IronFilm

I reckon the only camera that aged better is the OG BMPCC! (although a very different camera, and also a fair bit older too) 

I think the OG S5 and the S1 still have the best video quality with very similar image than a raw picture file, as opposed to the recent cameras like the S5II.
Even if the S5II has better IBIS in 4K, and much better AF, these S5 and S1 are a steal for people who don't need very fast AF.

I reckon the only camera that aged better is the OG BMPCC! (although a very different camera, and also a fair bit older too) 

My experience with Panasonic USA hasn't been the same as his experience. I have been told explicitly that they want our honest feedback and opinions and they have never had any say or sway in the content. The only "fear" certain creators have is not getting invited to the next event, which is all in their mind. If you make a positive or negative video... just simply honest, I don't think that will ruin your chance at "going to the next event". 

IDK. I'm moving on from this. Taking a step away from the industry in general. Already have almost both my feet out the door. 

🙂

Let's take a moment to appreciate the old treasure that is the Nikon Z6 OG, which couldn't have aged better even if it were deposited in an oak barrel in Scotland for the past 6 years.

First of all it is £650 now.
Secondly of course it is full frame whereas a lot of the other options for this price are crop sensor.
Many of the other mirrorless full frame cameras have aged quite badly. The Panasonic S1 is superseded by a smaller cheaper camera with better AF. The Canon EOS R classic has been superseded twice by the R6 and R6 II. The formula of Z6 on the other hand has only merely been tweaked with the Z6 II that doesn't add a huge amount extra, because it just doesn't need to.
And the Z8 / Z9 are insanely more money than £650.
I like that it has such nice colour science out the box. It also has better custom picture profile management than Canon.
The IBIS is superior to the Canon EOS R3 in every way, let alone the EOS R5 or R6 II.
The 4K video and 6K sensor is superb in low light, better than the 8K+ stuff.
And despite now being very cheap the top LCD and enormous, detailed EVF hold up very favourably today, in fact the EVF competes with some of the best even in 2024.
The ergonomics are excellent, it doesn't put a foot wrong in terms of what it tries to do. And what it doesn't do, you probably don't need. OK, so there's no 4K/60p, or faster stacked sensor, and 120fps is limited to 1080p, but everything feels fast and responsive, including the on-sensor phase-detect AF.
It is much smaller and lighter than the Panasonic S1 or S1H, yet with phase-detect AF and a very similar sensor under the hood.
Z mount has also ripened well... It has a really good line up of lenses and adapters now, including the nifty Leica M mount autofocus adapter which will turn every manual focus lens into a fast and snappy autofocus optic.
Plus it's the only mirrorless mount that adapts to Sony E!
So you can put your native Sony mirrorless lenses on there and everything works.
I can't think of a better deal for £650 at the moment on the used market for cameras.
Curious to hear other opinions and what's changed in Nikon land since it came out those long 6 years ago in 2018.
I can't for the life of me think of another 6 year old camera that has aged this well.

Would you buy this instead of a Pyxis? Hmmm... maybe not, I guess that's why Blackmagic has had the price reduction!
https://www.bhphotovideo.com/c/product/1464917-REG/blackmagic_design_ursa_mini_pro_4_6k.html 

Perhaps it's just me but the search function didn't throw up any topic that I could find so starting this one.
The XH2. Not the S, model, but the 40mp 8k capable one.
Anyone have one and been using it in this mode, ie, 8k?
And specifically, in one of the film profiles such as Eterna?
I am back to musing over pulling stills from video at either 6k 30p full frame (which I currently have) with Lumix and potential other options...
Not interested in BM Cameras, - too many compromises for my needs.
Canon has options as does Nikon, but at 8k only.
I came from Fuji X cameras (2011-2020) and the XH1 was one of my favourites of all time for both video and stills, but things have moved on quite a bit since then...
The XH2 intrigues me with specifically 8k 30p Eterna, the profile I used to shoot with the XH1 and then the XT3 as a 'one and done', minimal grading required, wedding video option and 8k would allow me to pull stills.
As above, any experience appreciated!
And nope, not bothered about anything external or rolling shutter, just the quality of the output 🙂
 

