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Nice piece. Oh and the cheque is in the post for this plug Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

Yeah. [email protected]

For long-time GH1 to GH5 shooters like myself, loyal from the beginning, at a time everyone else was shooting Canon, the S1 is a milestone. I have a bit of an emotional attachment to it already, being the first Panasonic full frame camera. It is not my first L-mount camera though. I’ve been shooting with the Leica SL for a few years now and it is still the most clean, ergonomic, minimalist full frame mirrorless body. It cannot, however, match the sheer size of the feature-set on the £2000 Panasonic S1. Read the full article

Modified Sigma's smaller grip to allow it to hold a T5; haven't printed it yet so not so sure how comfortable it is.

If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag. I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor. Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.

Hello everybody! So, I've attended the Blackmagic Raw seminar held at CVP here in London yesterday and I thought I'd share some impressions: Let's start with the bad news first: unfortunately there is no official release date for BRAW on the PCC4K yet.. They confirmed it is coming to the camera 100% but they want to make absolutely sure that the update is safe and won't brick the camera (which sounds like a sensible plan indeed!) ? That been said I can't wait to have the option to use BRAW, it's such a clever and well implemented solution and i reckon it will be the best choice on the PCC4K for 90% of the occasions. What really impressed me is how good the performance is in Resolve compared to CNDG, it is entirely possile to edit BRAW on a laptop without creating optimised media and/or dropping the resolution. To drive the point home even more they worked on a grading project that was hosted on a USB 3.0 spinning drive and it worked flawlessly, i was quite shocked when I saw a clip with a speed ramp set in optical flow playing at 24fps at full quality on an entry level MBP! Another super clever feature of BRAW is the ability to shoot with any dynamic range preset and being able to revert back to film mode afterwards, that is pretty awesome for dailies or things like that. I also very appreciated the fact that they were totally sincere in showing us the difference in visual quality between BRAW and CDNG and, although there is a slight difference in quality with CDNG being a bit sharper, said difference is only visible in extreme magnification (pixel peeping basically) so in real life BRAW is perfectly adequate especially considering the many advantages it offers in terms of workflow. The Blackmagic guys reckoned that CDNG would be the best choice only in very specific situations where having the best quality possible is paramount (like VFX for istance). Overall it's been a very interesting demonstration and i think BRAW will make the PCC4K even better value for money, exciting times ahead!

Looks like Blackmagic Raw isn't to far away! Someone from the Blackmagic forum went to a Blackmagic camera masterclass and noticed the P4K was running firmware with Blackmagic Raw installed.

Maybe they've deliberately chosen the 14th to announce it as its Valentines Day and they want to show some love to their customers. Or is it going to be a case of Roses are red, Violets are blue, Canon is Canon, No 4K for you.

The great thing is, Speed Booster GH5S outperforms the 6K EF Pocket in low light as well. Unless you can get one of Luca's rather nice Magic Boosters. Who's for a GH5/GH5S Shooter's Guide?

I think I really just miss my Canon 24-70mm f/4...

A leaked slide, relevant?

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem (BMMCC)

take the "1" off and we can talk ?

Shot this video using GHaV3 Lut on GH5s. Followed the guides in the documentations, just drop the LUT in the timeline and tweak the mid-tones, shadow and highlights as suggested. I'm loving the colors!

Very nice. Soon to put this one on the website - That's the plan. Today I finished a major engine rewrite, to greatly accelerate supporting new cameras. Its the most ambitious work yet, that self calibrates and auto iterates. It was enormously difficult, and I discovered legacy code mistakes dating back to the very beginning.

Camera showed up early! ? Feels good in hand

At the risk of taking the thread in an unexpected direction, here's my two set-ups from earlier today, pictured in their natural habitat, on a beach towel on my lap in a tour bus, with people around me wondering WTF I was doing taking a photo of two cameras with a third camera (my phone). Sony X3000 for crazy wides, gimbal-like stabilisation when walking and handy actions shots like getting in and out of busses, trains, planes, etc for b-roll and establishing shots. GH5 with Rode VMP+ and Konica Hexanon 40mm for a bit of reach for the main shots where I have a bit more time.

