Trankilstef

As a filmmaker I've made the switch to specialize in Ai and I couldn't be more happy. Never worked this much. I think this is just another tool and we need to adapt. It won't replace everything but is able to make things easier sometimes. 
And the knowledge and skills I've had as a classic filmmaker are unvaluable to create compelling films. The basis is the same : what story I want to tell? 

This is my presentation page on the website of the agency that represent me : https://bangger.com/realisateur/stephane-tranquillin/
 
I have other works I can't show or that aren't released yet, including some for major brands (French car brands, TV documentaries, etc). 

As a filmmaker I've made the switch to specialize in Ai and I couldn't be more happy. Never worked this much. I think this is just another tool and we need to adapt. It won't replace everything but is able to make things easier sometimes. 
And the knowledge and skills I've had as a classic filmmaker are unvaluable to create compelling films. The basis is the same : what story I want to tell? 

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!

Interesting ITW of Oren Soffer here.

Interesting ITW of Oren Soffer here.

Maybe the BURANUS?

"Where the black magic happens" 😄

Hopefully it will be BMD's response to the Sony BURANO Camera! 😉

As you can see here with this Sony rep and his Zeiss CZ.2 lens, shaving those precious millimetres off the camera has revolutionised the way he shoots.
And that is before you even get to the main raison d'être of a 1.4kg weight saving vs VENICE 2.
That 1.4kg is crucial and a game changer when you have 35kg of tripod head, rails, cages, matte box, monitors, EVF and lens attached.
He must really feel the difference in his back all day long.

Here is one of our most adventurous and creative shooters, Nino.
As you can see the size of the BURRITO is once again a total game changer here as it allows the lovely new Cooke to move back a few cm making it necessary to break your wrist to reach it.
The added advantage here is that your hand forms a lens hood, reducing that nasty flare from the single coating!
And as we can see, the ENG style rig high up on the body definitely isn't unbalanced with a high centre of gravity from all the shit mounted on the top handle!

Finally we have the more minimal rig here.
The 2.8kg BURRITO clearly needs the 68 rods under it and a tripod head the size of a bus. Otherwise the whole thing would collapse, giving an unprofessional aura to the shoot.
I think that is an absolute brick of a battery on the back which is all part of the absolute game changing form factor as a cinema camera.
Have you EVER seen a rig like this before!?
REVOLUTIONARY!!!
Yours for only $25,000!
*Or just get a Sony a1 with same sensor from cash converters

I am very exciting about this one. First camera with IBIS, ND and AF. Perfect choice for solo operator or small teams. 8K, auto ND as in the FX line, etc.

It looks like it only has two audio inputs. As a solo operator, I'm using 3 or 4 channels of audio more and more.
 
Apart from that, looks great although I'm not a fan of the EVF. Sony NEED to develop an EVF similar to the one on the Alexa Mini. It's the best of both worlds with an EVF and flip out screen in one.  

I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.

I am very exciting about this one. First camera with IBIS, ND and AF. Perfect choice for solo operator or small teams. 8K, auto ND as in the FX line, etc.

I am very exciting about this one. First camera with IBIS, ND and AF. Perfect choice for solo operator or small teams. 8K, auto ND as in the FX line, etc.

DCI 4K, waveform, False color, synchro scan, possibility to dial down noise reduction to zero...

I'm interested as an A7S III owner cause I think it's a great B-cam to it but seriously tired of Sony not giving us all those little things made possible via a simple firmware update in A7sIII, FX3 and now FX30... 

Huge update for the Sigma FP, allowing a total of three RAW flavors, and a lot of other thinhs. Here the list of enhancements : 
https://www.sigma-global.com/en/download/cameras/firmware/

I bet this item will see a large sales boom once the GH6 is released.
https://www.tomshardware.com/news/adapter-turns-ssds-into-cfexpress

According to 43rumors : 
Ok so we can basically say goodbye to the pdaf technology...
5 times faster than GH5, it litterally means nothing. They had similar claims when they introduced the Panasonic s5. How can they be that stubborn, especially for a video centric camera?
It's the only thing that prevented them to rule the video centric mirrorless game.

Another missed opportunity if it appears to be true (rated FT4).
 

