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Or is Mackey playing Depp playing Mackey...

That is all. Thanks for coming to my TED talk.

Cue all those who recently made, ‘Why I moved to Lumix’ pieces on YouRube gushing over the S1II, scrabbling for a piece of the Canon pie. Or Nikon pie. There’s 24 hours between the two so plenty of time to choose which ship to jump to next.

Had a fun time trying out my X-M5 micro cinema rig on a low budget, 3 day music video shoot last week. No overheating or issues of any kind shooting 6.2k prores raw in open gate mode to an Ninja V+. Insane what this little guy can do for an $800 purchase (body).

Although it's not exactly what you're looking for, I'd have to second the Nikon Series E lenses. They truly are remarkable little lenses. I haven't been able to find a good copy of the 35mm 2.5 but the 36-72, 50mm and 100mm are nice little lenses, especially the size of the 100mm. Also the older non-ai lenses are pretty spectacular as well. One lens I hate to mention because it does get such bad reviews is the 35-70 3.3-4.5 ai-s lens. It's tiny and a lot better than the bad reviews give it. I mean, it isn't great, but there's something very Nikon in its not greatness. Another zoom lens I love, which I assume you're familiar with is the Canon FD 35-105mm 3.5. This lens is ALMOST parfocal. Obviously constant aperture. Internal zoom. Fairly compact. I've had a few copies over the years, then end up selling it because I didn't use it too often, regret it and seek another one. My most recent copy I put on the Sigma FP and here's a sample of it at 105mm wide open... No mind-blowing image by any means, but fairly sharp wide open and I like the way it handles the highlights. Of course it's a mess in direct light... as I found out last week during a shoot. However, there are rumors that Canon considered putting the L badge onto it because they were so happy with the lens. As far as primes, other than the Nikons, the Takumar lenses are a personal favorite of mine. I've heard people argue that the 28mm 3.5 is one of the best 28mm lenses they've used. I haven't used that one but the 35mm 3.5 is excellent. I've used a couple of the wide angle Tokina lenses from the late 70s, early 80s and they were decent, but I think they were f/2.8 lenses. Obviously you could get a cheap Neewer fixed ND to pop on the lens and leave there to give you that slower stop and to protect the front of the lens. Also check out the old Vivitar lenses, I have a set of mostly Tokina made ones in the m42 mount and I have always been very fond of them. The image instantly feels like an old 70s made for TV movie. I'm probably going to sell them though, not because I don't like them, I just have too much stuff and really need to scale back. I guess you could also look at some of the older Zeiss Jena lenses... even the MF ones would give you the slower apertures you were looking for wide open. Great thread! Wish there were more threads like this on here like it.

Why are you guys in such a bad mood this morning? Is everyone a Roger Deakins now? I'm not a professional, and a camera for less than 3K would be great for me. I film underwater every week, and sometimes I do small jobs too. Nevertheless, knowing that every time I film I bring home half a terabyte of stuff scares me, because I would also like to have the option to make some compromises. Right now I film with a GH5MII, and I only use the ALL-I codec when I'm doing something special. Having a camera that only shoots RAW is too limiting for me. So yes I leave my garage sometimes but Nikon should address that. 😄

This was at the top of my YouTube feed today. Genuinely thought at first glance it was going to be Mackey’s review of the ZR. Maybe the world has got so twisted around that Depp is now cosplaying Mackey.

It's official! 🤯 https://x.com/Blackmagic_News/status/1965611991441252600

Casey Neistat and Candice? Matt Granger and his 200/2 Nikkor? DSLR video shooter and his entire camera studio attached to a rolling lightstand? Gerald Undone and his own ego (or Sony?)? Bloomie and his cats? The Camera Conspiracies guy and his most 3d popping lens? Snapchick and Raymond? Cam Mackey and yellow-toned footage of cars driving around in the sand? Pooter McCubbins and ugly poorly-made leather goods? Potato Jet and his FPV drone? Matti H and Pooter McCubbins' leftover views? Mathieu Stern and other peoples' lens adapter ideas? FroKnowsPhoto and his Canon rep?

