TheRenaissanceMan

I use a Sachtler "Doctor Bag" for mine.

Unfortunately, those stills are from a project I no longer have access to--just the raw clips I'm grading for my reel. If anyone wants some ungraded stills/clips, I can post a few for y'all to play with.

The P6K handles noise reduction in the shadows much better than the UM46, which struggles with patterns and ugly color shift even after generous NR.

A6300 battery life would necessitate re-balancing the gimbal every half hour to 45 minutes, which makes it suboptimal as a dedicated gimbal cam imo. Are the Fujis neutral enough to match the F3, or would you have to grade down the F3 to match?

If you're on a budget, definitely consider getting a smaller camera for glidecam/gimbal shots. I use an A7III for that on smaller jobs, and it cuts pretty well after a quick tweak in Resolve. The Pocket 4K is a better match for dynamic range and grade-ability, but tougher to match in skin tones and much clumsier as a camera body. The 6K is a GREAT match, but at that point you're spending twice as much as you did on the F3 and may as well make the 6K your A-cam. Haven't used all the newer DSLR/mirrorless bodies to know how well they'd line up, but all of them will take some secondary work to cut in a 2-camera setup.

A few more for the road. Damn does the F3 grade well.

Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.

17-40 is totally okay on a budget, especially at the current used prices. Very useful set of focal lengths in a car! Versatile for run and gun/handheld work, too. It's just slow and optically middling.

Color-wise, I like to shoot in SLOG2 and SGamut3.cine, then use the color space transform tool on my second node in Resolve to translate that into r.709. Grade normally from there. Using the second node is key, because you can do all your white balance and highlight/shadow recovery on the first node, pre-transform, without clipping any data or creating tricky color balance issues.

For a 2K/1080 deliver, I like to shoot 4K. For a 4k delivery, 5-6k is ideal. Yes, in an ideal world all your shots are rock solid, noise-free, and perfectly framed, but in the real world, having room to crop (or safety area around your frame), stabilize, and downscale to kill noise really helps. Besides, having more options in post is good. I'm experienced, but that's not gonna stop me from covering my ass.

3 rules: 1. Must be adaptable to EF mount and shorter. Gotta be able to use it on at least a C200/F3/UMP. 2. Must focus the "correct" (non-Nikon) direction with hard stops. Anything else messes with my muscle memory (or my AC's) and creates problems with remote follow focuses. 3. Must have appeal beyond just my taste: ie, should be desirable to clients who hire me, directors I work with, and other shooters who might rent them. Otherwise I'm just spinning my wheels. Personally I prefer a ~1.4x ratio between focal lengths, but I can make do with 2x in a pinch. In tight spaces it matters a great deal.

Consumer

This wasn't the last BMD camera to use a Fairchild sensor...the 4.6K is made by them too

Not in a way that holds me back. I don't do a lot of gimbal work, and if I really needed it I'd get my buddy to come out with his Movi and BMPCC4k.

Looks like a damn fine camera. Nice image, nice body, flexible mount, plenty of features. Shame about the blue clipping and rolling shutter. Problem for me is that this is knocking on used Ursa Mini prices, and that camera is objectively a better money maker for low end production work. ProRes workflow, real cinema body, and a name producers know and feel comfortable with. If this weren't my livelihood, or I had more money to toss around, I'd probably give it a go...but $4K is gonna relegate it to a "wait and see" for me personally.