I personnally bought a Pocket 6K Pro since a few weeks and I'm very happy with it. 
I alredy have a Sony a7sIII, and wanted another camera but not another hybrid or mirrorless camera, I wanted a dedicated cinema camera. I was torn between the fx6 (cause it's the perfect match with the Sony a7sIII), and the Canon c70 (cause I liked the small form factor and everything it offers). But when making my plans and comparisons, besides AF and battery life (though it's very manageable), the pocket 6k Pro ticked all the boxes for me, my style of shooting and the projetcs I usually work on (music videos and corporate). 
So as the price is lower than the two others I gave it a try (knowing that I previously owned a Pocket 4K for 5 months but I was doing mostly photo gigs at that time so I sold it but now I only shoot video). 
I can't regret at all. IQ is amazing, it has that depth that lacks in my Sony a7sIII footage (thought it's really good too). 
I can match the 2 cameras very easily without too much hassle, and they're very complimentary. One for more crafted visuals, more controlled shots, the other for run and gun situations, gimbal and shootings where AF is a must. 
For the price, this camera is such an incredible tool to make beautiful images. 
The Sony Fs7 is a workhorse, and has been since its release for a majority of filmmakers. But I think the Pocket 6K pro is more future proof, more versatile due to its small form factor and the price makes it a no brainer to me. 
BUT.... It all comes down to what you shoot on a daily basis and what do you expect from the camera you plan to buy. 

I personnally bought a Pocket 6K Pro since a few weeks and I'm very happy with it. 
I alredy have a Sony a7sIII, and wanted another camera but not another hybrid or mirrorless camera, I wanted a dedicated cinema camera. I was torn between the fx6 (cause it's the perfect match with the Sony a7sIII), and the Canon c70 (cause I liked the small form factor and everything it offers). But when making my plans and comparisons, besides AF and battery life (though it's very manageable), the pocket 6k Pro ticked all the boxes for me, my style of shooting and the projetcs I usually work on (music videos and corporate). 
So as the price is lower than the two others I gave it a try (knowing that I previously owned a Pocket 4K for 5 months but I was doing mostly photo gigs at that time so I sold it but now I only shoot video). 
I can't regret at all. IQ is amazing, it has that depth that lacks in my Sony a7sIII footage (thought it's really good too). 
I can match the 2 cameras very easily without too much hassle, and they're very complimentary. One for more crafted visuals, more controlled shots, the other for run and gun situations, gimbal and shootings where AF is a must. 
For the price, this camera is such an incredible tool to make beautiful images. 
The Sony Fs7 is a workhorse, and has been since its release for a majority of filmmakers. But I think the Pocket 6K pro is more future proof, more versatile due to its small form factor and the price makes it a no brainer to me. 
BUT.... It all comes down to what you shoot on a daily basis and what do you expect from the camera you plan to buy. 

5720 x 4290
Completely revamped DFD AF that's on par with, and sometimes better than A7S III.

I've been on the good ship Panasonic for 11 years now, using the GH series for my video business.
Last year I got an S1 to pair with my GH5. I love the combo as an A/B setup for interviews, and for location shooting having the GH5 with the stellar Leica 8-18mm on the gimbal ready to roll. It's a small and powerful system I can put in a single backpack and the Lumix cameras have never missed a beat for me, bullet-proof in professional environments.
However... after a brief flirtation with a C200 I crave built-in NDs and more video-centric ergonomics. The C200 was too heavy and large for my tastes, but the C70 is close to the perfect A camera for me. I'm very tempted. The main reason I haven't switched already is Canon don't have a bullet-proof B cam in their R series line up yet, nothing I would trust over a GH5 for the wide range of work I do (sometimes having to lock off a camera and let it run for 2 hours). I love Panasonic, I want them to keep my business, but the temptation is getting greater. It sounds silly, but a GH6 and S1H II with built-in NDs (up to at least 8 stops) would probably be enough to keep me and upgrade both cameras. I trust them to knock all the other features out the park.

I think 24MP is plenty for a MFT camera. I suspect 120p won't be cropped. There are so many things they could improve to make a better camera:
Bright, higher definition LCD somewhere around 800nits and 3.5" or larger. Phase Detect Autofocus with eye, face, body tracking. Animal AF a bonus! Internal RAW High dynamic range (12.7 - 14 stops) Internal ND Refined color science Smaller than a C70 Basically make a better, smaller Canon C70--with a viewfinder!

I don't get the complaints about dynamic range. All recent cameras (non-Arri, non-Red) get around 12 stops—including the R5 in raw. 
Raw is noisy, including Redcode, and NR is a necessary tool in post. If you don't want to shoot in Raw, there are other options out there that will give you a cleaner image with higher dynamic range. 
The tradeoff of course will be more artifacts, limited latitude, or worse color. It's your choice. 
Even the Komodo has tradeoffs. On image quality alone, it has relatively awful low-light and limited latitude with dramatic color shifts. 
If you just can't live without 13 stops of dynamic range or the world will be bereft of your creative potential and professional skills, you have a simple answer: C70. 
 
 

This is fantastic! The use case I'm scoping out with the GO II is walking tour of a college campus. It will be great to be able to have a single audio source for the on-camera segments and the scripted, voiceover stuff with b-roll. I did something similar a couple years ago with a traditional wireless set. The presenter would meander through talking points making the constant starting and stopping of recording on video a bit of a pain, so having the full recording will be helpful. Super specific use case, but useful for me haha.