IronFilm

A modern 2024 Sony a5100 and Panasonic GM1 would be really nice to have. 
  
That's a good idea, and a good little money maker to develop a plugin which automatically fixes moiré.
 
I too think the 1DXii is a small camera 😛 😉
 
Sorry, US$1M is far too little money for them to even answer the phone. 
 

My casual bed time reading for tonight. 
  
You don't happen to be Mark Lewis from youtube are you?? (I don't think so, by the IG story makes me wonder!)
You could get your own Sony RX1 these days now for "only" US$650 on eBay. 
 
Take a look at the Nikon Zfc (or Z30 if you want a truly small body) with a Nikon 26mm f/2.8 lens (a full frame lens!)
It is also a nearly 40mm FoV (on the Zfc camera body), but using a FF lens which is slightly shorter than even the Panasonic 20mm f1.7!!
Or get the massively cheaper (only US$149, but yes, it has autofocus!) TTArtisan 27mm f/2.8 APS-C Lens for the Zfc. 
https://www.bhphotovideo.com/c/product/1764445-REG/ttartisan_af2728_z_b_27mm_f_2_8_lens_for.html
Of get the 7artisans Photoelectric 35mm f/5.6 Pancake Lens for US$99 and pair it with the full frame Nikon Zf. 
https://www.bhphotovideo.com/c/product/1628290-REG/7artisans_photoelectric_a006b_z_35mm_f_5_6_lens_for.html

Would love to check out a BS1H and a FX30. @IronFilm But that is just nerdom. And you already made me buy the awesome Cinealta F3 which I only have done test shots with so far.:) BS1HII with an inhouse clickon monitor like Red and a cooler name please.:)

Great input on the business side of operator-ownership! @IronFilm Even though your friend knew his stuff super well, it didnt prevent him from one of our and my biggest lacklusters, GAS, which even hinders creativity as @John Matthewshas pointed out in another thread. I didnt shoot anything meaningful this year and have been hiding behind lower end color grading gigs. That Varicam LT story is perfectly illustrating temptation and consequenes going along with purchases. It's also beautifully written. Thank you😊

FYI, the G9ii's manual is 832 pages long. Is that a record of some sort?

Gratuitous very tenuous link to post, but just for ‘proof’, my daughters little story on IG…
 

I also need a day rest to fully recover from previous day, if I did back to back shoot I will be very tired on 3rd day.
The days of flying C70 with 18-35mm 1.8 on Ronin all day is definitely past my time.
So this year I downsize my setup to rs3 mini and ZV-E1 with <500g lens (or R8 with 600g lens) instead of the hefty 24-70 2.8 on R5 on Ronin rs2 pro, that is over 1/2 the weight saved, with this new setup I m not as over tiring as before which is good for me.

Look around what are people local to you shooting with? 
Most likely they're using Sony FX6 (or perhaps FX9) bodies. So just follow the herd and do the same. 
But there are pockets of local groups of people around which have gone in another direction, such as they're mainly using Canon C500mk2 for documentary / corporates / etc which have a reasonable budget. Often all it takes is just a few key leaders or production companies in that local region to go together down a certain path, and the whole local region follows them, and there isn't a single Sony camera in sight. 
However, if you are working purely for yourself / in house, then it doesn't  matter what brand or camera model you choose! 
But if you are working for others, then following what others use matters a lot. 
Had a friend who purchased the Sony FS7 right when it was released, did pretty well working with that, and he got to a point that he felt like he was "outgrowing the FS7" and had the money to buy something better. 
By this point in time the ARRI ALEXA Mini had been out for a couple of years, had proven itself, and no longer did you have crazy insane long wait list times if you wanted to buy one himself. 
But a ALEXA Mini was way outside is budget range. 
So what is the natural upgrade from a FS7? The F5/F55 are "upgrades", but are more similar than different. Definitely not what he was seeking. 
What then? He settled upon the Panasonic Varicam LT, which had recently been released (came out the year after the ARRI ALEXA Mini). He sold his Sony FS7 to raise extra funds, with his extra saved up money, he purchased a brand new Panasonic Varicam LT. (but he only got the Varicam after very extensively testing it, renting and borrowing it from others. Not just to run tests on it, but to use it on real world productions too. I worked on a couple of those productions which he shot with a Varicam LT, prior to him buying his own. He really did very very thoroughly all of his homework before settling on a new camera to buy)
Seems like a rational decision. Was the next step up in price (over double the price of a FS7) and quality from a FS7. Has much better low light performance, & much better color science than the FS7. Plus did timecode and raw better than the FS7. In a way, the Varicam LT was even "better" than the ALEXA Mini, with better slow motion, better low light, better audio, and true 4K. (only downsides being it is bigger/heavier than a Mini, and it is "not an ARRI")
Well, what seemed like a great idea on paper, in reality was one of his worst financial decisions. 
Because for the higher end jobs above the FS7 level, then usually they only want an ARRI camera. He's not landing the higher end jobs with the Varicam LT. (plus ARRI cameras are cheaper than you think, relative to the total cost of a project. It doesn't make sense for them to pinch pennies and settle for the cheaper Varicam LT)
Thus he wasn't earning any extra money due to spending almost double the FS7 amount on a new Varicam LT camera. 
But it was even worse than this, the Panasonic Varicam LT was losing him money. 
Because the bread and butter FS7 jobs were no longer hiring him as much, as they don't want to go with some weirdly different new camera, they want the tried and trusted Sony FS7 which all their other shooters use and slots perfectly into their workflow and productions. 
Owning the Panasonic Varicam LT was a lose-lose situation for him. 
Quite sad really, even though on paper the Varicam LT was undeniably a much  "better" camera than a Sony FS7 (even "better" than an ARRI ALEXA Mini in a fair few ways as well).  

