IronFilm

With that lack of passion I doubt they'll be going far in the cutthroat real world after graduation.
Well, you can still do a lot with just three static cameras.
I was thinking for instance I could position myself at a Track & Field event:
Cam1: Me (positioned up high in the stands) with an EX3 beside me with a B4 telezoom for extra reach, which I would not actively man it second by second, but if I was to change it from a mid shot of the track finish line to instead zoom in on the LJ pit at the other side of the field, I could. Then I'd sit back down at the switcher again.
Cam2: a wide shot of the track finish line at ground level.
Cam3: wide shot looking down the back straight.
Ideally this coverage would attract the support of the local sporting club(s), and I might get a keen volunteer who can be trained up to do basic manning of one camera. Perhaps with luck some volunteers to do live commentary too. Could then have them micced up and throw a random camera (even merely a a GoPro, or perhaps a Sony RX0) to occasionally cut back to them.
Then with time, an extra camera or three could be added to this setup.

BMCC6K arrived a couple of days ago. My first day test.
 

RED had their niche for a little while, when the ARRI cameras were big heavy so not doable on a gimbal (or to fly on a drone, or easily rig up on a car or crane etc). Or even in the pre gimbal era, a steadicam op who can handle a full size ARRI Alexa is expensive. But someone who can fly a stripped down RED body?? You can find them a lot cheaper! (if you're flexible about standards) So you can quickly see the appeal of a RED vs ARRI for say Music Videos. 
Plus if you want to do slow motion, and wanted better quality than the likes of a Sony FS700, then for a very long time your only real choice was RED. 
Sony F5/F55 (and later on, VENICE) however nibbled away at that. 
But once the ARRI Alexa Mini arrived? It crushed the RED and ate it for lunch. 
You've got a gimbal friendly camera that does up to 200fps. 
Only high resolution remained as a "reason" for RED. But for many people that's irrelevant. I think I haven't worked on a single production in the last couple of months that is doing more than FHD! (aside from that one day on an ultra low budget short film, shooting on a P4K) 
I don't think it is unique to LA/NYC.
Same here in NZ. 
Anywhere/anybody with tastes tends to go with ARRI. 
Newer features, performance, plus the lenses choices will push them to the ARRI 35

I just got the Sony FX30 and Ronin RSC2. Going to try to incorporate more moving shots to my narrative work. I will also say Viltrox has a ton of really good and cheap AF lens options. 

I am considering selling my Alexa and getting a Mavic 3 instead. Really go all out with the small compact approach. It's hard to part with Alexa skintones though. 🤕

The ability to edit my message timed out, so adding my final sentence here:
 Those times I come across the FX6/FX9 are: very occasionally on ultra low budget shorts films I do (but it's unusual! It's more normal to see a non-Mini ARRI, or a Blackmagic camera), or low budget adverts, or corporates, or reality tv shoots. 
Which while I do those types of shoots as well now or then, I do however tend to do narrative more often. 
Edit: ohhhh... I forgot Sony VENICE! Worked on a small number of those, and of course that's LF format. 
Maybe if I exclusively worked on high end productions, then perhaps I might have seen a brief period of time of a year or two when the majority I worked on was either Sony VENICE or ARRI Mini LF. 
But because I work such a massively broad range of productions from low budget, to medium budget, to high budget then there was always a mix of original ARRI Mini / other ARRIs /  FS7 / URSA Mini / Komodo / Gemini / etc making sure that S35 was still frequently in the mix! 
 

I work on productions with ARRI cameras all the time. REDs etc less often. Because on the high end RED doesn't exist much. And in the mid range RED struggles against the massive popularity of Sony FX series (or  before that the Sony FS7. Or
to a lesser extent, Blackmagic). Peak popularity for RED was in the distant past, it isn't now in 2023. 
Have worked on only a handful using one of the ARRI LF cameras (usually the Mini LF), a small enough number I could count it on my fingers. 
The standard Alexa Mini was still by far the most massively popular option (or one of the other ARRIs if it was a lower budget production, & couldn't afford a Mini). 
At least that was my personal experience over the last few years. 
Rather oddly, Panasonic Varicam (full size or LT) would be in my top three cameras I most commonly work with. (first and second being the ARRI Mini & Sony FS7, although I don't see a FS7 around so often in the last couple of years) Fourth place might go to the Blackmagic URSA Mini. 
However, Panasonic Varicam is only so "popular" in my personal rankings because there is one particular production company (which is massive) that I've worked for quite a lot, and they seem to like it on their shows. I for instance just got home from booming on location for a tv series using 2x Panasonic Varicam S35. Next couple of days I'll be in the studio, and they'll be using three Panasonic Varicam S35 cameras!
I'm quite sure however my experience is fairly atypical, and for others the Panasonic Varicam won't even rate in their top twenty cameras they have worked with in recent years. 
And no point was LF ever a popular format I came across! Unless it was an absolutely no budget at all production using a Sony a7S or similar as their A Cam, or a micro budget production using the a7S (or similar) as their B / C Cam. 
There were not a tonne of Mini LFs around (although I'll admit the seemed to have brief flash moment of popularity). RED Monstros I've almost never worked with. REDs are just not that common. (I've worked with the RED Komodo though on a handful of productions). Sony FX6/FX9 have got a fair bit of popularity, but I'd say mainly because they're the natural successor to the FS7 and not because they're LF.  However I only seem to work with them occasionally. I guess because I'm more in the narrative world, and FX6/FX9 are super rare in that, unless it is ultra low budget. 