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good. I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

That's genius!! You can, on this occasion keep a hold of your webcam I do love the fact you have fitted it to a rail mount, I say you build a shoulder rig for this! Extra points for rigging it up haha! Now I loved the image quality on this, for me it looked very filmic, granted its not terribly sharp but much sharper and better looking than I remember from EOS M footage. I guess that is down to a decently sharp lens which works wonders on the Canons. I was half thinking this was shot on a Sony of some kind but the skin tones and colours were just too good Had you said this was an EOS M from the start I wouldn't have believed you, there appears to be no aliasing and moire from what I can see, perhaps YouTube's compression is hiding some of that. Great job! Now for my reveal and I am really surprised to have won the vote for image quality! When I saw some of the entries I was sure I wasn't going to get anywhere near the top. Not that I was aiming to win, this after all was just a bit of fun! Now I will be honest, I nearly didn't enter. I saw the post on the blog and immediately took interest. I thought over it for a few days and done some research on what could be had for the £200 budget. Andrew- as a side note I did manage to find a large sensor, interchangeable lens 4K camera and nearly went down that route! At the time of Andrew announcing the competition it was peak wedding season for me (my full time job as a wedding and events filmmaker) and that had to take priority. When I checked back a few weeks later on the closing date for entries it was literally a week away! I took the plunge and bought something cheap in order to take part, paid for express shipping and bought a lens adapter via Amazon Prime. And here she is in all her glory! £69 body only from MPB photographic in the UK, and probably the ropiest one they had! It was pretty manky, didn't come with a body cap (omg that exposed sensor!! ?) and the SD card door doesn't close properly but I was determined to make this work. The lenses I used were two m42 vintage lenses I had lying around, first up a Pentacon 50mm f1.8 which I actually use in my professional work from time to time - its surprisingly good! For some longer shots I used a Carl Zeiss Jena 135mm f3.5 with the aperture blades stuck wide open - again surprisingly good considering the aperture doesn't function and it has been sitting in a bag without any caps on for years. The eagle eyed amongst you will notice in the above photo there is a Speedbooster attached. This is where I hold my hands up to a little bit of cheating! I bought a Gobe dumb adapter from Amazon as mentioned but knew that for some shots I had in mind the 100mm equivalent FOV I would have would be bit too tight. So for a handful of shots I did run with this - this potentially aided in producing slightly sharper results in some shots. I also used an SLR Magic Variable ND, again not the cheapest of filters! So feel free to disqualify me for this technical infringement! Before shooting my sequence I done a few test shots in the garden the reviewed the footage on the computer. I knew the AVCHD codec would be a potential struggle but didnt realise how bad it was until looking back on these test shots - the footage was already falling apart before my eyes! 17 Mbps is a long way off the solid looking 100+ Mbps i'm used to off my GH5! Not to mention how much moire I saw in the footage! Despite this, I found the 720p mode better with it's Motion JPEG codec so considered using this in my film. I shot with the "Nostalgic" setting with Contrast and Sharpness all the way down. For me this looked to have slightly better dynamic range and better roll off between tones than the "Smooth" setting, although the over all colour wasn't as nice. So, on one of the hottest days of the year I went into my home town and done some people watching. The little GH1 was a fair challenge to use as one might expect with how lucky we are with modern cameras these days. No focus peaking, no zebras, low resolution screen and viewfinder. Despite this, I relied heavily on the histogram to check my highlights, made sure not to film anything with too much motion which would exploit the weaknesses in the codec. I also threw in some 720p shots and upscaled them in the final edit. My biggest mistake was not taking my proper video monopod out to film, instead relying on handheld or a basic photography monopod. It wasn't until I went out for some golden hour footage I took along a proper tripod. Good old Warp Stabiliser came in handy! The edit was a quick couple of hours piecing together the best shots, no real story part from the obvious changing of time and I graded using one of James Miller's DeLUTs as a starting point, tweaking to my own taste. For me this was a refreshing challenge. Normally I opt to do some photography or go a bike ride to escape from my normal work but this was a cheeky day out filming to keep my creativity going at the height of working season. Filmmaking should always be about the fun and not about the expensive gear and with that I think I will arm myself with the little GH1 and see what we can come up with in the future. I will be writing a more in depth blog post on my own website so when that is done I will link that back to here. Finally I just want to say well done to PannySVHS for winning the best cinematography, I love the home video feel about this! Thank you to Andrew for coming up with this challenge and getting this little community together to create. Looking forward to more like this soon! Dan

Jesus @Emanuel is one of the biggest owners, boosters on here for the PK4. He probably knows about 50 times more about video than you do. And Hook is on here all the time. You are a silly bastard.