It will depend of course on the individual but for me, for stills, under 1kg is fine but for video, I prefer around 1.5kg as a sweet spot, as I find that is a nice stable platform and not too heavy.
Over 2.5kg is for me getting a bit much. A bit much as in it’s not that heavy per se, but over the course of a long shoot, hanging off your hip (best IMO) or sling (going to feel that one very quickly!) not desirable.
I am currently debating first of all Lumix vs Nikon for video…but that is another topic entirely and not relevant, but whether I go:
A. Hybrid units; 1 static, 1 light (1kg) most of the day, 1 heavy (<2kg) various times but not all day, or,
B. Video and photo units; 1 static video, 1 roaming video (1.5kg), 2x stills (1kg + 1.25kg).
Pros and cons for each and for me to work out but bottom line is I am ‘happy’ to go up to 2.5kg for a single unit, but only if I will not be using it all the time.
On me, either attached or in hand, 2kg max is about the max based on my experience that I would be comfortable with for video and 1.5kg for stills.

It is.
Around a decade or so back, I was what is known as skinny fat, ie, very little muscle tone but a surplus of fat around my middle.
I never exercised, had developed asthma, smoked and drank (but not heavily) and it was a gradual erosion/accumulation more than anything.
I decided to do something about it around the time of my 40th birthday.
I’m 53 in a few weeks and never been in better condition and actually have a fitness competition (Hyrox) that I have traveled to Ireland for from France, in a couple of hours.
Why mention this?
Fatigue, or reduction of from being in shape.
And not just the physical, but the mental which is unseen but contributes.
But I still have trouble getting to sleep after an intense 15+ hour day because despite downing tools, I’m still buzzing.
The next day though…and I can never lie in and catch up no matter how late I went to bed or how tired I am, by lunchtime, wiped out and can easily grab another 1-2 hours early afternoon, but it’s not until the day after the day after I feel recovered, so never take back to back jobs anymore.
No way I could be working the way I have been for the last few years one to two decades ago and I guess another factor why when other photographers or videographers ask me how I do what I do, part of that answer is level of fitness.
But as with all these things, it is only a part of a greater whole.
2.8kg unsupported in and out of your hands all day though is a bit nuts which is why it has to go!

It's late 2023 already?? Where did the year go!! Scary, scarier than Halloween was. 
Just limiting ourselves to cameras released within the past year? 
The easy top three cameras of note for me released in 2023 are: 
Sony FX30 (came available for sale in stores later 2022, so just barely-ish squeaks in here if you look at the past 12 months or so). Is the latest S35 cinema camera from Sony, and also their most affordable one ever!
The L Mount camera from Blackmagic. Finally, another mirrorless mount cinema camera from BMD! Been a long time since the P4K was released. 
Blackmagic Design Micro Studio Camera 4K G2. It's a big upgrade from the previous Micro Studio Camera, especially for film shooters as it's now so much more than "just a studio camera". If you're an OG BMPCC user who thought the BMD "Pocket" 4K was too big for you, then this Micro Studio G2 is the upgrade for you! Plus it  is cheaper than ever, is priced at sub US$1K, even cheaper than the Pocket 4K. Don't be fooled by the "Studio" in its name, yes it is packed full of studio specific features, but in a way this is also their new "Micro Cinema G2" camera as well. 
 
