Laurier

Testing the A7iii in anamorphic setup in exterior condition, some quick run and gun test shoots but I m very happy with the result .
A7iii ( full frame mode ) + Ninja V + Cinelux ES + Rectilux HCDNA + Russian Primes.
 
 

Testing the A7iii in anamorphic setup in exterior condition, some quick run and gun test shoots but I m very happy with the result .
A7iii ( full frame mode ) + Ninja V + Cinelux ES + Rectilux HCDNA + Russian Primes.
 
 

Look very cool on paper, If I could justify the cost, It  would probably be my top pick,
but full frame without autofocus is a pain if you are a solo operator, and to shoot with a lens longer than  50mm.
I run a7iii+ninja V +batis , I would be curious to compare the IQ of the mavo vs my setup.

I think the mavo lf is a bit like the Red raven, too cheap for big production, too expensive for small production.

Speaking about the Raven I m doing the post production of a short shoot on it, colors are nice but I m not impressed by the noise performance/DR, it s hard to justify the price of it.

Look very cool on paper, If I could justify the cost, It  would probably be my top pick,
but full frame without autofocus is a pain if you are a solo operator, and to shoot with a lens longer than  50mm.
I run a7iii+ninja V +batis , I would be curious to compare the IQ of the mavo vs my setup.

I think the mavo lf is a bit like the Red raven, too cheap for big production, too expensive for small production.

Speaking about the Raven I m doing the post production of a short shoot on it, colors are nice but I m not impressed by the noise performance/DR, it s hard to justify the price of it.

Look very cool on paper, If I could justify the cost, It  would probably be my top pick,
but full frame without autofocus is a pain if you are a solo operator, and to shoot with a lens longer than  50mm.
I run a7iii+ninja V +batis , I would be curious to compare the IQ of the mavo vs my setup.

I think the mavo lf is a bit like the Red raven, too cheap for big production, too expensive for small production.

Speaking about the Raven I m doing the post production of a short shoot on it, colors are nice but I m not impressed by the noise performance/DR, it s hard to justify the price of it.

Except that slog is unworkable internally ,you get color noise and compression artifact all over the place, so If you want to have all the DR that the sensor have to offer you need to record externally .
I do a lot of post work and when you start to move things around, it s immediately visible .
The youtube argument is a nonsense, because even in cinema your bitrate is limited to 250 Mb/s, it s about having some room in post to get your image where you want it before you compress it again.
But my work sometime get screened at festivals so to me it matters.

The motion blur look very different as well.
The examples you sent me have little motion to them.
But yeah, if you shoot cine4 and upload straight to youtube, that make less sense. 
 
I disagree with the face tracking comment , I shoot with Batis and it work very well, way better than any focus puller would manage on large format/long lens/large aperture , I do MV and fashion mostly and I can t always know where the model/performer is going to move ( and if it s dancer, I want to let him/her do his/her things).
Beside on a shoulder rig you can see both the rear screen and the recorder so you know when it lock in, the screen don t go off if you setup the video signal/trigger properly.
You need to go to the menu and force 4k 24fps out then deactivate the internal recording , and activate to control trigger over hdmi.
If you leave the default parameter, the screen go black and you loose face tracking.

Except that slog is unworkable internally ,you get color noise and compression artifact all over the place, so If you want to have all the DR that the sensor have to offer you need to record externally .
I do a lot of post work and when you start to move things around, it s immediately visible .
The youtube argument is a nonsense, because even in cinema your bitrate is limited to 250 Mb/s, it s about having some room in post to get your image where you want it before you compress it again.
But my work sometime get screened at festivals so to me it matters.

The motion blur look very different as well.
The examples you sent me have little motion to them.
But yeah, if you shoot cine4 and upload straight to youtube, that make less sense. 
 
I disagree with the face tracking comment , I shoot with Batis and it work very well, way better than any focus puller would manage on large format/long lens/large aperture , I do MV and fashion mostly and I can t always know where the model/performer is going to move ( and if it s dancer, I want to let him/her do his/her things).
Beside on a shoulder rig you can see both the rear screen and the recorder so you know when it lock in, the screen don t go off if you setup the video signal/trigger properly.
You need to go to the menu and force 4k 24fps out then deactivate the internal recording , and activate to control trigger over hdmi.
If you leave the default parameter, the screen go black and you loose face tracking.

I will try to shoot something interesting over the week end 

Because we live in age of Sensor stabilization, good battery life and good video autofocus.
That convenience over raw quality output.
I had a ursa mini 4.6k and when I got a a7rii initially for photo... well I sold the 4.6k.

