Tim Sewell

Well this all went a bit stupid for me. After my last post in this thread I got myself a ZV-1F, the fixed focal length version, which would have been pretty ideal for my use case as I described it.
To digress slightly, a friend of mine has her 30th birthday party this weekend, for which she and some other friends have formed a band - just for that one gig - and have been practising their set since August. I had offered to photograph this one-off gig for them, but they had already secured the services of her brother, a photography enthusiast, to do it. Anyway, saw her in the pub on Saturday and she asked if I could do it after all as her brother has - unsurprisingly - decided he'd rather just enjoy the evening.
Fine. Except for the fact that I sold both my stills cameras in December to finance the FS7.
So now I'm selling the ZV and have lashed out on a s/h A6600. Luckily I've got a bunch of stuff on eBay right now, so I can swallow the cost.
I have to say, though, I'm rather liking the A6600. I know it's had a lot of knocks, not leat on this forum, for the dated sensor, RS etc; but bearing those deficiencies in mind it actually works pretty nicely. The AF (even on my adapted Canon lenses) is excellent, the IBIS is great and from the few video clips I've done it seems it will intercut with the FS7 footage just fine, despite only being 8 bit. It will also, obviously, also fulfil my needs for the festival film that first caused me to chime in on the thread.
So much for a no-gear 2024!

I love Panasonic cameras, but I have a cold shard of hatred in my heart for whoever thought up the idea of releasing a camera as capable as the GX80 with terrible internal audio and no mic input.

I love Panasonic cameras, but I have a cold shard of hatred in my heart for whoever thought up the idea of releasing a camera as capable as the GX80 with terrible internal audio and no mic input.

I love Panasonic cameras, but I have a cold shard of hatred in my heart for whoever thought up the idea of releasing a camera as capable as the GX80 with terrible internal audio and no mic input.

I love Panasonic cameras, but I have a cold shard of hatred in my heart for whoever thought up the idea of releasing a camera as capable as the GX80 with terrible internal audio and no mic input.

It's not IBIS - it has OIS in the lens (standard SteadyShot) plus optional electronic stabilization (active SteadyShot, with a crop). It's very good in 'active' mode, but it's not up with the best stabilization from Oly/OMDS/Panasonic.

I've been following this thread and now have a related quandary myself.
This summer I'm taking my 15yr old son to the Cambridge Folk Festival - an event I used to attend yearly 'back in the day', but now only manage to visit to coincide with my decade birthdays.
Anyway. Naturally my thoughts have wandered into possibly making some kind of film - it would seem a waste to go somewhere where there'll be loads of colourful, noisy and interesting stuff going on and not, TBH.
Obviously I don't want to take my FS7. Even stripped down (the camera, not me) I wouldn't want to be carrying it around with me the whole time and I'll be camping, so there'll be nowhere secure for it either. Also there's a distinct possibility that the odd tipple might come my way!
The obvious answer would be my GX80, but the sound - as we all know - is abysmal and there's no mic input either, so I'd have to record externally. Will I remember to start recording? Did I mention the tipple situation?
I've had a play about with my EOS m and the newish crop_mood Magic Lantern build. It's an excellent build, but I'm still getting the odd bug-out and since my idea for a film includes vox pops, I just don't feel it's reliable enough.
So option one is GX80 and I'll spend GBP170 on a Zoom F2 for the sound, or I trade in the GX80 for around GBP200, then spend <GBP400 on a different small, interchangeable lens camera that will give me a nice image and an audio input. Question is - what?
All suggestions gratefully received.

Gotta say the ZV-1 is ticking a lot of boxes.

Gotta say the ZV-1 is ticking a lot of boxes.