Opening it up to any cameras that exist? Then "it depends", just whatever is suitable for the job at hand. 
Even a super old Sony EX3 might be the right buy for me these days. 
Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future.  Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. 
And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 
1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever 
That means buying one of: 
Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) 
Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) 
Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 
2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective 
Which means one of these options:
Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping)
Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 
3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: 
Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR
Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. 
Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. 
Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is an even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters.
Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with. 
 

I would take Ironfilms exellent advice. Of the two i would go for the FX6.
Highly popular and exellent camera. As mentioned above, it is perfectly accepted by clients in the doc field. If you want to make or keep making a living with doc, FX6 all the way. If you want a camera for labours of love with beautiful Canon Raw and the exellent colour coming from the Dual Gain sensor, C70.
I bought my S1H from a docfilmer who does 45 - 60min docs for German TV. He upgraded to a FX and is super happy.

R1mx and scarlet Mx can complement each other. R1mx for tripod, scarlet for handheld. 

This is quite serious stuff. I don't know if you've seen any on P. Bloom's videos from last year, but the guy had massive lower back pain. IMO, humans are not meant for carrying significant weight 8 hours a day for a career. I'm not actually sure can work anymore.
 

Have you considered the smaller, lighter, and cheaper Sony FX6? (or the C70 instead of the C300mk3, they both have an identical sensor!) The FX6 seems to be a lot more popular than the FX9 where I am. 
It's a hell of a lot easier shooting with a FX6 than a FX9 on a gimbal. Easier too on the arms if you're doing a long day handheld. 
But you said you're 99% on a tripod, a lot of sit down interviews? For interviews I'd prefer a lot more to have 2x FX6 / C70 than to have a single FX9 / C300mk3. And their smaller weight/size/price makes it easier to buy and travel with two. 
For me, the biggest factor would be what are people in the local market around me using? There is no point having "the best" camera if nobody wants to hire you with it. 
That means with this as my priority, I would have made the decision to shoot with at various points in time:
Sony EX1/EX3 => Canon C100/C300mk1 => Sony FS5/FS7/F5 => Sony FX30/FX3/FX6/FX9
As at each point in time the EX3, C300mk1, FS7, or FX6 was the most popular camera in the low/mid end range of the market. Thus it is an easy no brainer decision to go with the same (or at the very least, go with a close cousin. Say get the much cheaper C100 instead of the C300mk1, and cross your fingers and hope to get some of the crumbs that fall off the table not picked up by C300mk1 shooters. But you will be operating at a big disadvantage competing against them) 
For myself, I had the Panasonic GH1 back when I was a broke film student. (until then I'd been borrowing with my girlfriend's Nikon D90, or my sister's Canon T2i)
Then I got the Sony PMW-F3 at an insanely low price, an offer too good to refuse. (I forget when, I think roughly when the Sony FS7 was released. But the FS7 was way outside my price range back then) Then I picked up the OG BMPCC when it went on sale for US$500, another offer that was too good to ignore. 
Later on I got a Sony FS7 myself, as I felt I purchased it at the right moment of time when it had depreciated a fair bit to be a great value buy, but not so late that the FS7 didn't still have some life left in it (the FX9 was out, but the FX6 had only just been announced). 
Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future.  Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. 
And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 
1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever little bit of pay I get for shooting short films is merely fun pocket change spending money 
That means buying one of: 
Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all whatsoever (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) 
Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) 
Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 
2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective 
Which means one of these options:
Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping)
Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 
3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: 
Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR
Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. 
Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. 
Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters.
Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with. 
 