Edit: I realize it was a joke (sort of). 
So now all these YTs are trying to reposition themselves from the GU video. 
I personally believe that this business model is rotten to the core, and these witty videos are not going to change the substance. I don't think it will change anything. In some time the dust will settle and the circus will resume as usual.
GU only spit in the pot it was eating in because it had long since repositioned itself from pure reviews.
Time will tell

Yeah in the context of what else existed back then, then Magic Lantern was amazing. Especially for the cost (if you couldn't afford a RED Epic). 
But in 2024???  You need to either be insane, or doing it purely for the fun of the process, or have zero clue whatsoever about the bigger picture needs. 
As we're spoiled with so many choices today that could be a better fit for your project. 
  
Yikes!!! He badly needs to upgrade from a Zoom H Series to a Zoom F8n.
  
I think rather than dealing with a ML raw then if I wanted a hybrid camera that's weather sealed I'd go instead with a Canon 1D C or a Nikon Z8 or Panasonic S1H / GH6  or Sony FX3 / FX30 (or perhaps a7Smk3) or Fujifilm X-H2s or Canon R6 mk2 / R7 / R8 etc
Because raw is over rated, and 10bit is good enough 99% of the time. Especially if you're working in an environment where weather sealing / low visibility / run & gun / etc matters! As you likely don't have a tonne of card space with you, along with a 1st AC, and DIT on set, to handle the data offloads and to be checking the footage. 
Rather you want something simple, reliable, and fast. Which isn't what describes ML raw, but does fit the use case of the Canon 1D C / Nikon Z8 / S1H / X-H2s / GH6 / FX30 / etc 

Yeah in the context of what else existed back then, then Magic Lantern was amazing. Especially for the cost (if you couldn't afford a RED Epic). 
But in 2024???  You need to either be insane, or doing it purely for the fun of the process, or have zero clue whatsoever about the bigger picture needs. 
As we're spoiled with so many choices today that could be a better fit for your project. 
  
Yikes!!! He badly needs to upgrade from a Zoom H Series to a Zoom F8n.
  
I think rather than dealing with a ML raw then if I wanted a hybrid camera that's weather sealed I'd go instead with a Canon 1D C or a Nikon Z8 or Panasonic S1H / GH6  or Sony FX3 / FX30 (or perhaps a7Smk3) or Fujifilm X-H2s or Canon R6 mk2 / R7 / R8 etc
Because raw is over rated, and 10bit is good enough 99% of the time. Especially if you're working in an environment where weather sealing / low visibility / run & gun / etc matters! As you likely don't have a tonne of card space with you, along with a 1st AC, and DIT on set, to handle the data offloads and to be checking the footage. 
Rather you want something simple, reliable, and fast. Which isn't what describes ML raw, but does fit the use case of the Canon 1D C / Nikon Z8 / S1H / X-H2s / GH6 / FX30 / etc 

Keep in mind that in 2009 (when the 7d was released), the number of consumer lenses designed for APS-C was even less than now - and there weren't a ton of people adapting vintage Cooke lenses to the 7d.  Plus, 15 years ago, sensor technology was not what it is now.  
 
Personally, I don't care a lot for Sigma lenses.  Every time I put one on my camera, I feel like I'm putting on something designed by a robot - all technical perfection, no soul.  But yes, the 18-35 is quite popular.  The EF-S 17-55/2.8 is one of the standout lenses for Canon APS-C, but it's one of only a small number.  Fast primes?  Not many.  I HAVE considered picking up the 18-135 USM for a walkaround lens for C70 + Komodo-X since it's decent enough quality and a big zoom range, but while I'd use that for personal stuff, I'd be really unlikely to take it out of the bag when on set.
 