I think you are right about the pocket 4k as B/crash cam for URSA pro users, but very few production run that setup, I always see canon C series or FS series for small/mid sized jobs, I only saw a handfull of blackmagic on production and is usually a random single guy run and gunning , not a small crew. 

I see the pocket the same way I see people speaking about LOG profiles, sounds cool on paper, but most user will have no clue how to use it properly, will end up blaming the camera because it s relatively cheap. 
Personally I think RAW is overkill for the majority of work I do ( prores-raw sound much more workable) so I always end up in prores LT or standard. 

I had seriously considered the pocket 4k as well , but then I got a a7iii + ninja V,
Being able to focus track faces, with a steady shoulder rigged  135mm at 2.8 in full frame, without a focus puller is priceless IMO.
In the end I have a much higher production value for a single operator with this kind of equipement than any traditional cinema camera .

Because we live in age of Sensor stabilization, good battery life and good video autofocus.
That convenience over raw quality output.
I had a ursa mini 4.6k and when I got a a7rii initially for photo... well I sold the 4.6k.

I think you are right about the pocket 4k as B/crash cam for URSA pro users, but very few production run that setup, I always see canon C series or FS series for small/mid sized jobs, I only saw a handfull of blackmagic on production and is usually a random single guy run and gunning , not a small crew. 

I see the pocket the same way I see people speaking about LOG profiles, sounds cool on paper, but most user will have no clue how to use it properly, will end up blaming the camera because it s relatively cheap. 
Personally I think RAW is overkill for the majority of work I do ( prores-raw sound much more workable) so I always end up in prores LT or standard. 

I had seriously considered the pocket 4k as well , but then I got a a7iii + ninja V,
Being able to focus track faces, with a steady shoulder rigged  135mm at 2.8 in full frame, without a focus puller is priceless IMO.
In the end I have a much higher production value for a single operator with this kind of equipement than any traditional cinema camera .

Got mine couple of days ago.

The AF is really impressive ( coming from a a7rii) both in photo and video.
A lot more video friendly features as well, like gamma view assist and fully custom zebra ( now you can more or less use it as a replacement for false color for Slog exposure)
The big negative point for me is the temporal noise reduction in video, it don t look too bad in Slog-2, but then I get a lot of color noise from poor compression , I ordered a Ninja V so hopefully that will solve the issue.
Colors are very decent as well, especially if you use S-log with ACES , and actually look great with filmconvert.

I will also use it for street photography for my photo project https://www.instagram.com/ccinis/ , I did shoot a lot with the  original A7 and the zeiss 35mm 2.8, but on the A7iii ,from my initial test the autofocus is incredible, by the time I orient the camera toward the subject the face detection already kicked in and got the subject in focus, that will be fantastic for discreet shoots taken from the hips.

I doubt that the case, it s better to sell a product once at a higher price than having your clients buying something cheaper, plus it create a lot of product on the second hand market that hurt your sales.
On top of that I hardly see the regular mirrorless buyer spend 5 to 10k on a system for occasional work , that FS5/FS7 territory.
If anything they will be introducing a new segment of product, with a "brain" and extensions. 
 
Well C100-200-300-700 users will tell you otherwise, I get paid for shooting MV and fashion stuff mostly and autofocus is very valuable in those situation.

I've thoroughly enjoyed using the GH5s with Kowa Prominar 40mm. Lightweight and tons of character.

You should get a a7rii or wait a bit a a7sii price will drop as well.
To give you an idea I sold my ursa mini 4.6k after getting a a7rii ( I initially got it for photo) because the it was excellent in video and could not justify keeping the URSA over it ( yes the URSA have better codec, but they both have fairly similar DR and the A7rii have better iso/autofocus /stabilisation and form factor)
A7ii is definitely great for photos, but as other said it s not great for video.

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

The color science is great, a lot of blackmagic footage online is poorly graded or with a bad color balance.
It s good out of the box, with only two main options rec 709 or film if you plan to post produce the shoots, its not like sony where you have a lot of profiles but none are great.

The color science is great, a lot of blackmagic footage online is poorly graded or with a bad color balance.
It s good out of the box, with only two main options rec 709 or film if you plan to post produce the shoots, its not like sony where you have a lot of profiles but none are great.

4k 60fps was the instant preorder spec for me, If you shoot fashion or MV it s almost mandatory, for ND since It s M4/3 there are adapters with NDs you can slide on. 