Have you considered the smaller, lighter, and cheaper Sony FX6? (or the C70 instead of the C300mk3, they both have an identical sensor!) The FX6 seems to be a lot more popular than the FX9 where I am. 
It's a hell of a lot easier shooting with a FX6 than a FX9 on a gimbal. Easier too on the arms if you're doing a long day handheld. 
But you said you're 99% on a tripod, a lot of sit down interviews? For interviews I'd prefer a lot more to have 2x FX6 / C70 than to have a single FX9 / C300mk3. And their smaller weight/size/price makes it easier to buy and travel with two. 
For me, the biggest factor would be what are people in the local market around me using? There is no point having "the best" camera if nobody wants to hire you with it. 
That means with this as my priority, I would have made the decision to shoot with at various points in time:
Sony EX1/EX3 => Canon C100/C300mk1 => Sony FS5/FS7/F5 => Sony FX30/FX3/FX6/FX9
As at each point in time the EX3, C300mk1, FS7, or FX6 was the most popular camera in the low/mid end range of the market. Thus it is an easy no brainer decision to go with the same (or at the very least, go with a close cousin. Say get the much cheaper C100 instead of the C300mk1, and cross your fingers and hope to get some of the crumbs that fall off the table not picked up by C300mk1 shooters. But you will be operating at a big disadvantage competing against them) 
For myself, I had the Panasonic GH1 back when I was a broke film student. (until then I'd been borrowing with my girlfriend's Nikon D90, or my sister's Canon T2i)
Then I got the Sony PMW-F3 at an insanely low price, an offer too good to refuse. (I forget when, I think roughly when the Sony FS7 was released. But the FS7 was way outside my price range back then) Then I picked up the OG BMPCC when it went on sale for US$500, another offer that was too good to ignore. 
Later on I got a Sony FS7 myself, as I felt I purchased it at the right moment of time when it had depreciated a fair bit to be a great value buy, but not so late that the FS7 didn't still have some life left in it (the FX9 was out, but the FX6 had only just been announced). 
Although I think I'm going to sell my Sony FS7 soon, and just not buy anything else for the foreseeable future.  Juggling working kinda full time in the Sound Dept plus studying CompSci full time too, means there simply is not enough hours left in the day to devote to chasing down camera gigs too and developing my craft. I've done very little of that this year. 
And I think if I ever do try to take the camera side of things (rather than an exclusive focus on the Sound Dept) more seriously, then I think I'll be doing one of three options: 
1) just shooting ultra low budget indie drama stuff, not really caring too much about the money, simply doing it for the love of it, and whatever little bit of pay I get for shooting short films is merely fun pocket change spending money 
That means buying one of: 
Going fully nuts and getting an ARRI ALEXA Classic, splurging an amount that doesn't make any financial sense at all whatsoever (but the Alexa Classic is so dirt cheap these days, it's not that much to indulge in as a hobby passion. Many people spend more on golf / fishing / drag racing / Ironmans ) 
Going more sensibly low budget with a Blackmagic (be it a dirt cheap P4K or BMD Micro Studio Camera G2, or a secondhand URSA Mini Pro) 
Or continue my love affair with CineAlta, and get a dirt cheap Sony PMW-F55. 
2) going into the multicam live streaming niche, this probably is where the overlap of my skillset / personality and business opportunities overlap to make the most sense from a financial perspective 
Which means one of these options:
Buying up a handful of old Sony EX3 cameras on the cheap (maybe mixing in a few other Sony models, such as my Sony PMW-F3 that I'm stll keeping)
Buying a handful of BMD Micro Studio G2 cameras. Gives a better image, gives me 4K as well. Integrates nicely with the BMD ATEM ecosystem. But it could be marginally more expensive for the whole setup, once you've rigged out the Micros with everything. And I have a lot of questionable suspicion about if even brand new BMD cameras will be more reliable than secondhand old Sony PMW-EX3 cameras. Plus a Micro vs EX3 looks less "impressively pro" at a conference / sporting event, if you care at all about client impressions. (which do actually matter a lot) 
3) going hardcore into some ultra techy geeky niche, that has relatively little competition. Such as 360VR filmmaking, although sadly 360VR turned out to be a fleeting fashion fad which these days there is no interest in. (maybe it is not too late to jump onto the hype of virtual productions such as The Mandalorian used? But that's more about massive time and money investment into computing power / workflows and huge LED walls. And not at all about cameras you'd be buying for it) But if I was to go into 360VR, then I'd do one of: 
Multiple Sony RX0mk2 cameras, for the first ever 4K 10bit and waterproof multicam rig for 360VR
Multiple ZCam E2-M4 bodies, this seems like a fairly well proven and very low cost option for high quality 360VR filmmaking. Definitely the safest bet option out of all of these I'm listing in the 360VR category. 
Multiple Sony FX30 bodies, a bit higher cost than the E2-M4, but I get to carry on a love affair with CineAlta into the 360VR world. However, this is an unproven configuration nobody else has done. And the body form factor is much more awkward than the body E2-M4 bodies. 
Multiple BMD Studio G2 camera bodies, another unproven configuration that nobody else in the world has done. But their form factor should be ideal for this, and might make for a better image quality (or at least a more familiar workflow for productions, an equally important consideration, or arguably is even more important) than the ZCams have. But, one big benefit of this choice is I could also use these multiple Studio G2 camera bodies for multicam live streaming! Multiple revenue sources? Just need to swap out the UWA MFT lenses for B4 zoom lenses with adapters.
Multiple Panasonic BS1H camera bodies, this is the dream! It would be a low light monster, the best the world has ever seen with 360VR filmmaking (although... this means this is also an unproven configuration, as nobody has ever attempted this. But the BS1H form factor is at least good for this). Although, this is the most expensive option by far! However, the BS1H has seen such a massive drop in price recently, that if I could get a little bit of funding behind me for a 360VR web series, then this could be a viable option to go with. 
 

