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Let the chat commence…

That would not surprise me a bit and although I have not watched a single review other than the CVP one…and even that, not all the way through, I have noticed a while recent bunch of LUMIX converts posted they have one. I imagine a bunch of them at least will shortly be posting a piece regarding why they flopped back to Sony, soon enough… I’d have no problem flipping back to Sony myself, but it would be the FX3A and FX30’s plus A7RV, all used, because all of that kit is more than good enough for me. The A7RV is still the best stills camera I have owned, though my S1Rii’s are better hybrid and as that is my bread & butter… It’s an unlikely scenario though as my LUMIX gear just works and shiny new stuff for the sake of shiny new stuff, is not enough of a draw for me personally. Still, no harm in looking and pondering from time to time!

That's kind of the thing: today you can get as good of an image now from a sub $2000 camera, and that's not even including the used market. It's not a bad camera at all. It's just, $5000 is a lot right now in this economy. Outside of the Sony hardcores who are constantly upgrading to the latest Sony camera, this is a hard sell I think. Honestly, if I'm already shelling out over $5k, I'd probably go all the way and get the Sony FX6 for the more professional body and features, like internal ND, even if it is missing some of the other things the FX5 has. Plus I think you'll still get hired more having an FX6 than you will having an FX5. I will say, it's funny seeing all the YouTubers who jumped to Lumix with the S1II all the sudden jumping back. Guessing Sony cut a bigger check?

Hey ya'll! I was wondering if by any chance anyone knows a good site that reviews older DSLRs and MILCs? Yes, I know this is a bit of a strange petition, but nowadays reviews have gotten stale since every modern camera can perform 99% of what every other camera does. Specifically, I'm looking for a site that reviews older gear from 2026 perspective, a modern view of vintage gear, if you like.And no, parsing reviews from 2016 of Canon's 5D Mark IV is not very useful. I want the modern take, with today's technological ecosystem, of this older gear. IMO, the market for these slightly older cameras is ripe for the taking. Vintage sells and overall prices for these cameras is very respectable now that they have depreciated. Anyone?

Hey gang, been a while. At first glance this FX5 felt a bit underwhelming but looking closer its a pretty substantial update. On paper the frame rate/resolution bump over FX3 looks small, 4K to 5K isn't a leap that sells itself, and I get why some are skeptical. But I don't think the gains are actually small once you look past resolution. Also want to bring the A7R VI into the conversation, since it was announced just recently and shares the same sensor, and does some clever things of its own. It varies its subsampling by mode: 8K comes from an 8.2K region (1.22x crop), while 4K is read from the full sensor width but subsampled from a 5K portion, roughly 2:1 binning, and rolling shutter scales almost exactly with that ratio between modes. That's actually smart sensor use for a hybrid body, flexible readout depending on what you need, high-res stills and video modes both on tap from one chip without a fixed binning scheme. Arguably a more versatile use of this sensor than the FX5's fixed video-only binning, if you need both stills and video from a single body. But for video-only work, FX5 still pulls ahead in what actually matters day to day. The RAW is the real story, 16-bit X-OCN, same bit depth as Burano/Venice 2, and the C1/C2 compression tiers are genuinely efficient, undercutting even the FX3's own compressed 10-bit codec at 4K24p. Triple base ISO and the selective dual-gain shadow cleanup add up to real, usable gains, albeit slower readout speeds a la S5ii. Oh and open gate, Sony finally caught up. On price, worth noting Sony's being smart splitting the handle and EVF out separately rather than bundling, it softens the sticker shock even though fully kitted you're still at a whopping €6,800 here, FX6 money for a mirrorless body with no NDs, SDI etc. That's the one thing hard to swallow. Went Canon with the C50 myself a couple months back, still very happy with it, dual OS is best of both worlds and the various crop modes and digi zoom punch-in flexibility over the 7K spec I rarely touch. For about 3K with the awesome XLR top handle included, it fit my wallet and needs, no regrets. Bottom line: For Sony hybrid users that need stills over RAW, do take a look at the A7R VI, smart camera with impressive specs. For video only, no real flaws on the FX5 and some serious upgrades: RAW, open gate, triple ISO, dual gain, tilt EVF option..all genuinely exciting if you can swing the price. Personally I wish they would have left a stills option (even 16MP e-shutter mode) but I have no doubts the FX5 will become industry standard for years to come. But I also don't think FX3 is going obsolete anytime soon either.

I'm already shooting 2x anamorphic open-gate on my $30 Charmera keychain camera, so nothing new for me here. Nice to see that Sony has finally caught up though!

Balls. Sent the S1IIE back without even opening the box and picked up another S9 instead. My first 8 jobs of the year were 7 hybrid and 1 pure video. Of the next 7, I knew 1 was photo only but ‘assumed’ the other 6 were all hybrid. Nope, only 3/7 are hybrid and not worth spending that money for just 3 jobs when 2027 is a bit of an unknown… Unknown as in almost fully booked and every booked job is hybrid, but I am still hopeful for either a genuine S1H successor or an S9II. Or even some kind of Nikon/Sony mashup but that is as unlikely as my Hasselblad dreams… But then also still ‘waiting’ for Sigma to build a sibling to the 28-45mm f1.8 such as a 45-90mm f1.8 with internal non-extending zoom, but probably dreaming there also… And then there is my Leica fantasy, but let’s not go there either.

This is a beast of a camera for sure, but man, almost $5K??? I mean, I get it, it's almost a cinema camera, but no internal ND, SDI etc.... I guess I'm just grateful you can pick up a used A7SIII for around 2K and get basically the same image at the end of the pipeline. Or even an old F5 at $1k for that matter... It's funny because I'm at the stage in my career where I can kind of choose to shoot with whatever cameras we want within reason. More often than not though, I end up going with older cameras because we get basically the same image at end of the pipeline, and they are like 10x cheaper. The budget saved can be invested into cooler on camera stuff. Spoiled for choice I guess

It's the best compact cine camera in the market, for NOW. But I'm not sure it can hold that position for long. Maybe they know this and keeping some features unavailable today to be unlocked at 2027. Firmware update these days are more a marketing policy (our product still competes) than an engineering challenge. I mean 4k240 is not some issue in the code you want to resolve. Its a switch.

I used Ektar drumscan: To create simulation profile:

There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director's viewfinder would be unheard of in a consumer full frame camera from a major manufacturer. This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features - which are big leap for Sigma and indeed push the boundaries of whet we expect from a "prosumer" camera. Cinema DNG RAW 4K 12bit to USB C SSD media Internal 1080p 12bit internal RAW Cinema DNG uncompressed Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment) Read the full article

What are you trying to do? As long as you don't have a big rig with lights and a shotgun mic, then you should be good. I've walked around Philly and NYC and see plenty of people shooting video everywhere with gimbals and even tripods sometimes... although I wouldn't recommend that. The key is to look like a tourist and find locations where there aren't many people passing by, or it's so busy, people don't even look twice at you because you look like a tourist. And be prepared to move to a different location if you have to. Philip Bloom, hardly a narrative filmmaker, but his use of super long lenses gives him the freedom to be a little far from the talent. Separation between camera and talent can be a good thing if you're trying to steal shots.

the download is on their homepage -demos at Cine Gear Expo tomorrow