ntblowz

Well it didn’t overheat…
Actually, it worked pretty well.
Still waiting for the lightweight cage from Smallrig but received confirmation it has now been shipped and is on its way.
in the meantime, I mostly used it on a cheap, lightweight, freestanding monopod and I’m going to go back to using one after a year or so of not as I really like the stable shot.
Otherwise it was about as lightweight and small as a full frame set up can be and that was great.
It’s not that much smaller or lighter than an S5ii and the S5ii is a better camera really in pretty much every regard except size & weight, but I like the little thing and it meets my needs.
The output is going to be the same as my S5ii’s so the real test was how it worked compared with one ergonomically really.
Without the cage, not as a good, but once that arrives in a few days and I can also put a side handle on it, it will beat the S5ii.
The only final factor really is do I stick with the versatility of the compact Sigma 28-70 f2.8, or take a look at a cine lens with lidar as that option is of interest.
But not this year. I can’t be doing with any more changes to my kit!

R5 offers 10 and 8 bit 8k since day one (h265 and h264) ALL-I, IPB and IPB Light not only RAW

Actually, the Sigma EF APS-C 18-35 F1.8 lives on my R7.  I only use EF lenses on my R7 for one important reason......because I can use the Meike vND RF to EF adapter with them. It turns the R7 into the perfect video camera. I would lose that with RF lenses. Using EF lenses is great as well because they are so cheap but optically excellent, so if you need something "new" you will save a lot of money vs RF. Yes the RF lenses are sharper but with video that's not necessarily a good thing.
Really the only two lenses I use on my R7 for everything is the EF 24-105 F4 for daylight projects and the Sigma EF 18-35 F1.8 for low light projects.
If I get the R5 II I will probably keep the same setup...EF lenses only with vND for video.  Canon never seems to confirm that the R5 has dual native ISO (800 and 3200) but if the R5II does have dual native ISO then 3200 will mean I can use slower lenses like the 24-70 F2.8 at night which would replace the Sigma 18-35. I also need to research the crop modes some more; I will be interested to see what kind of quality the crop modes provide. If they are equivalent or better than the R7 then I can still use my Sigma 18-35 on the R5II.
I am still not a fan of the R5C, no IBIS is the main deal breaker because I shoot almost exclusively handheld, also the R5C has lower DR than the R5II as evidenced by the omission of CLOG2, and the whole switching entire OS to go from photo to video was never appealing to me either. 

Every system needs a cheap nifty fifty! Either for the beginner starting out, or even just as a back up lens for someone more established. 
That was one of the issues with L Mount, their lenses are too high priced. But now one of those pieces of the jigsaw has been solved:
The Meike 50mm F1.8 Full Frame Auto Focus L-mount Lens (already available in Z Mount and E Mount)

https://meikeglobal.com/products/50mm-f1-8-auto-focus-lens-for-portrait-photography
 

Well that went tits up...
First the fact that 26mp medium raw is not compatible with any current batch editing software which meant shooting everything at 61mp which was not the plan.
Then the thing keeps locking up. Or rather not switching on at random times forcing battery out, battery in, which is hardly ideal at key moments. It has happened now 2-3 times on each of the 3 shoots I have used it on. Not good enough.
Plus it just is not as good in low light as the Nikon Zf/Z6II or any of my 24mp Lumix cameras. It just isn't.
So I'm returning it and selling everything Nikon and Tamron.
For what?
My trusty fave camera of all time, my S1H which has a ridiculous trade in value of around €700.
OK, I need to buy a couple of lenses and I have to compromise on my stills camera set up going back to between 2.5/3kg in my hand, but it also puts €6k+ back into my account.
Lesson learned. L Mount is just the best system for me so I need to stop dicking about with any and everything else.
Samyang 35-150mm f2/2.8 arriving next week in time for my next shoot and Sigma 28-45mm f1.8 on preorder for my indoor and low light lens.
Oh well, I tried.
S9 arrives tomorrow and was going to replace one of the S5II's which in turn replaced the S1H which was going to be sold, but it's simply a case of repurpose the S1H back into being a stills camera, a role it has fulfilled before superbly. And will once again.
Maybe an S2R or S2H next year, but for the rest of this one, probably not.
S5II x2 in a static role for video + S9 run & gun + S1H stills. Done. For now...

My used FX30 is only slightly more expensive than brand new ZV-E10 II..
Used A6700 can be had for cheaper than ZV-E10 II in my country.
But they are for different market like you said, for me I defeinitely prefer used A6700 for best bang for the bucks, it got mechanical shutter and AI stuff which E10II lacks.

FX3 can overheat, this guy I know (I shot with him a few time) said his FX3 did overheat on him.
If you search online there are FX3 overheating discussions
https://forum.sony-rumors.com/full-frame-mirrorless-cameras/overheating-issues-and-cooling-solutions-for-the-sony-fx3/
 
FX30 on the other hand I haven't seen anyone claim their one overheated, me and my friend's FX30 has been pretty rock steady sofar.
 
So in terms of overheating I think only Panasonic really did some extra miles for their solution.

Maybe the AI is a Sony fanboy.

GH7 definitely look like the best M43 ever
I m tempted to dump the Sony and back to Pana again.
 