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

Atomos has released an interview with ‘The Creator’’s DP, Oren Soffer:
 

Late 2023 cameras. Z9 is not 2023:) So my cams are mostly the same, not from 2023 but to me relevant as of late 2023.
Photo: Lumix gm5, gx85. Nuff said, classics in many reagards. GM for its magnificient Bauhaus Design, GX for its overall tactility and looks. Love the rawfiles from these beauties.
Video: Lumix S1H , which I better use for photo as well with its awesome, though not 2023, sensor.
LX15 for its quirks and the challenge of working with them and enjoying that experience so much, results in photo and most the time video as well. The rendering of that lens is a thing of beauty. Dust alert behind the lens elements though after real world usuage.
Bmmcc and og Bmpcc, color grading galore gems. Alliteration where it belongs.:)
Cinealta freaking Sony F3, the image wonder marvel.
 

As we're just going to make this now be a generic thread about old Sony video cameras that are cool, such as the "full frame" Sony NEX-VG900 (there are also the ASP-C VG10/VG20/VG30 cameras):
 

Yup. Maybe the older one. There is a new G2 that just came out: 
https://www.bhphotovideo.com/c/product/1787638-REG/blackmagic_design_micro_studio_camera_4k.html 

I know you're joking, but I had this discussion a few weeks back with a steadicam op friend of mine, and he made the comment about how he needs to do a few steadicam gigs per month otherwise he doesn't keep up that fitness without those workouts. 
And I feel similarly, as a Boom Op it is a very physical job just like a Steadicam Op, but needing the consistent technical precision every scene of a focus puller / 1st AC. 
Is why I now try to hit the weights if I ever have a stretch of time without booming (due to whatever reasons, be it lockdowns, or because I'm just Mixing on gigs instead, or if it is a slow patch, etc), so as to keep up my strength. As it's so important to maintain. 
I had a scene yesterday that absolutely brutally murdered my arms, put me in a world of pain, yet had to push through while trying to nail a rather difficult complex scene (I swear it would've been 10x easier, with less shadow risks, if I'd been allowed to boom from the upper floor level looking down rather than from being at the level of the the lounge/kitchen itself. But wasn't given permission for that). Ah well, at least the second half of the day was the cruisiest I've had this month! And we wrapped early too, which is nice, then we had our friday wrap drinks. 

Check out this Blackmagic studio/broadcast camera setup (try and discover where the camera is hiding....):

 

i’m dit-ing a european co-produced feature rn. Theyre shooting on an A35. Almost every feature and tv show here is being on this thing now from what ive heard. The last commercial i was pa-ing on was miniLF.

Agreed.  The program here is much more broadcast oriented than is film.  Which is fine, because through my own experience, forum-reading, YouTube watching, and real-world practice I've found I can learn and mature the skills I need without college.  I have learned lighting pretty much solely based on my own research.  There are people in this program who are seniors and want to be "film directors", but I sit back and think "what have you actually edited?  Did you ever pick up a light during your 4 years here?"  Of course, they would rather spend their time in a fraternity or some other stupid thing.