For anyone wonders, the underside of the grip has two mounting holes, so no more spinning on the tripod plate.

I have to say for a cinema camera the still I managed to pull out of it is pretty incredible perfect for thumbnail like this

Wanted to share more GX85 Cine-D samples. It's fun to carry around with the 14-42mm pancake for impromptu video when I'm not using it for photos. Additional coloring was done on top of GHa.

It is 2020, a year which marks 10 years of EOSHD this month! Those 10 years have flown by. I'm wondering how the filmmaking landscape for gear has changed since the GH2 days. What are you shooting with now?

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots.

I think the C200 looked the best in the studio shot... the BM cameras made the girl look sickly and two-dimensional in comparison. I even preferred the C200 over the Red Helium (I hope I don’t get a cease and desist order). With that being said, I still believe Canon is making a huge mistake taking 24p out of their “lower” tiered cameras... regardless of their reason for doing it. But at the end of the day, it doesn’t really matter, Canon does not offer an inexpensive camera that I am interested in, so if/when I am in the market for such a camera, I will look to another brand.

ok, so bmd has had its moment out in the sun again and a couple of more threads have been started, you'll either buy one or you wont . Now cam we get back to the important business at hand ? like creating content and judging said content ?

Some more test shots with the 35mm 1.4. This time in B&W...

i see kid giving fake advice all the time on canon forums over there. one day he's an EOS R owner, the other a 5DIV expert.. when we all know he's probably still on his Rebel 500D.. SMH

Nice stills. I've heard people have a lot of love for that lens, and it sure would be a convenient one to carry around for simple shoots. You better hurry up and finish that film, or pretty soon we'll have all watched it frame by frame in this thread! ???

This was yesterday evening in our recreational area 'Het Twiske'. Colour of the sun was extremely due to sand out of the sahara. My favourite setup Fuji X-T3 + Voigtlander Ultron 40/2 + Bolex Moller 16/32/1.5x + Rectilux HCDNA. Variable ND filter Mentter HD. F-Log, Eterna in post.

I am in the wedding business, photography & video and have mixed views on this. First of all, there is a lot more competition. a LOT more. Since I started out close to 20 years ago, there are at least as 10x as many offering a service. Also, the competition is a LOT better than it ever has been, both in quality of output and in regard to marketing it. Video is less crowded than photography however as the learning curve is steeper and the production times longer, - less appeal for many ie, less see it as a fast buck, whereas with photography, everyone with a camera thinks they can do it. Bollocks, it takes years and dozens of different scenarios to get really good at it. I came from 5 years of college and uni photography and reckon it took me nearly 8 years until I felt I really knew what i was doing without having to really think about it. Then there is this 'race to the bottom'. It's been talked about for years and to an extent, it is true...but at the same time, not completely. The trick of it is twofold. First, you need to be offering something that is on another level to 'the rest'. I am not saying you need to be the best in the world, but better than anyone else they will probably look at. Ideally, you need to have a number of 'points of difference' and deliver this message with clarity. People have increasingly shorter attention spans. Second, you need to be found by the type of people that are your clients. This may only be 1% of the entire market. Or less. If you are trying to appeal to all and catch fish with a massive net, you might actually be better off with a rod and fishing for one species only. In regard to the latter, you can try and have a broad appeal and try to snag that 1% through the sheer volume approach or target your marketing and have a much smaller volume of contact, but a much higher booking rate. I've found the latter works for me and prefer the 'larger fish in the smaller pond' approach works better. Over the years, I have seen so many 'young bucks' come into the industry. First of all they are full of enthusiasm and it drives them for a while and all that energy helps compensate for the relatively low prices most charge, fully intending to put them up once established. They then try to do that and the work begins to dry up. Most then give up and go back to their 9-5 day job with all it's securities when they realise the reality is not swanning around the world at their clients expense and editing on a laptop in coffee shops. One other thing I have found is that 'good enough' is not good enough and you need to go above and beyond simply to maintain your position. It's extremely easy to get sucked downstream and incredibly hard to swim upstream/against the current. The latter can be done, but to get that extra 10%, often requires another 100% effort. Is it worth it? Maybe... But yes, I 'lose' out sometimes to the sub 500 photographer who either promises the moon on a stick, or more often than not, don't and they (the clients) know they won't be getting much...but that exists in all kinds of services. Or the client deludes themselves that the cheaper option will work out for them only to regret it. Doesn't help us if they do however as folks rarely pay twice and in weddings, never. To conclude, another couple of attributes any small creative business needs are a thick skin and a lot of drive/determination. I would not want to be starting out in photography/video today knowing what I know and would persuade my daughter against it. The bottom line though is that there IS a market still and a very good one but it's a case of finding the right one for you and working it. Continually. Just like an athlete, there are some people who are naturally gifted, but they can and will be beaten by someone with not so far off genetics that grafts harder then the rest. Oh and one other thought, I have tried several times unsuccessfully to get into the commercial market and in the end gave up concluding I could just not make it work for whatever reason, so I plod along with weddings which I genuinely enjoy shooting. Not overly keen on the whole industry and what goes on behind the scenes, but that is another story...