The ability to edit my message timed out, so adding my final sentence here:
 Those times I come across the FX6/FX9 are: very occasionally on ultra low budget shorts films I do (but it's unusual! It's more normal to see a non-Mini ARRI, or a Blackmagic camera), or low budget adverts, or corporates, or reality tv shoots. 
Which while I do those types of shoots as well now or then, I do however tend to do narrative more often. 
Edit: ohhhh... I forgot Sony VENICE! Worked on a small number of those, and of course that's LF format. 
Maybe if I exclusively worked on high end productions, then perhaps I might have seen a brief period of time of a year or two when the majority I worked on was either Sony VENICE or ARRI Mini LF. 
But because I work such a massively broad range of productions from low budget, to medium budget, to high budget then there was always a mix of original ARRI Mini / other ARRIs /  FS7 / URSA Mini / Komodo / Gemini / etc making sure that S35 was still frequently in the mix! 
 

I work on productions with ARRI cameras all the time. REDs etc less often. Because on the high end RED doesn't exist much. And in the mid range RED struggles against the massive popularity of Sony FX series (or  before that the Sony FS7. Or
to a lesser extent, Blackmagic). Peak popularity for RED was in the distant past, it isn't now in 2023. 
Have worked on only a handful using one of the ARRI LF cameras (usually the Mini LF), a small enough number I could count it on my fingers. 
The standard Alexa Mini was still by far the most massively popular option (or one of the other ARRIs if it was a lower budget production, & couldn't afford a Mini). 
At least that was my personal experience over the last few years. 
Rather oddly, Panasonic Varicam (full size or LT) would be in my top three cameras I most commonly work with. (first and second being the ARRI Mini & Sony FS7, although I don't see a FS7 around so often in the last couple of years) Fourth place might go to the Blackmagic URSA Mini. 
However, Panasonic Varicam is only so "popular" in my personal rankings because there is one particular production company (which is massive) that I've worked for quite a lot, and they seem to like it on their shows. I for instance just got home from booming on location for a tv series using 2x Panasonic Varicam S35. Next couple of days I'll be in the studio, and they'll be using three Panasonic Varicam S35 cameras!
I'm quite sure however my experience is fairly atypical, and for others the Panasonic Varicam won't even rate in their top twenty cameras they have worked with in recent years. 
And no point was LF ever a popular format I came across! Unless it was an absolutely no budget at all production using a Sony a7S or similar as their A Cam, or a micro budget production using the a7S (or similar) as their B / C Cam. 
There were not a tonne of Mini LFs around (although I'll admit the seemed to have brief flash moment of popularity). RED Monstros I've almost never worked with. REDs are just not that common. (I've worked with the RED Komodo though on a handful of productions). Sony FX6/FX9 have got a fair bit of popularity, but I'd say mainly because they're the natural successor to the FS7 and not because they're LF.  However I only seem to work with them occasionally. I guess because I'm more in the narrative world, and FX6/FX9 are super rare in that, unless it is ultra low budget. 

That's one major reason I decided against an S5 ii - the others were the size & weight of long telephoto lenses and the APS-C crop in 4k50p/4k60p (I normally shoot everything in 50p, so it would effectively be an APS-C video camera for me).
So sixth months ago I looked seriously at more upmarket APS-C cameras for video instead, but having played with an R7 and an XH2s I decided they felt too large and/or awkward in my hands (the Sony A6700 wasn't announced then, and the FX30 has no viewfinder so ruled out). Then the XS20 was announced and I pre-ordered it... but before deliveries started a used OM-1 turned up at a really good price so I bought it and cancelled the XS20 order.
So in the end the fact that I already had micro4/3 lenses and the OM-1 just feels 'right' in my hands (and is weather sealed, with top-notch IBIS and a lovely 5.76M dot EVF) kept me in the micro4/3 world a while longer...

And the Panasonic BS1H mk2 will have eND too I hope!
Along with most important of all..... zero delay SDI output!!
 
Panasonic GH6 already can do 4 channels of audio
Clean and info overlays at once! Give us two independent outputs please. 
  
With your personal circumstances of:
1) a sweet MFT lens collection
2) a want/need for telephoto lenses, but with a back/bank that can't necessarily match your wants/needs
...then I'd go with the Panasonic G9mk2 

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

If some manufacturer managed to do very compact and very good quality f/5.6 zooms, I would move to FF.