I've been following this thread and now have a related quandary myself.
This summer I'm taking my 15yr old son to the Cambridge Folk Festival - an event I used to attend yearly 'back in the day', but now only manage to visit to coincide with my decade birthdays.
Anyway. Naturally my thoughts have wandered into possibly making some kind of film - it would seem a waste to go somewhere where there'll be loads of colourful, noisy and interesting stuff going on and not, TBH.
Obviously I don't want to take my FS7. Even stripped down (the camera, not me) I wouldn't want to be carrying it around with me the whole time and I'll be camping, so there'll be nowhere secure for it either. Also there's a distinct possibility that the odd tipple might come my way!
The obvious answer would be my GX80, but the sound - as we all know - is abysmal and there's no mic input either, so I'd have to record externally. Will I remember to start recording? Did I mention the tipple situation?
I've had a play about with my EOS m and the newish crop_mood Magic Lantern build. It's an excellent build, but I'm still getting the odd bug-out and since my idea for a film includes vox pops, I just don't feel it's reliable enough.
So option one is GX80 and I'll spend GBP170 on a Zoom F2 for the sound, or I trade in the GX80 for around GBP200, then spend <GBP400 on a different small, interchangeable lens camera that will give me a nice image and an audio input. Question is - what?
All suggestions gratefully received.

Absolutely love her stuff.

Absolutely love her stuff.

COBOL guys are still needed everywhere. 😀

My mate had one of these when they first came out and, although it was pretty useless for video, the stills it produced were lovely (and way ahead of their time). Extreme jealousy ensued as the price tag (even now, s/h) was eye-watering.

I think the idea of nailing it in-camera is in and of itself not that big of a deal nowadays - if you have a basic color workflow and most importantly, know how to really nail the story you're trying to tell.
That statement isn't meant to dismiss the importance of nailing it in-camera - but to say that imo nailing it in-camera has always been less about hitting a fixed target dead on - and more about a ballpark. And that ballpark is so much easier to hit thanks to the aggregated knowledge base of spaces like this, and of course YouTube. To the point where asking someone with experience for assistance is usually not as prudent as simply typing the question in YouTube's search engine! But that ball park around the target of perfection is also much wider than ever before, thanks to the corrective tools we now have within Resolve, Premiere Pro, Finalcut, etc. Not to mention basic in-the -field tools like a color chart and/or Sekonic C-700 or C-800.
I was a deejay for most of my life, and I still pride myself on knowing the basic theories of bar-counting and melody-matching and taking the time to know the unique bar construction of every single song I was gna play, so that when I hit the party and got on the 1200s, my 'in-camera' settings were pretty good. But then Serato came along with other recent mind-blowing advances - and now in 2023, a deejay simply does not need to have/understand those 'in-camera' settings. 
Is it something deejays like myself lament? 100%!!! But the REAL deejays of those past generations also understand that the actual mission, first and foremost, was always: to tell a great story.
So while there are deejays I know and admire, who still love to do 'all-vinyl' parties as a way to exercise/show-off the skills they HAD TO developed in the past, as a means to the ends of telling great stories, again, the REAL ones within that cohort also understand they are doing those parties for the sake of nostalgia, which is also very important and life affirming.
All that to say, hopefully when we are in passionate pursuit of getting it right in-camera (as I am myself, to a degree) we aren't losing sight of the more important plot of getting the story right in our minds - which is a whole other skill that still demands that we strive to master it at the highest of levels.
 

I recall that it was said to have shocking RS, although others chimed in at the time to say that that was only a show-stopper if you classed it or used it as an action cam, which despite its size, it wasn't.

I recall that it was said to have shocking RS, although others chimed in at the time to say that that was only a show-stopper if you classed it or used it as an action cam, which despite its size, it wasn't.

Make sure you get one that can record non-compressed up to 84958p as you wouldn't want to be tied to any outdated format.
Also ensure it adds LOL to the metadata at the end of each recording.

Thanks @kye. As mentioned, I'm looking for silhouettes so no shadow detail is necessary, which was why I was thinking of going down the HG route. I think you're right, of course, in that I should do a test.

