Tim Sewell

Perhaps everything doesn't actually have to be in sharp focus all the time. I, like everyone else here, I'd guess, have watched a lot of movies and a lot of TV over the years and (although most of the time I wasn't particularly taking much notice of it) I'm pretty sure there were plenty of OOF moments when protagonists / subjects moved in and out of focus and the crew/operator reacquired it. In fact I'd go so far as to say that such an approach gives a much livelier, dare I say, cinematic sequence.

Two things may well improve supply in the near future. First is the Chinese government's recent policy changes regarding cryptocurrencies, which have apparently already caused large numbers of used cards to hit secondhand markets in locations near to crypto data centres; second is that nVidia are supposedly releasing cards that can't be used for mining. So hang tight.

It's supposedly equivalent to a 1k tungsten.

Okay, so we're one-to-one. I'd use it as a bounce for lifting ambient levels in medium size spaces, or as a main source for a cove.

There's one going for GBP182. Worth it?

It does (if you switch it on).

I'm using a Sandisk V30 170.

I'd add nothing except to say that I'm not certain the extra cost of an FSii, over the mark i, is worth it. You get an extra PP, RAW out and FHD120 continuous, if memory serves. Unfortunately the extra PP probably isn't one that you'd use unless you need a really quick turnaround, the RAW from this particular cam isn't all that great and the FHD120 is kinda soft too. Same as @kye I'm mainly a hobbyist (although watch this space!) but if I was earning my living shooting video I would go FS7 without a second thought, given the kind of budget you're looking to put in. I think it will be a long while before that camera isn't a money-earner - and if a client wants something that it can't provide there's always rental.

R5?

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

Before spending the money, maybe download some sample files and see how you get on with matching them. I've heard good things about https://www.cinematch.com/.

Yes. The camera came with 1.7 installed, so quite a big jump. I'm really enjoying having 4K FF 24 / 4K APS-C 60 / 4K APS-C 24 in a row on my custom settings. On another note, I think this camera is the best I've ever had for manual focus - both the EVF and the LCD (especially the EVF) are easily sharp and bright enough to lock on really easily. I keep punching in to check and discovering that I was already spot-on without! I'll probably give the 6K a spin next weekend.

Indeed - or, like me, only ever buy cameras that are out-of-date. I haven't bought a camera new since my GH4 in 2014. Since then I've used a FS700, C100mk2, Fuji XT-3, C100mk1 and an FS5 mk1, which I'm about to sell to cover the cost of the bargain S1 I just bought (which is my most modern camera since that GH4). In acquiring those cameras the majority of the costs were each time covered by selling the previous one, so apart from the GH4 at the beginning my outlay hasn't been toooo outrageous. Also, most of the lenses I've used on all of them have been the EF lenses I had from my still photography pre-dating the days of video hybrids.

Cinema camera's what? Jeez. Guy can't even write English.

Time to give up and go home, anyway

Come on. Rolex ad above the header'd look luvverly!

Although it's upscaled to 4K with Superscale, which is only available in the paid version of Resolve. But very nice, nonetheless.

Have you ever considered pro-actively going after non-industry advertisers to pull in some relatively easy cash? You have high page impressions, a large number of regular registered users and an audience mainly composed of solvent men with relatively high disposable incomes - there are a lot of companies who would definitely like to get in front of such a bunch.

Having just acquired a Panasonic S1 (with which I have immediately fallen in love) I'm actually quite happy to hear that the AF isn't so good as it means I don't have any urgent reason to buy any of their very expensive native lenses!

Unfortunately that's not the aim of many content creators in this space. To be honest, if I were a marketing exec at Canikon etc, there's no way I'd send a pre-release camera to Andrew Reid. I'd have a budget for the launch and I wouldn't want to spend a penny of it sending units to people who might post a review video saying 'this is shit'. That, obviously, is because my budget is purposed for maximising sales at launch. It's exactly the same as producing a trailer for a movie and stuffing it with all the best bits from the film - you want to get as many bums on seats for that opening weekend as you possibly can (especially if the film's a duffer - get as much cash in as you can before word of mouth gets out). So there will always be a ready supply of shills, ready to receive pre-launch gear (often in the agreeable climes of some high-end tropical resort) and give a thumbs up, grinning broadly. The opportunity for honest reviews comes later, once the equipment in question is available to rent or buy; but of course those reviews will never get the view counts of the pre-launch encomiums because interest wanes amongst consumers, as opposed to users.

If your aim was to provide honest advice delivered with integrity, that would be the way forward. If that's not your aim, it seems like much harder work than just taking the free stuff, TBH.

The colourist in question was probably referring more to chroma noise, which I think we can all agree is pretty ugly and 'video' looking. I've seen a couple of videos showing how drastically improved even quite clean-looking clips can be once it's removed.

Nice. And really stable - is the IBIS really that good? I plan to use it mainly with my Super Taks and with a couple of EF zooms. Waiting for the postman!

Just picked one up for GBP1025 including VL upgrade, so have read this whole thread. Looking forward to getting my hands on it. Anyone want to buy a FS5 Mk1 with RAW upgrade?

I'm quite a fan of Potato Jet - he's clearly a nice guy and also a working commercial videographer (although he readily admits that his YT activities take up more and more of his time). His really strong kit recommendations tend to be for items he finds useful for his commercial work (and the Arri Alexa thing was fairly jokey - although he still has the beast standing on a tripod in his studio). Similar to him are the guys at Epic Light Media, who intersperse gear videos with lighting tutorials and flights of preposterous fancy. A YouTuber who is much more focused on actual film making is, of course, Rob Ellis, whose videos about lighting, composition and colour are excellent. Personally I find Gerald dry as dust and twice as boring.