This thread is mostly for me, but I figured that I'd post it instead of just making my own notes as it might be of casual interest to someone. Read at your own peril - this will likely fall down every rabbit-hole available. Still with me? Ok, to catch up to where I am, watch and study these videos.... If you're not lusting after the $40,000 Zeiss Master Anamorphic after watching the first one then go watch them all again before proceeding. I've just sold my car (wasn't using it) so more money for lenses! I use a GH5 and own the Voigtlander 17.5mm f0.95 which I really like, and I've settled on having a super-wide ~8mm and probably ~40mm lengths. The Voigt is pretty rubbish wide-open, but when compared to F2 lenses the Voigt is already stopped-down two stops when they're wide open, so if you're stopping it down a bit then there's real advantages, plus if I ever need the extra exposure (I shoot in available light so that happens sometimes) or want to have the shallow DoF (which also happens) then I can do that. I own the SLR Magic 8mm F4 which is an ok lens, isn't that great optically but isn't terrible either, but it's a drone lens so the ergonomics are completely rubbish. I also own both the Konica Hexanon 40mm f1.8 and Helios 58mm F2 plus an m42 SB. I am not a fan of the swirly bokeh of the Helios (although using it on MFT gets rid of the majority of it on the edges of the frame), and I used the 40mm wide-open on a recent trip and it did not perform well, to put it mildly. Soft as hell as well as all sorts of nasty aberrations. The Voigtlander 42.5mm f0.95 would be stopped down two stops when rendering the same image, so that's something to consider. I've previously identified that I wanted the Laowa 7.5mm F2 lens and was happy with the Konica, but after the Konica had its minor meltdown I'm now wondering if I should replace it with the Voigtlander, or what I should do. Speaking with some pros on other forums about lenses, and especially the guys that know what they're doing in post, the advice was to capture the highest resolution image you can and degrade it in post, or use something like a Black Pro Mist filter. Before I spend any real money on some lenses I figured doing some real research and working out what I really want might be in order, thus this line of thinking and this thread. Next step is to study cine lenses and see what they are actually doing, even just as a reference point.

No I did not have any problems with dynamic range And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera. This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.