You asked about two specific cinema cameras - neither of which has stills capability - so what worthwhile opinion was there to influence when you weren't revealing 70% of the requirement ?
You have absolutely wasted the time of every well meaning person in this thread that was giving you very considered opinions not only on the two cameras that you originally requested a comparison of but also on many different similar alternatives that you might like to consider.
You then compounded this by encouraging more input on different types of camera that you knew would only meet 30% of your needs and would therefore not be suitable.
There were two points at which you should have mentioned that 70% of what you wanted this camera for wouldn't be covered by a cinema camera - the first time was in the original post and the second time was when anyone mentioned any other cinema camera that doesn't do stills.
If you had mentioned the stills requirement then you would have got responses for at least these three high end hybrids.
Sony a1
Nikon Z8/9
Fujifilm GFX100/II
The first two of these you did get recommendations for (the a1 was the very first reply) and interestingly didn't respond to at all when they are the only two cameras that have been mentioned in the thread that fulfil what you knew that you needed.
And, lo and behold, the last one is the one you've now bought.
I even said in my recommendation of the Z8/Z9 that "Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task".
Did you not think that might have been an opportune moment to say "actually, I have to admit that I do need a still capability" instead of letting the debate go on a few more pages with people blissfully unaware they were wasting their time on the finer points of cinema cameras that would in no way be able to meet your requirements ?
If you had come to realise that it was a hybrid that you needed throughout the course of the discussion in the thread then thats one thing but to know that from the get go and not state it then or at any point subsequently is another thing entirely.
I hope you enjoy your GFX100II and it will certainly service the real needs that you have now revealed that you actually have pretty well but you owe an apology to everyone on this thread that you have clearly abused the goodwill of.

Hello to all EOShd members. I haven't been here much this year, but I consider this forum to be my second home. This year has been hard personally (divorce with young children) but we must continue in life with good spirits. So like every year (and it's been 6 now) I link you to my police Christmas greeting:
In the tech side it is Sony FX6 in UHD mode at 100fps (S&Q) and S-log, Hi Base Iso. Rokinon lenses. 
I hope you like it and I send you a hug.
Adiós Amigos!! 

It's hipster heaven. Will look great sitting next to my wooden headphones!

When will we have it?
I guess that will make more difficult to @Andrew Reid to ban anyone later on... LOL : ) Anyway, I tend to believe that would be such award to those who would attend it in any case whatsoever... ; ) Morever, to those who wouldn't be able to be physically there, it might be possible to attend via video conference or sorta web summit event but camera summit, hey Andrew?
We could always show a bit of appreciation to this community created by our webmaster, thank you all guys and a special word to the owner of the house who has succeeded to keep one of the most interesting world-class online corners worldwide, let alone the topic of camera industry where this place is unique! :- )

On a not less serious note, the only advantage I see to shoot on 50p/60p or even 100fps/120fps is either going after the slowmo chance route on a 24p/25p timeline later on or stereoscope applications without the need for capture devices with the genlock feature all included in the bill to pay for the tool straight to the BTL (Below the Line) costs usually fixed and with a full impact directly within your budget for acquisition.
But as someone already wrote here, if you want to respect the 360º look, don't forget you'll also either need for more light or a much more capable piece of technology, hence why I praise every single release to couple HFR feature on bright side of a good IQ balance and low light performance as has recently happened even from small sensor size introductions on light setup side of the world ; )
That.
Not silly attempts on reinventing the wheel ;- )
I don't give a damn if their names are Peter Jackson or the free diver James Cameron : ) With the due respect, those names are no more than a mention in a single page of the history of this medium.
In a word, hype.
In a line, film aesthetics is much more than mere hype just for trying a larger entry into this book...
- EAG :- )

Actually if you wanna get technical, a properly mastered high-quality vinyl LP has much more DR than CD or even lossless codec file. That's why audiophiles respect vinyl so much. Take a look at these numbers from the DR database for Daft Punk's RAM album (the reference for mastering):

 
and FYI, if you take care of vinyl, dust it off before playing and use a high-end player and cartridge, you will have zero crackle, pop, wow, flutter. Its like saying that analog film is all noisy and dusty. Vinyl is like IMAX 70mm.. with a proper scan it will be superior to your 2K/4K/8K digital footage. Analog is still very popular in audio production (much more so than in photo/film industry) and for good reason. And while its true that some hipsters buy into analog only for the retro/cool factor, its just as ignorant to claim analog inferior to digital. If you know what you're doing it most certainly is not.