Somehow I missed this promo short film, its kinda brilliant in how it showcases a lot of the features in a pretty creative narrative, really liking the overall image from this new sensor:

So is NRAW really REDCODE or is REDCODE really NRAW, I am confused now.

If you're upset about hybrid-styled cameras with somewhat awkward ergonomics being called "cinema camera," you must have been frustrated since 2018 or so. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera I'd be inclined to say that "cinema camera" is just about as meaningless as calling an image "cinematic." It means plenty of different things to different people. "How can you call it a cinema camera when it doesn't even have SDI output?" "That ain't no cinema camera, it has no mounting points on top or the sides!" "Cinema cameras don't have autofocus" "Cinema cameras need to be dedicated to ultimate image quality and it's not a true cinema camera without 16-bit raw." The ZR is obviously not going to be the A camera on a lot of professional shoots. It has no TC, no SDI, bad HDMI, and bad memory card location. On the other hand, it might finally be fulfilling some of the promise of the Komodo - a small, light crash camera that you easily fit in small spaces - or that you can easily throw at an AC/second shooter to go get some b-roll or a second angle handheld or with a light tripod and have it be a good match SOOC for what you're shooting with your Komodo-X or V-Raptor. Lack of a physical shutter lock is a bummer for some crash cam use cases. Sorry it's not for you, regardless! I'd be willing to bet that the next iterations of the Z6/8/9/etc start working in Redcode NE too.

It’s the international break. The world turns to shit when there is no club football. There is only so much England vs Andorra that people can take. Everything will be OK again on Saturday.

And that mount. Megadap will be rubbing their hands at the amount of E mount lenses that may well be finding a home on this camera. Not just from Sony defectors either but from new owners of the ZR who look at the plethora of appropriately sized E mount lenses on the new and used market and will consider the ZR as a de facto E mount camera.

People here would have dreamed about this camera just two years ago. People were crying for 10 bit and log like 5 years ago, and some people filmed movies with the Gh2 or Canon 5D. I am not saying this camera doesn't have flaws. But saying this is a camera for content creation when you have multiple Raw formats, and one color science that was only available to cameras costing 7k, but more precisely 10 k when you add the accessories in the apsc red komodo, and about 15-20k in full frame. In fact you can film a movie with this. I am sad it did not happen 10-20 years ago, or I was not 10-20 years younger, thinking about this I prefer the later... Oh shit, looking how the world is going, I prefer the former. LOL

I like this camera. The problem is I like about twelve other ones as well. The indecision is saving me a fortune.

Nikon cornered themselves with nomenclatures in this one. They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle. This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake. If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year. I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed. Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting. And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

I think this is a really compelling camera, especially for the price, BUT the card slot on the bottom, lack of active cooling, and no back up recording is really disappointing. The screen is very cool, though. I really hope more cameras come with larger, brighter screens like this. If I was choosing between the C50 and the ZR I think I'd go with the ZR on price alone, but also because of IBIS. Overall though, I'm pretty content with my Lumix S5IIX and two S5s set up. None of these releases have made me feel like I'm missing out.

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there. I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things. Highlight recovery would be nice too. Maybe more advanced controls will come in subsequent versions.

Sort of a new Raptor. It's just a reduced/cheaper version of the existing V-Raptor. It's basically the same as Komodo vs Komodo-X. At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise. I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding. Why shouldn't they? They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows. This is where I am, but $2,600 isn't "cheap" for me. Sub-$2k, though, and I'm starting to pay attention. Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

IBIS for me was a total game changer, and it's crazy that no one has been able to come close to Lumix in this department.

You are welcome.

53 minutes recording 6k 30p continuously 31 degrees Celsius in the shade before the heat warning came on but it kept rolling and the speech ended before I got to experience a shutdown. Not too shabby!

Willing to bet that was a typo and should have said "EF mount."