GH7 definitely look like the best M43 ever
I m tempted to dump the Sony and back to Pana again.
 

GH7 definitely look like the best M43 ever
I m tempted to dump the Sony and back to Pana again.
 

M43 with 10-25/25-50 and FF L with 28-45 and 35-150?

I came so close to going back to M4/3 with a pair of gripped Oly OM-1’s just for these 2 lenses.
Considered it for GH6 but decided it was not an option.
GH7 perks interest once more, but I will need to see that that is but it’s about a perfect combo of focal lengths as there can be for me. For video anyway: 20-50 indoor? 50-100 outdoor? Bingo!
Paired with something else full frame for stills with a 35-150… We could have a winner…

The Single Most important thing, "has Gerald been invited or Not?"
 
On a more serious note, I feel Panasonic can squeeze out another 1/2 of dynamic range (from the G9ii) by tweaking the VLog, improving heat management and improving the Sensor coating further. That's 11.8 (G9ii) + 0.5 stops. That Full Frame territory. A few flavours of ProRes, BRAW and RAW wouldn't be too bad. They could shrink that horrible YAGH attachment that they made for the GH4, to about 1/3rd it's size, and have external multiple flavour RAW in the recorder. 

Never thought I would buy a X100VI (and a limited edition too!), But after my name got drawn out of the lottery I say why not!
The thickness of the X100 is similar to my Sony body without any lens on it, and even with that OVF it is only slightly taller but shorter than most other mirrrorless with dslr design.
The ND and IBIS does it make a more compelling video camera, I really hate to screw on and off the lens filter on trip.
Btw it can be powered by USB powerbank
 
 

I really welcome a Red Powered Nikon FX3/FX30 competitor with Redcode, I would chuck out my FX3/FX30 in a beat!

Now nikon gets to be the patent troll. Red will probably get to pretend to remain a company for 2 years and then nikon will probably fire the entire workforce, and we get to hear about “the constantly changing landscape of media” in some press release justifying the gutting of the company.

Nikon Z9 Mark II with REDCODE
RED Komodo Z - with Nikon Z mount
Nikon refusing to renew patent / tech transfer for compressed Canon-RAW!
This is a big move on Canon, against Canon.
Fascinating.
Just don't mention a certain yellow jersey cyclist.

Perverse. AI images over deliver in this situation.  
 
https://www.hollywoodreporter.com/movies/movie-news/willy-wonka-event-uk-chocolate-experience-meth-lab-1235837133/?fbclid=IwAR1S4lRs2eTLuenEEGro-pOVC1BNUteDcNJ_AQYMinJmgFe1GCRU49eNALI_aem_ASDqmkSsZecQEbJvnJb6b7eJ9ftjr6U3ZFS23kqlN2eNEXUKvv9sfDvgFIOAkrHGi74

Maybe not....

 

Just a 3d render and a guy with nervous hands. Fake vertigo inluded.😂

I’m working on a new reel and website. I had a weird year.
Jan 23: got fired from my full time job
feb - sept 23: got fairly depressed due to being rejected after around 350 job applications.
at the same time i tried out freelancing while searching for a new job, done a little decently paid corporate work, a lot of barely paid and unpaid work as a dp, gaffer or colorist on short films and music videos.
oct - dec 23: got lucky due to a cinematography bootcamp i followed and ended up working as a DIT on a feature.
income wise it ended up being almost the same as 2022, so hopefully the freelancing thing will pick up more steam. I’m going to try making some spec ads with some directors i know this year, so we could get work that way.
 
 

Compact travel definitely rx100vii or vi hands down, 2 of my friends went to compact big zoom DC for travel and leave their mirrorlees behind at home. One guy sold his Tamron 28-200mm too cause even that is big for him.
 
For me I probably get osmo pocket 3 for my compact travel gimbal camera.. can't assed bring an actual gimbal.

Thanks largely to Andrew's original post, many people here already know that Shane Carruth shot 2013's excellent indie feature Upstream Color with a pair of hacked GH2s. At the time, aspiring filmmakers everywhere found inspiration that such a masterful film was created with such an accessible consumer camera. It still stands up today as a beautiful, challenging, thought-provoking film:
I just happened across some behind the scenes photos on Reddit posted almost a decade after the film's release. I've always wondered about the technical particulars of how this film was made and even though what was posted is pretty low-res and deteriorated further with early Instagram filters, it does show some pretty bare-bones camera rigs and a lot of natural light.
As I enter my forties and the dream of creating a meaningful narrative film in my lifetime seems to slip further and further out of reach, this is just the kind of inspirational kick in the pants that I needed. If 8-bit, 4:2:0 AVCHD from a Micro Four Thirds sensor was enough to create an immersive story like this in 2013, then the never-ending pursuit of marginally improved gear and software really is just a giant, capitalism-fueled distraction -- one that I know that I use to put off the very real possibility that when I buckle down to make something deeply personal, I might not have anything to say. But I also know that it will be my deepest regret if I never even try.
If there's one thing I've learned, it's that my own thoughts and ideas aren't particularly novel or unique, so maybe others on this board will connect with this too.

The only thing I don't like is they use NZ flag 😂