And the Panasonic BS1H mk2 will have eND too I hope!
Along with most important of all..... zero delay SDI output!!
 
Panasonic GH6 already can do 4 channels of audio
Clean and info overlays at once! Give us two independent outputs please. 
  
With your personal circumstances of:
1) a sweet MFT lens collection
2) a want/need for telephoto lenses, but with a back/bank that can't necessarily match your wants/needs
...then I'd go with the Panasonic G9mk2 

Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup. 

PDAF will no longer be enough for a GH7. I'm guessing they're going to find a body form-factor for a S1H ii and GH7 that works. The eND will be on both.
 

We all know they'll be adding PDAF to the GH7. 
I'm not sure there is much else major they could do, we know they won't do 8K yet in the GH7 (I think??). 
Maybe 6K?? 
Maybe they believe PDAF (plus one or two less important things, like 6K or 240fps 4K) is "enough" for the GH7 to be a hit?? (plus all the usual goodness we've come to expect with the GH6/GH5/etc)
It's hard to think of anything else "major" they could add. Perhaps a mini-XLR with phantom power like the P4K? But they already have the Panasonic DMW-XLR1, but it would be nice to have a more compact alternative without this) Perhaps a better TC implementation, with DIN like the Canon R5C does it? Maybe DIN for SDI as well?? (DIN is kinda0-ish like a mini BNC connector, perfect as a compact option for the GH7 to offer! Imagine a locking connector like DIN instead of HDMI? But imagine having both DIN and a full size HDMI as two independent outputs? You could give a clean output on one, with info overlays on the other. Exactly what many of us have been dreaming of!)
Internal eND just feels like the last "big" thing left for Panasonic to nail for the GH series after they've got AF sorted out. 
 

We all know they'll be adding PDAF to the GH7. 
I'm not sure there is much else major they could do, we know they won't do 8K yet in the GH7 (I think??). 
Maybe 6K?? 
Maybe they believe PDAF (plus one or two less important things, like 6K or 240fps 4K) is "enough" for the GH7 to be a hit?? (plus all the usual goodness we've come to expect with the GH6/GH5/etc)
It's hard to think of anything else "major" they could add. Perhaps a mini-XLR with phantom power like the P4K? But they already have the Panasonic DMW-XLR1, but it would be nice to have a more compact alternative without this) Perhaps a better TC implementation, with DIN like the Canon R5C does it? Maybe DIN for SDI as well?? (DIN is kinda0-ish like a mini BNC connector, perfect as a compact option for the GH7 to offer! Imagine a locking connector like DIN instead of HDMI? But imagine having both DIN and a full size HDMI as two independent outputs? You could give a clean output on one, with info overlays on the other. Exactly what many of us have been dreaming of!)
Internal eND just feels like the last "big" thing left for Panasonic to nail for the GH series after they've got AF sorted out. 
 

I hope S35 becomes the norm again. 

In a study by Me et al, earlier this evening, my conclusion is that some folks over-analyse some things and as a result, spout BS.
I on the other hand, had an enjoyable walk/photoshoot this afternoon that neither made me feel ‘warm’ or ‘cold’ or ‘fuzzy nostalgic’, with the side benefit of some exercise, fresh air and Vitamin D.
Which is probably more than some sad fcuker got bashing his keyboard in his parents spare bedroom.
I did however have Pet Shop Boys greatest hits on Spotify earlier and wallowed in a bit of late 80’s / early 90’s musical nostalgia 😉

Hello guys, i just wanted to say that i just bought a Sony F3 with 444 RGB + the video assist (for just over 1200€) as my first camera after seeing what y'all said about it.

M43 @f2.8 is a nice sweet-spot DOF for me, especially on vintage lenses.  Soft, but not too much out of focus, ya know?

Modern fast lenses were originally requested by journalists. Specially zooms.
At large apertures you solve two problems:
1) Poor lighting 
2) Unpleasing backgrounds usually encountered at press conferences, the average street, and most offices. 
The "cinema look" was not even a thing in video up until about 2010, since most video productions were a variation of journalism: documentaries, long form news stories, tv broadcasts. All of those requiere deep DOF about 99% of the time.
As you say: if you know what you're doing you actually want to show the background of your shot. Say, asking your subject to stand for the interview in front of the coffee shop were most patrons are visible vs. asking the interviewy to stand in front of a wall of the coffee shop.
So the question is: ¿does this particular background need to be softened or not?
 
 

Let's compromise and meet in the middle, and admit 1.5x is the "most cinematic". 

I got excited about this Xiaomi 12S for half a second! It's quite affordable. 
But then I realized the Xiaomi 12S Ultra is a different model, whoops. 
It's price.... ouch. Ah well, if I wait long enough it will become as "affordable" as the Panasonic Lumix DMC-CM1 is today. (welll... it's price seems to be holding up surprisingly well on eBay for how super old it is!)