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves? And E mount coming third-party rebranded by DJI? And EF and PL mount from third parties? If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount. I think you're just flat-out wrong on this, sorry. DJi have a total of 6 lenses for DL mount, IIRC. 16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ. These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens. The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car. I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP. There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses. This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration. So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera. That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

As with all rumor mills take this with a grain of salt, instant-buy if this is verdict : Canon EOS C50 Sensor and Image Processing 32MP Full-Frame BSI CMOS Sensor: Adapted from R5-series tech but at a reduced 32MP resolution for better heat management and faster readouts in video modes. (~6936 x 4624 pixels in 3:2 aspect ratio for stills; supports Open Gate full-sensor readout for video). Features Dual Gain Output (DGO) for enhanced dynamic range (15+ stops), borrowed from C300/C70 technology. Analysis: With the help of the BSI CMOS sensor, the low-light performance of the camera improves, as well as heat management issues become much better due to the lower resolution sensor compared to the R5 Mark II with 45 megapixels. So, the lower resolution choice makes it an ideal sensor for cinema workflow, making it highly efficient for solo professionals. DIGIC Accelerator + DIGIC X: Dual-processor setup added with AI DIGIC Accelerator, the Canon 32MP sensor has fast sensor readout, despite being a non-stacked CMOS sensor, and reduced rolling shutter. Analysis: The image processor is responsible for the overall performance of the camera. Paired up with Canon’s homegrown AI image processor known as DIGIC Accelerator, it boosts the AF performance of the camera. The Accelerated Capture system reduces rolling shutter distortion, ensuring smooth footage during fast action. Advanced Dual Pixel Intelligent AF, powered by the DIGIC Accelerator, offers precise subject tracking. Canon EOS C50 Video Capabilities Resolution and Frame Rates: Canon C50 is available to capture 6K RAW at 60 FPS (full-sensor readout; oversampled from 7K / 32MP for high detail). 4K at 120 FPS (uncropped or minimal crop, 10-bit 4:2:2 internal). Additional modes include 4K 60 FPS oversampled (from 7K-equivalent downsample for superior quality, no line-skipping) and Full HD at 240 FPS. Analysis: The core video specifications actually outperform the Sony FX3 4K 120 limit in resolution flexibility, focusing more on cleaner capture by oversampling from 7K. The Canon C50 camera also has an active full cooling fan inside, so no recording limit. Codecs and Log Profiles: Canon RAW Light (LT/STD/HQ), Canon Log 2/3, HDR-PQ, XF-AVC, MP4 (H.265/H.264). Features internal ND filters (up to 10 stops), timecode I/O, proxy recording. Analysis: The above codecs, resolution, and frame rates all qualify for high-end production needs, and it will very easily make its space in top Netflix-recommended cameras. Canon EOS C50 Autofocus and Stabilisation Dual Pixel CMOS AF II: AI subject detection for people, animals, vehicles; up to 1,053 AF zones; face/eye tracking with registration for up to 10 subjects. Analysis: The need to track 3D moving subjects even in complex scenes makes it very ideal for documentary-style or event shooting. At the same time, with the AI enhancement, users will experience a major shift in autofocus performance compared to the Canon R5C. In-Body Image Stabilisation (IBIS): Up to 8 stops, with electronic IS coordination for video. Analysis: The Canon C50 allows you to shoot handheld videos due to the presence of its sensor-shift image stabilisation system. Further, you can also use gimbals or external stabilisers to enhance performance. Canon R5C and FX3 — neither of them had IBIS. Canon EOS C50 Build and Connectivity Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot). Analysis: The new Canon C50 is a rig-ready camera, a mix with the Sony FX3 design. You can easily mount several accessories on the mounting threads all around the body. Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter. Analysis: Lots of upgrades in the new C50 body — starting with a full-size HDMI port (HDMI 2.1) and timecode I/O support for multi-cam setups, positioning it above consumer hybrids. Battery & Power: LP-E6P battery (2+ hours of 4K recording); power delivery via USB-C; optional battery grip or V-mount compatibility. Other Features The Canon C50 will be Canon’s first cinema camera to offer Open Gate recording for flexible aspect ratios. Waveform/vectorscope monitoring will also be there, along with false color. A new feature is anamorphic de-squeeze functionality, and AI upscaling to 8K is proposed (not available in the initial version of the camera). Canon C50 Pricing [Expected] and Value Proposition Canon C50 Price: $3,499–$3,999 body only [Approx]. Analysis: At this level, the C50 enters the higher-end cinema EOS lineup, positioned below the C70 ($5,499). It offers more than the FX3 ($3,899), but the C70 was less popular due to its price point and limited Canon’s RF lens ecosystem (lenses start at $300+). Hopefully, this year, third-party makers will release a massive range of full-frame RF autofocus lenses. For indie filmmakers, the C50 represents excellent value for money—delivering 6K capabilities at half the cost of a RED Komodo ($5,995). However, if Canon opts for a higher tag (e.g., $4,799), it risks alienating budget-conscious creators. https://thenewcamera.com/canon-c50-rumored-specs-price-release-date-and-in-depth-analysis/

