Tim Sewell

I think the thing to remember (and hence not to get too carried away) is that the camera choices in Adolescence were led by the story and the way in which the creators wanted to tell it. You literally couldn't have done it using full size cinema kit without massively increasing the budget - and maybe not even then. Likewise, Civil War was mostly shot on Venice, but used the Ronins when the story demanded it. So it's great that big budget movies are doing inventive stuff with non-traditional camera systems, but they're doing it when it's required, not for any financial savings or because they think those systems are overall better.

I'm looking forward to seeing some reviews of this from reliable people. I love my FX30, which I combine with an A6600 as B-cam. The drawback there is that the RS on the A6600 is absolutely atrocious - especially, for some reason, with non-native lenses. I actually only have 2 Sony lenses, neither of them particularly amazing. At this low price, I could sell both my Sony cameras, both Sony lenses, my CF Express cards and the top-handle audio thingy - buy 2 of these and whatever EF-RF adapter they come out with and probably still have a bunch of money left over to spend in the pub! So - awaiting proper tests of DR, RS and stab more generally. (I've considered doing the same with the Fuji XM-5, but the lack of stab and their rarity have led to me deciding against).

The ergos are surprisingly good. A camera that gets out of the way.

... which I, personally, thought were gorgeous.

There seem to be 2 products. One is a new version of Rialto for the Venice but yes, there also seems to be a new FF cine-oriented camera coming too - FX3II?

I don't own a single bottle - but I do have over 20 cameras!

Very few I'd guess. It's a very popular part-time gig for students in the city - of which there are many!

Funnily enough, just found some pics from that evening. Days of innocence (kinda).

@Emanuel I also love my FX-30. It just came back from 2 months in the camera hospital (a whole other story) but I just love that thing. A beautiful sensor and lovely ergonomics. And so relatively cheap! The C100 of its days.

Interesting fact - everybody thought they did the billboard stuff with Ai, but in fact they had to do it frame by frame themselves. Nice bit of film making, in my always humble opinion.

I mean, she can stand up in a car, but she ain't Sydney Sweeney.

I've generally had good experiences with them, but it's always amused me that any parcel going either way between us goes from my house in Brighton, to Gatwick, then back to their original facility in... Brighton. They did once let me fulfill an exchange (I traded in a C100 Mk2 for 2 XT-3s) in person, but it was clearly well outside their comfort zone. That said, I did once end up drinking with a bunch of their employees at a pub in the city one Friday evening (this would be about 8 or so years ago) and they struck me as a great bunch of keen, intelligent and enthusiastic people (quite a few of them brandishing nice old film cameras).

I've said for a long time that the look generally accepted and desired as 'filmic' is, in fact, 'Arri'.

And that's because, at least in part, if 2 out of your 4 Alexas go down on set in the middle of the Amazonian rainforest Arri (or the rental house) will have replacements and/or technicians with you in under 48 hours. It's simply not worth it to provide that kind of support for 'cheaper' camera systems. Obviously Alexas are also engineered for an exponentially higher level of reliability and resilience in the first place too.

I mentioned that to him and he said he just doesn't like taking photos on his phone. Which is encouraging!