Of course! Sounds ridiculous right? Just swap “car” with “camera” and “engine cylinders” with “resolution” and “speed” with “frames per second” and you have essential what the RED patent is. Bayer sensors existed before RED Bayer data existed before RED. The jpeg2000 Compression existed before RED. Hence adding “two more cylinders” is the same as RED adding “Bayer compression” to existing technology and then essentially getting a patent for “cars with certain sized engine going faster than X speed (a camera recording at 4K Bayer resolution at least 23 fps). All that shit existed before except the jpeg2000 compression to Bayer data. I have no problem with that part. Putting OBVIOUS things like FPS and resolution gives RED a blanket patent on compressed BAYER data 4K and up at 23 FPS and up. Which is absolutely ridiculous. If the patent instead said 4K and up at least 23FPS using X unique algorithm implementation then that’s fine. REDs patent is a blanket patent on ANY implementation. What if I have a better algorithm that improves on jpeg2000. Nope, RED by defaults owns that space from 4K to infinity and 23 FPS to infinity. It’s complete bullshit. Ans what about stills cameras? That have been shooting compressed RAW for years before RED was even a twinkle in Jim’s eye? Suddenly they can’t shoot more than 23 FPS because they will be infringing on REDs patent NOT because they are using the same compression technology as RED but simply because they hit a arbitrary number that RED claims an patent over. It’s moronic.

Last summer film, favourite of our family. X-T3 with Bolex Moller 16/32/1.5x.

FS700 (with Shogun Inferno) Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly. I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

Honestly, I am stoked on this. If I somehow get my hands on some extra cash I would love to pick up a used E-M1 mkii or one of these E-M5 mkiii. I shoot mostly on a GH5 and having one of these as my second cam would be killer. Good AF for the times I need it and the Gh5 for when I need 10bit / 4k60. Olympus is doing good stuff. Plus M43 is a killer mount and I love the sensor size.

Here are Martin Scorsese's words: [the magazine in question is Empire Magazine] Surely, people are outraged. But, in my view, he is quite right. He took care not to hurt the MCU creators by saying: 'as well made as they are', so I don't see why he is accused of being insulting.

Solution is to dump Premiere CC.

You damn right, they didn't. It was a deliberate act to cripple the camera as part of their increasingly aggressive segmentation game (forcing certain people looking for certain features to look at more expensive options; which is a very business oriented strategy which of course isn't a very good sign of goodwill and might alienate more people than it attracts). Which is a very reasonable and rational explanation. A much better one than including 24p because implementing so would make the camera too costly (again, we've seen cameras getting 24p added through a firmware update, long after it was sold to the customer!). The entry level Rebel T7 does 1080p24. You know which Canon camera does 4K24p? The Canon PowerShot SX740 HS, lol. A consumer budget compactcamera. So stop all this nonsense about costs or technical implementation, it's all bogus. They did it on purpose and it was not to cut down on costs of the camera itself, it was in the hopes that due to leaving it out it would generate more camera sales in higher tier products. Which is a shame, because no other camera company is leaving out something basic as 24p! Canon blew up after the 5DmkII and 550D/T2i. Then the whole Magic Lantern years trying to make them more into what Panasonic was doing as a company themselves with the GH-range, unlocking more potential, giving its users more quality and features. Yet Canon as a company? It's swinging that 'cripple hammer'. Why do you do it? What good have they really done after the 5DmkII? They started the whole HDSLR revolution if you will and now they're the ones least eager to keep up with it (it's like they managed to pull the Excalibur sword out... and then sold it for its precious metals). Just makes me puke. ?

so after the reveal whats next ? what are the odds of making it a monthly or bimonthly challenge. to give the users of the forum something to aim for, or aspire too perhaps ? cause we all do a lot of talking, something to keep us learning the craft would be really constructive as well.?

I finally recieved the mc-21 adapter today so I did some totally unscientific moire tests after seeing that dpreview chart which I thought initially looked very sketchy. To my suprise it did conform to reality. The S1 does seem to suffer from alot of moire in APS-C mode. I find the levels of moire in aps-c is near unacceptable, I believe panasonic has messed up here in their quality control. Also the 4k image is a bit softer than expected. However in 24/30p the moire levels are very low and the image is much cleaner so there it delivers stellar results. I think S1's strong points is its dynamic range and low light performance but it does come with some drawbacks unfortunately (atleast for us that mainly got it for its 4k60 and high frame rate modes..). Setup: S1 firmware 1.2 GH5 vanilla firmware + dummy adapter Lens: Samyang 85/1,5 AS IF UMC II VDSLR at f4 S1 settings: All default. Standard picture profile and 8-bit video. Might try to play around later and see if the moire can be lowered with some settings adjustments.