Sony rumors claim from a "rock-solid" source it's the C50, a full frame FX3 killer with R5ii sensor. If true that would basically be the R5C mk2 in an FX type body. Also Nikon is supposed to drop Nikon ZR the following day. What a time to be alive!

Totally get the frustration, mixed feelings here too. But honestly, I’ve been directing AI content for agency work and even for music videos where the budget wouldn’t cover full CGI. It’s not about losing work, it’s about adapting. Most clients are abroad and on tight budgets, so outsourcing is just reality. Learning to guide AI creatively is how you stay ahead, not get replaced!

While all the rumour sites sites try and flex about who was first with the leak about the C50, this guy is sat there quietly with a TWELVE YEAR lead 😂

Exactly. We live in a world where component and platform sharing becomes increasingly the norm. IMO, if DJI were to release a FF mirrorless and try making that fly (not literally, - they have other products that do that) with their own tiny range of lenses, good luck with that, but it would be a recipe for disaster. E Mount is dead so yes, using older lenses etc is all well and good, but Canon are all in now on RF. And to truly compete against the likes of Canon/Nikon/Sony/Lumix, it almost certainly needs to be a hybrid rather than a pure cinema camera. DJI already have strong links with Lumix, - the S1RII and Ronin 4D share a sensor (not officially stated but the general consensus is it is) and are already in the L Mount system, so a bit of a no-brainer. But then maybe the the whole DJI mirrorless camera is just a fantasy...

On the subject of the thread title of YouTubers fighting, it appears that two prominent ones have been fighting so much that they are getting divorced. But sharing custody of the YouTube channel.

The form factor of the Tascam FR-AV2 and Zoom F3 make that less of an issue nowadays, imo - have you tried either of those options?

I dunno, couple weeks ago it was an APS-C sensor, yesterday it was the 45MP FF R5ii sensor, and today it's a 32MP FF sensor.. which Canon doesn't have AFAIK. Maybe it's the new rumoured sensor from R6iii or maybe its APSC. Also it apparently has open-gate which would be a game changer... stay tuned folks!

Today might be an interesting day as apparently in a few hours time Viltrox will be announcing that they have now officially joined the L Mount Alliance. Good news for L mount owners in general but particularly so for those with an S9 as some more size appropriate (and low price) primes should become available.

Yeah, i did ok without it on the shoot but was worried the whole time. There’s no off the shelf solution but I took a chance on the smallrig clamp designed for Sony Cameras and got that one the other day. Worked out and it fits perfectly. Blocks the USB-C but i use a dummy battery anyway.

I love this thread. Keep em coming. If only the Canon FD 35 105 was not prone to gnarly focussing after several years of use due to ball bearings covered with desolving rubber. There is a very compact 38 to 100mm F3.5 under the Hanimex label, which I really like using for personal filming. Mine has a FD mount. I used to have a video uploaded showing this lens in action, which I shared here before. Vimeo deleted it along with 60 other videos when I canceled my plus account, because they deleted all groups and destroyed the whole community. I really need to read into Nikon glass. All these different versions leave me puzzled.:) @mercer

Yes, but as long as some people still buy VW and some people buy the upgrade, other car manufacturers will be inspired to do the same. This is how the enshittification race to the bottom works. It used to be that if I bought a plane ticket on any airline, I got a checked bag for free. Not only that, but overhead space was plentiful and I could be a bit chill about boarding the plane. Then one airline started charging for checked bags. When people didn't stop flying with them, the other airlines followed suit. After all, people are apparently willing to accept a shittier flying experience. Now checked bags cost money and overhead space is crammed full which makes me one of the annoying boarding buzzards circling around the boarding stanchions so that I can be sure to get on in time to put my camera bag above me and not get into an argument with the boarding agent about whether I'm going to gate check it (and no, gate agent, I cannot relocate all of the lithium batteries into my other much smaller "personal item" that goes under the seat in front of me). Anyway, the shrugging and accepting it is basically what is at the core of enshittification.

