but I'd rather take a camera which has seen 5yrs of usage in a photo studio, never going outside, vs 5 harsh months documenting the Syrian Civil War!) None of this has yet answered the question "should you get this F3?" Because only you can answer that. Does 4K matter to you? Do you care about how big and bulky a camera is? etc etc etc etc, countless questions like this which don't really have a "right" or "wrong" answer so much as they're subjective personal preference questions. However, I feel that for most people an alternative camera choice like a Panasonic G9/GH5, Fujifilm X-T3/X-T4, Nikon Z6, BMPCC4K (as any of these could be a similar ish price as a F3 / recorder setup will be in total) will instead be better buy for them unless they really really want a Sony PMW-F3 and are committed to it.

If you call your knowledge limited, then I don't know what I could say about mine. XD I think it's to be expected. You are literally bending the universe and going to the extremes of lens coverage. Your numbers are 100% correct. And that's why Vazen made their lenses 1.8x - so that people won't have to crop anything out of 4:3 video. Speaking of Vazen, have you seen their 25 mm T2.2 1.8x anamorphic lens? Cool! If they weren't that big and heavy, they would certainly be far more popular. Big single focus solutions are also easier to get nowadays (FVD-35A), so maybe we'll see some change in the future and people will start to carry around those bazookas with them on shoots. XD

Never underestimate the monetary value of nor the body's power to regenerate blood plasma.

This is truly going to be a revolutionary product for the low budget world if it lives up to expectations. This packs so much into just one product (timecode! recorder! camera hop! IFB! etc), and all at a very very low price and small form factor. I can see a lot of people buying a couple of these to keep as spares in their sound kit to solve whatever random problem might pop up on sets unexpectedly. The biggest negative is that you can't pair a transmitter with more than four receivers, if you're like me a sound mixer then this low number can quickly become a problem. (although it would be good enough for "most" of the productions I work on, I'm not yet at the level when I'll regularly need dozens of comteks available to hand out on a regular basis!)

Found some shots taken with this lens on a old CCD sensor. 48x36 crop

Mini 8k monster thou i still work in 1080😂shame on me