I m actually seriously considering getting a Blackmagic 4k, you can get some for 750£, that stupidly cheap, I shoot a feature with one, motion and colors are fantastic compared to a GH5, its also way smaller than a Ursa mini and media is a lot cheaper.
The dynamic range is really not that bad, you can recover a lot of the highlight in post, not something you can really do with the gh5.
But yes you need fast glass, but you also need fast glass with a GH5 IMO.
Otherwise, yes it s a bit bigger and heavier.

Well the Eva is more production friendly and super 35 so that not really for the same audience .
But for my personal use, a camera with 4k 60fps , a good 4.2.2 codec, face detection continuous autofocus and low rolling shutter is everything I will ever need, So I think the next generation camera I will buy will last me much longer since I won t have to make much compromise anymore. Hopefully it will be a a7s3 .

That A7R2 + batis 85 + 35mm 2.8, Slog-2 iso 800-1600, and literally hand held , I did not had all my equipment with me that day, but I usually have a  zacuto marauder and it s not as shaky.

If you are a solo shooter and not doing fiction work, honestly, get a camera with video autofocus, like a canon c300 or c100 mk2/c200/Canon XC10, or a sony  a7r2.
Some people will make fun of you or won t understand, but at the end of the day you will get a lot more usable shoots and a lot less stress.( and if you plan to use a gimbals, it is very helpful)
Get a small B-camera, and good quality batteries ( I fried a camera on the first 10 second of a paid job once, I wish I had a B cam that day) like a Canon XC10 /a6500
Also try to stay as compact as possible, just buy what you need, and fast zoom are a good idea, like the sigmas, you will never have enough light, and time so you want flexibility over fancy equipment.
Lightweight equipement is a bit more expensive, but totally worth it if you are a solo shooter, you can get compact rigs/sliders from edelkrone for example .
 
I went all fancy with a blackmagic 4.6k and vintage/modern cine glass, but today I almost exclusively shoot with a a7r2 and two photo primes, because of the auto focus and the compactness.

It only needs 3 improvement：PDAF 、10bit & no rolling shutter

My guess it s it have to do with how the electronic curtain sync operate , the rolling shutter and the encoding.
It s a subjective observation but for example the motion blur on blackmagic camera is much more ...somewhat contrasted and apparent, whereas on sony/panasonic mirrrorless it s less visible.In camera noise reduction also remove some of the motion blur smoothness making it more hard and less pleasing.
But the motion perception is affected by your stabilization and your focal as well, I guess hand holding a tele lense on a alexa or a red epic won t look very nice if you compare it to a 35mm on a7r2 on a gimbals.

Women are different.  I have three girls.  The middle is close to a "rocket scientist" and recently said, "if Apple doesn't get its shit together I'm moving to PC".  She also dropped her state-of-the-art smartphone and instead of replacing it with the next model bought a model 2 revs back because she said the new phones weren't worth the money.   Like it or not, many men do buy cameras as statements of their power, or whatever you call it.  It makes them feel good.  Makes me feel good.  Just like many women feel good with the right shoes or handbag.  This is what I see; I don't understand all the fuss.
What shouldn't be confused is that women understand what's important about the tech just as much as men.  The only difference is they don't make a fetish of insignificant technical differences.  So @Arikhan 's Mom is moving towards Nikon because (I assume) she focuses on the one thing she wants--stills image quality.  She doesn't care about video, doesn't care about skin-tone "color science".  She just wants the best dynamic range camera she can get that won't die by a single raindrop (like the Sonys).  The ONLY people who knock Nikons are the ones that 1) don't have those priorities and 2) haven't used a Nikon camera.  
Nikon probably also considers this--men talk cameras.  They write blogs.  Show me one big camera GEAR blog-site run by a woman.  Again, it's not that a woman may not be as good as a man to represent Nikon, it's just that they won't talk up the cameras the same way.  So Arikhan's mom tries Sony because of her son (I assume again) but she knows her own mind.  
At the end of the day, I'd wager there are more successful photographers that are women, or just as much as men.  Who Nikon wants to push their gear has nothing to do with that.  In short, women don't push cameras but they do recognize when the camera gives them what they want.  Nikon should include women.  Not because they deserve a spot, but because I ACTUALLY want their take because I do feel they're often more practical.  When my daughter gives her verdict on some piece of tech I don't second-guess it for a nano-second.   Same thing for movies btw.  My youngest has an uncanny ability to predict whether I will like a movie or not just by lookng at the advertisement.