Absolute scumbag behaviour from these American corporate fascists. The law and YouTube needs to stand up and say... enough. You should not be able to abuse so many innocent people via the legal system. It's all fair use.

Would you consider just upgrading to a used z6iii whenever it makes sense to financially? Just the fact that you’d be able to get arguably better internal recording than the atomos / not having to hook up the atomos all the time..

Same…one of my most used lenses for my Z6, an old Nikon 17-35 2.8, is not weather sealed lol, but there’s the 5% of times where it’d be nice for the body to be weather sealed.

Just discovered that Minolta MD 35-70mm f3.5 is parfocal. 🙂

Decided I am selling my S9...I know. It's a killer camera. I realized I want something more durable as my a-cam. I got it for a killer deal, but that also just makes it all the more easy to sell as I am pricing it low at around $900 WITH the Smallrig cage. After further thought, I want a camera that is weather sealed, and reports about the rear dial going out (it feels soooo cheap) do not give me the most ocnfidence.)

The cupboard in question

Turns out I had the Makinon in a cupboard all along and will also give it a go. Some of these old zooms have terrible 1.5m+ minimum focus distances or rely on an awkward to engage separate macro mode, but some have the macro mode on the main focus ring and some are even par-focal. The Exakta 28-70mm F4 MC Macro (made in Japan with 62mm filter thread, and mine is an M42 mount version) in particular stands out for me, nice vintage look, nice size and weight, ergonomic to use, decent optics and distortion, covers GFX 100 well, especially in square 1:1 aspect for stills or 16:9 for video, and focuses down to 1:3.2 macro with one turn of the main focus ring (no funny separate mechanism to contend with). The best for flare is the absolutely pre-historic Voigtlander Zoomar 36-82mm F2.8, think it was the first ever zoom lens for SLRs, the distortion is absolutely insane at 82mm but if you stay between 36-70mm it has a lot of cinematic goodness.

Inspired by this post, I tried to make some flares with the Makinon. Some were shot at f/16 and others f/3.5 with an ND filter. I shot in v-log and corrected for exposure and add the official Panasonic LUT.

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

More back-pedaling, it’s going back. Tried it for 2 jobs and actually, real world, I don’t actually like the size & weight. With the ability to take either 2 steps back or 3 steps forward, the less than 1/3rd the weight and 1/2 the size plus 1/2 the cost, 35mm f1.8 makes more sense. I ‘liked’ the 28-45 and really did think it would be perfect for me, but nah, going back to my roots and 100% primes for stills and hybrid but sticking with zooms for video. And sorry @Thpriest but that means keeping the S9! Shooting these last 2 jobs just reconfirmed what a joy it is to shoot free hand or on the freestanding monopod for all my run & gun clip work. Ridiculously light, quick and easy and probably the only thing I’d replace it with now is either a next gen S9, or possibly (but not this year!) third S1Rii. You can probably tell I am a bit of an S1Rii fanboy, but it just works for me…and I have barely touched the video side yet. Yes I would still rather it was an FX3/30 style body, but I’ll take what it can do what those cannot, every single day. If I change anything else this year, Mrs SMW will walk, so it’s; S1Rii x2 paired with any combo of; 18, 35, 50, 85mm f1.8’s (could do with something longer but not a ‘need’ as such) plus S9 with the Sigma 28-70mm f2.8 glued on plus, S5ii with battery grip and 70-200 f4 for all static longer capture duty. 4 bodies, 6 lenses, 1 system vs what was at the start of the year, 5 bodies, 9 lenses, 3 systems, so a BIG improvement in logistics. I do have a single mint S5ii for sale, EU only, €1000 inc postage for anyone that is interested or quick enough as Monday it’s off to MPB…