I'm submitting this 50 mins after the deadline, I don't know if I'm in or if I'm out... Damn, I know that this thread has been open since around a month, but didn't had time, didn't thought on participate, and last week I thought about it and said "let's give it a try".. unfortunately didn't had any time, and just today I was able to sit in front of the computer to edit.. so sorry for the quality, I tried to do the best I could on the image part but didn't even had time to normalize and do something with the audio ?‍♂️ I hope it's good enough. The camera used can be bought used from $124 very used, and all the way up to $200 in mint condition. I aded a BONUS SHOTS part where I put some unrelated and random shots with different lighting conditions to see how the camera performs on those situations. Here is the link, it's still uploading:

Canon 70-200 2.8 IS on URSA Mini Pro (Prores 2K 4:4:4). Still from an upcoming short.

This is a blind test comparing videos from a couple of different cameras, lenses and filters. I have not tried to match the images since that would take away the point of the test. Im looking at quick turnaround, color science as well as the effect different types of lenses and filters have on the final image. As you can see the light changed quite a bit between shots but it doesn't matter.

Here are some more test shots from the Zeiss 25mm 2.8 ZF “Classic” lens... I’m in the process of picking out a new monitor, can anyone suggest the best/easiest/quickest color calibration tool... Spyder?

The 4K full frame S1 is on my desk at EOSHD HQ and for the first time it's the final released camera that is shipping to stores, with firmware version 1.0. I couldn't offer any original files from my shoot in Barcelona as the firmware back then was version 0.7. So now's your chance, if you're wondering how good the initial 10bit codec is at just 72Mbit or how well it grades, to download my files and have a look for yourself... Read the full article

I'm a big sports guy so this thread is exciting for me. For you i'd recommend something like this but for a 3.2'' GH5 screen - https://www.amazon.com/dp/B007POA58G?tag=makspo-20 I shoot lacrosse mainly (High school, college, and pro) as well as pro soccer. I don't work for broadcast so most of my stuff goes direct to web. Instagram and YouTube. I usually film action tight but not like NFL Films 600mm & 800mm Lens tight. So for me 150mm - 400mm is where I live. My kit is as follows.. A Camera/Daylight rig Sony PXW Z90 with this I only ever shoot 4K 24 and 1080 @ 120fps I purchased the Z90 because I started to get into more documentary stuff. For anyone that shoots sports knows you don't have time to change lenses when going from on field action 300mm to a wide 29mm for a huddle with audio. So i've found having that built in lens to be invaluable. This setup lives on a tripod which is a Libec RH25D Fluid head on the Benro A373T Legs. Also I run a lanc controller so I can control pan, tilt, and zoom with my right hand. With this setup it takes me less than a minute to get completely setup for a game wheres if I was using a mirrorless body or S35 ILC it would be something like 2 or 3 minutes. Also I get a 29 - 350mm F4 lens in front of a 1 inch sensor with 2 XLR's for when I need game audio. Which is usually a shotgun going into 1 channel and sometimes a wireless lav with either a coach or player mic'ed up into the other channel. Pros - Great image quality, a lot easier to use, faster to setup, built in lens, dual XLR's. Cons - Terrible in lowlight, autofocus in 120fps slowmotion switches to contrast instead of phase detect. No audio in slowmotion and 240fps is manual focus only. B Camera/Low light rig Sony A6300 + Sony 70 - 300 FE + Smallhd 701 I've had this setup for almost 3 years and its been a trooper. I shoot the same frame rates and resolutions as the Z90. @ 3200 ISO I still get a rather clean image and with Noise Reduction either Magic Bullet Denoiser 3 (Back when I used Premiere) and Now Resolve Studio I can do 6400 ISO. With this setup I have better lowlight performance, shallower DOF, and usually better autofocus in 120fps. I don't love manual focusing with the 70-300 but I can do it if need be. I thing I like is the focus hold button which I can use if I see another player or Ref that's about to walk in front of my shot. This setup I always run on a monopod, also I can use it for photos which is always nice. Pros - Good in lowlight, sound in 120fps, focus hold button due to lens, can take photos, Cons - The color straight out of camera isn't as nice as the Z90, No 10bit like the Z90, mirrorless camera ergos aren't as nice as a legit video camera. I have attached some photos and link to my reel to see this equipment in practice.