Who is making CCD in the still world nowadays?  The sensor options in the still world are about the same as in the video world at this point.  Still world has Foveon, but video world has the 17:9 sensors included in many cinema cameras - and most mirrorless cameras (excepting GR1 and Hasselblad medium format) support a video mode which effectively means that most modern still camera sensors are also video sensors...  but most dedicated cinema cameras don't feature a still photo mode.
The main thing to differentiate a pro DP from an amateur, IMO, is knowing how to light.  Choice of cameras like the Alexa tends to be due to a feature set designed for a large crew, reliability, and having the most flexible image to hand off to professional colorists who also spend 80%+ of their time working on footage from the Alexa.  This is one of the reasons that a lot of stuff was still being shot on 2.8k Alexa when RED had 4, 5, 6, and 8k sensors available in their cameras. 
As people here have repeatedly pointed out, a lot of the best DP's aren't making choices for the sharpest possible image - if you want the image to look a little soft, using a Speed Panchro on a 2.8k sensor to upsize to 4k is going to get you there.  Will any Internet camera/lens reviewer give a glowing review to that combo?  Doubtful.  Will an audience watching the film walk out talking about how beautiful the film was?  Yup.
As a perfect example, I just watched Dune 2 last night since it's finally free on Max.  Lots of people have been talking about how beautiful it was.  As I watched, some of the scenes were really pretty sharp-looking and they were the ones that seemed mostly CG.  When humans were on screen, I repeatedly noticed how unsharp the images were.  Googled a bit and found this bit from the DP

> "Texturizing the image was the name of the game. The larger ALEXA sensors are so extraordinary that I felt we needed to dirty the image up a bit."
Shot on large format sensors, but too much perfection/sharpness felt soulless.

Also:
> We had a 57 mm LOOK lens with Petzval glass where you can dial in your effect with a third lens ring
Dude shot parts of Dune 2 with a $400 Lomography lens.
https://shop.lomography.com/us/new-petzval-55-f-1-7-mkii-art-lens
 
And:
> Ultimately Fraser and his team decided to use spherical optics and he worked with a diverse range from ARRI Rental including re-housed 1980s Moviecams and re-housed Soviet-era glass provided by IronGlass, along with some lenses from his collection.
Dude shot parts of Dune 2 with Helios 44-2 and Jupiter-9 and lenses like that.  Can't afford the IronGlass rehoused versions?  Go buy 'em for like $200-300 on ebay.

Ha!  I never thought of it as a Civic, but that's great.  I'm going to remember that.
I recently got a Komodo-X and even though any number of specs from the K-X are better on paper than the C70, I fully intend to keep using my C70 for a lot of stuff.  Having built-in ND filters and a ton of buttons to assign things to and an articulating internal screen, the C70 is just faster to use.  Plus the DR is great and the image looks nice SOOC.
I kind of think of it as a camera used by people who want to get it done.  It's not flashy - and when you show up on set and tell people you're using a C70, nobody's all excited...  but when you show the results, people are happy with them.

I have to agree with this. 5Diii raw was revolutionary at the time but it does not stack up against modern cameras. I did a comparison about a year ago with my current cameras and it displayed so much striated and blocky magenta noise in the shadows that I can't imagine reaching for it for video ever again. I still takes wonderful photos though.
Something I've been pondering lately is usability. I just wrapped a fast-paced short film shoot at a local bar using two C70s and a set of Sirui Jupiter anamorphics. I chose those cameras despite owning two older Reds. The C70s are not cameras that have much appeal to the cinema purist side of me, but I'm glad that I did choose them because I don't think we would have made it through our shot list if I'd been using a camera that was even slightly slower. I still think that my ancient R1MX produces an image that just puts me in a light trance and pulls me into the film more than any other digital camera that I know of. But it's hard to imagine a film that would be the right fit for that camera, so I think that it's days with me may be numbered.
So, yeah, unless I was working with larger crews and bigger budgets, I guess my answer to the original question would be the Canon C70. It may be the Honda Civic of cinema cameras, but it will get you where you need to go, without adding additional stress.