I think this is the first time the S5ii can do raw and it was X model only previously? Considering the prices of used S5ii’s now, that makes it some piece of kit! I have a minty S5ii for sale if anyone (EU only) wants one, for €1000 inc postage, or it’s off to MPB within 48 hours…

I don't really use the audio for dialogue so can't really comment on it specifically. To zoom out and think more holistically about sound, and also a bit about getting in front of the camera, there are a few approaches. High-quality sound on location. This is great but you pay for it in terms of paying for extra equipment, extra faff of charging it, setting it up, using it, cleaning and maintaining it, etc. High-quality in-camera audio is the most convenient and the most expensive to get. External audio makes it easier / cheaper but creates extra work to keep the audio files managed and to sync them in post. Acceptable sound on location. This could be through a combination of average in-camera audio and average external audio. The in-camera audio could potentially using on-camera mics like the Rode VideoMicro or a plugin Lav mic that don't require any power and are plug-and-forget but are dependent on the quality of preamps in the camera. The external audio could be as simple as using a smartphone right next to your mouth, or using the integrated mic in the headphones as a short lav mic. I've seen lots of vloggers do this in very noisy environments and it works fine. First example, second example. Record in post. ADR (Automated Dialogue Replacement) is where actors re-record their dialogue in post production to match their lips in the footage. It is so common that many films simply didn't bother to get good sound and created the audio (dialogue, sound effects, sound design, the lot) in post after the fact. I've done this before on short films and if you take a bit or time to do it then you can get results indistinguishable from doing it on-location. Recording in post also comes into the idea of appearing on screen, or not. By taking lots of notes and recording your thoughts during the trip (potentially just using voice memos on your phone at the end of each day) you can then narrate the finished film and have a significant presence in the finished edit, have high quality audio, and also take away the burden of getting great audio for everything that happens throughout the whole trip. Narrating the film will also enable you to communicate ideas and feelings and information in a concise way with carefully chosen words, rather than trying to piece together a coherent summary from fragmented snippets of footage. Narrating the final piece also takes a huge burden off the footage too, because anything you didn't capture can be explained in V/O so the film doesn't rest solely on the footage to be self-explanatory, which is a high-bar to achieve. There's a hidden mindset that you're at the cutting edge of (and being cut by), which is that the entire film-making industry assumes that anyone wanting high-quality equipment doesn't mind it being large, and that if you care about size then you don't care about quality. I've gone round and round with people online and it's like "small and good" is a combination that somehow doesn't exist in their world-view. This has lessened over recent years, but is still the elephant in the room. Speaking of the elephant in the room, be careful not to lose sight of the final prize, which is an engaging final product. I don't know how much editing experience you have, but making a doc is like making a bunch of lego pieces without knowing what you're eventually going to want to make, then designing the building, and then trying to assemble the building out of the lego blocks you have made. Obviously those with a lot of skill will be able to anticipate the final result better, and will make better pieces, but to a certain extent the more pieces you make and the more variety you include, the easier it will be to assemble the finished product you want. This is why I advocate for setups that: 1) you will use (giving you more footage) 2) is fast to use (giving you more footage of things that happen quickly) 3) is flexible (giving you more variety of footage) 4) is enjoyable to use (making you more likely to use it and also making the whole thing more enjoyable and more likely to be successful overall). Remember, this person is ready for anything, but misses almost everything switching equipment, and has a hernia by the end... You should start with the idea of just using your phone and only add equipment that will make the end result better, not worse.

It will be fine but needs either a baseplate & grip for even basic handling but better a cage from someone like Smallrig. I have the Smallrig baseplate/grip myself for my needs but if I was going anywhere rough and for more than a couple of days, the cage for sure as it’s not the most robust camera ever built. S9 + grip + Sigma 28-70mm f2.8 (42-105mm in APSC mode), Sennheiser MKE 200, mount for monopod. If I had the cage instead of the baseplate/grip, I could mount 2 accessories instead of one such as a mini LED. As it is, I just have to swap out the mic for the LED if I need it. Extremely compact and lightweight package for it’s capability but neither the body nor the lens have any proper weather sealing so IMO, this is not something to take around the world when you are inevitably going to have some inclement conditions!