As someone who shot exclusively on a 5D3 with magic lantern for ~1.5 years during which I was shooting every week, it is far inferior to most of today's prosumer offerings in every way, including plain image quality.
If it's what you have, then yes, a 5D3 with ML produces beautiful images and it will continue to do so. However there is no situation in which I would recommend it as a purchase.

Do you think that any cinematographer in their right-mind would use a 5D with a hacked firmware on a shoot that's $100,000 a day?
Hollywood gets nervous if the camera is anything except an Alexa.  If they get nervous about using RED, then you're dreaming that they'd even contemplate using a hacked firmware for anything.
You talk as if you're familiar with the industry, but.....

It's also a strange comment to make if you've seen the PR videos of larger format cinema cameras where cinematographer after cinematographer gush about how the larger sensor will make all their dreams come true, and using all the words that forum fanboys use, and making all the mistakes that forum fanboys make around crop factor and DOF and FOV.
I used to think that the pros automatically knew more about this stuff, but then I saw behind the curtain and realised that everyone is susceptible to sensor size envy.  Since the Alexa LF and mini LF were released, the price of FF vintage primes has gone through the roof, to the point that a decade ago people were practically giving away sets of F1.4 primes and now the average cinematographer struggles to even put together a functional set of the F2.8 versions.

oh damn, I need to check out if that works with my old Fujifilm X-A3, would certainly get me using it more again
As you just can't deny the damn ultra nice convenience of shooting everything with your cellphone (even if it's just a sh*tty $199 phone's camera)

That may depend on the camera.  I have no experience with their older stuff, but DSMC3 isn't nearly that slow to use.  I've even been taking the K-X on hikes and from my shoulder bag to recording takes about 2-3 minutes.  Of course, I'm not running with a sound person, video village, etc.  If I were on a half day indoor natural light docu-type shoot with it, I'd bring it with the EF 24-70/2.8 on a focal reducer.  Camera setup and teardown time would account for 5-10 minutes of the day.  I'd probably have to swap a battery midway through.
The problem may not be the camera in this case, but the person who is using it.  😉

That said, if someone didn't insist that I use it, I'd be far more likely to grab my C70 for that kind of shoot (also with 24-70/2.8 and focal reducer).  It's hands-down a better camera to use in a fully uncontrolled environment.  Setup/teardown time would be almost identical.

It's all marketing.
There is no such thing as "tech press" in YouTubeland. And even if there were something akin to it, companies would find a way to grease editor's hands, as the auto world has shown.
No one in their right mind trusts car magazines anymore. And with good reason.
"Ad-mags" I think they call them?
Well, the ad-mag for the camera world is now YouTube.
Those guys in Tokyo allocate some $$$ for Marketing and they want/need results in their investment.
It's just a spreadsheet. But that Excel file has a clear line between Marketing budget and Journalism/Media budget.
Two different beasts completely.
It's incredibly strange youtubers are asking journalist's rights when they have played the Marketing game for a long time now.
Why would they ask the respect journalists command when they have not won that respect in the slightest?

That's true.
It also points out to the clear way any of YT personalities can semi-guarantee being objective.
"I paid my cash for this thing. Here's what I think about it".
Put your money where your mouth is and all that.

I don't know if this is one of those events that Gerald was talking about in the video. Events where he had been invited and had not produced any videos.
Josh has always been nice to me because of his wacky, arty projects, and I still don't have a clear opinion about what Gerald said.
However, when I hear these moral sermons and see this video from five years ago now again, I ask myself some questions.
If I had been there and had a million dollars worth of equipment at my disposal for 4 days (watch to believe at minute 2'29") could I really have spoken badly of Sony?
I mean, I'm not a sellout but I'm not a rude one either. Mom taught me well about education.
 
 

My eyesight is not as good as it once was but I see Batman.
💥KAPOW💥

Am I the only one seeing a ninja in the cold shoe of the S9? I wonder if they meant that? I can't unsee it now.

Camerasize.com now has the S9, just so you know. I only saw that just now. Here, we have a proper comparison to a camera and lens I own: