BenEricson

Also...
Worst day of the stock market since 1987.
https://www.nytimes.com/2020/03/12/business/stock-market-today.html

Lol, you seriously believe this?  The only country? You americans trully live in another world.
Your president just had dinner with an infected minister from Brazil. Good luck.

You didn't have multiple entire countries shutting down like this over those other situations. 

And Italy too just had "a few" deaths, then a few dozen, then BOOM two hundred deaths in a single day. 

That's what happens with exponential growth. 

Don't be complacent now, otherwise soon it will be too late.
 

Interesting. What "sets of Netflix series" have you have worked on that used easyrigs? 

All horseshit and misinformation. 

At the end of the day the best lenses in the world are manual focus only which is kinda funny. 
I shoot sports which is probably the hardest in regards to manually focusing but I feel more in tune with the edit, can't describe it vs just sitting back letting the camera do most of the focus work. 
Some of my shots are slightly out of focus but my viewers/clients don't seem to care. 
MF is simply a skill that has to be practiced. I try to make an effort outside of gigs to go out and practice pulling focus manually. 
Letting my dog run around the backyard and tracking her is good practice I've found.  

It's common to see young dp's with their own easyrig and monitor, as an easy rig is something you use all day and in terms of hygiene, i've heard that argument multiple times. As a monitor, it's about a tool that you use on several jobs, where cameras and lenses change but the tool where you're looking it's always the same, so it helps with consistency on judging an image, etc.

My advice: try to get repeat clients to go on contract for a monthly retainer. My freelance work was up and down and very unreliable for years, but once I got my first client on a retainer, things have gone much more smoothly for me, the consistent monthly paychecks have been awesome while still being able to enjoy the flexibility of freelance. 
One tip for negotiating these kinds of deals with clients is to look through job listings for full-time video work in your area, contacting the companies in question and pitching a freelance retainer solution instead, which they might be happy to do since it will save them a lot of money in the long-run, so it's a win-win. 
Best of luck! It's a lot more fun doing what you love. 

Before tax: between zero and a million dollars
After taxes: Much much much less than before tax
Location: Auckland NZ
Type of jobs that you do: Sound

Don't worry, those baby yoda toys are going to bring in way more than that.

Is there a way to fix the alien colors?

No words on 4K crop or not ?
 
Canon may have waited too long to update their cameras but they still hold up to me
Completely silent autofocus with the STM lenses
Great AF with dual pixel, smooth transitions
Smooth iso transition in auto mode (no steps)
Great user interface
Great tilting screen
Best color science to me
Great colors in low light
Good battery life
Great handling
I owned a X-T20 and returned it when i realized it's not all just about bitrate 

This camera is basically a DSLR version of the Canon M6 Mark II, which is a camera I've owned for the past several months. It's actually a terrific camera. Not a spec monster but does most things right. Good ergonomics, good colour, good DR and low light ability, microphone jack, sharp 1080p, sharp-enough 4k with low rolling shutter, good lens selection. I actually prefer this camera over the Fuji X-T30 that I owned previously.
So if you  have bigger lenses like the 17-55mm f2.8 then you'll have yourself a great camera to use it with if you get the t8i. 

I also have the iPhone XS Max and noticed the same thing in my brief hands on with the 11 Pro. Don't know what they changed exactly, but I don't like it.

I was lucky enough to break six figures last year with 73,000 subs. I’ve never enjoyed my work more and i’ve never made more in my life. I highly recommend it if you’re thinking of starting a youtube channel. 

Hey @mercer
This might seem like a sledgehammer to crack a nut but bear with me.

This is the Acsoon CIneEye HDMI that enables you to transmit the HDMI camera output to your Android or iOS device over wifi up to a range of about 100 metres.
For just over £200, it does seem slightly overkill to spend that amount when you are only going to be transmitting about 2% of that range and a cynical view would be that used in the way I've got it here makes it is a very, very expensive virtual HDMI cable .
And you'd probably be right in that cynicism or perhaps wrong depending on how you work.
Starting with the practicals, here is how I have it mounted to the cage. Initially I was finding it slightly awkward to find a good position to mount it because its tripod mount is on the base so I used the cheap mini ball mount to effectively change it to a 90 degree angle.

One happy accident of this is that having the adjustable ball head means that when it comes to changing batteries, the ball head can be loosened and the CineEye can be swung away.
The phone is mounted with a SmallRig monitor mount and a cheap adjustable phone holder.
This combination means that it can be oriented in every direction so you can have standard rear facing, tilted side view or of course front facing.

The mount also means that you can just fold it flat when in front facing mode to make it compact to go in a bag.
So once its mounted, what can you do with it ?
In short, a lot.
It offers a range of selectable monitoring options including 
Grey Scale Monochrome Focus Peaking Zebras Safe Mark Center Mark Histogram LUT loading And of course a false colour mode

There are also options to punch in and also some anamorphic de-squeeze mode but I haven't tested those.
The big question of course with these wireless solutions is latency and the figures quoted by Acsoon are 140ms for iOS and 200ms for Android and whilst I've only tested it on Android and wouldn't really challenge their figure. In practical terms, I'm OK with that sort of latency that I'm getting with it in use and bear in mind that my Samsung phone (and possibly yours) needs a build of their app that uses software decoding so is likely a worst case scenario.
I haven't used this combo in a heavily saturated WiFi area (though to be fair, the amount of different routers in my house probably does replicate a small town  ) so I can't give any idea about performance impact but the CineEye does actually seek out the clearest WiFi channel to use when it boots up so at least there is some method to try and counteract it and the channel can also be set manually.
What else can it do that a monitor can't to justify getting one?
Well for one thing, as its wireless you can just unclip the phone and go and monitor from anywhere around the set which is a boon for anyone working on their own who is positioning lights or altering a mic boom etc to not have to go back to the camera to confirm the changes.
The signal can also be shared by up to four different devices so if you are working in a larger crew then they can have their own feed or you can have it on a bigger tablet on a stand etc
Another aspect that can also be beneficial using phones to monitor on is that a lot of them have very high brightness levels.
The overall form factor is also helped by how much slimmer a phone is compared to a monitor.

As both the phone and CineEye have internal power (the CineEye run time is about 4 1/2 hours) then there is an additional big saving in not having to use additional power.
Does all this mean that its better than a dedicated wired monitor ?
On a technical level in terms of resolution and latency then thats a firm No.
However, its certainly more flexible and far less hassle to power and depending on how you work that might make it more appropriate.
More product info here
https://www.bhphotovideo.com/c/product/1485196-REG/accsoon_cineeye_wifi_full_hd_5g.html

yeah, post a still pal

It sounds like something you're doing wrong in your post work flow.

And everyone wants icing on their cake. 
The F3 is a great camera. It really does have an extremely rich color output. The slog files also really handle over and under exposure very well. 
Like the other Sony’s I have used. It looks amazing outdoors and okay in mixed lighting. (From my experience.) 
I was using a Sony Swit with a dtap to power the Black Magic video assist. This was a super compact setup that worked really well. 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I used my P4K and OG Pocket together over the weekend. I used the Super Scale feature in Resolve to bring the OG's footage up to 4K. It's not quite as detailed, but can easily intercut with true 4K stuff in the eyes of the client. Very happy with the results.

I sold my BMPCC4K. I kept my 2 OG BMPCCs.

And everyone wants icing on their cake. 
The F3 is a great camera. It really does have an extremely rich color output. The slog files also really handle over and under exposure very well. 
Like the other Sony’s I have used. It looks amazing outdoors and okay in mixed lighting. (From my experience.) 
I was using a Sony Swit with a dtap to power the Black Magic video assist. This was a super compact setup that worked really well. 

I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k.
As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.

Maybe this site should be renamed ANTI-EOSHD?
While Netflix is technically TV, Canon was all over the Oscars documentary category last year: 
https://***URL not allowed***/oscars-2019-all-nominated-documentaries-shot-on-canon-cameras/
And in this years 2020 nominees, one of the most talked about docu, American Factory (first film out of Obama's production company) was shot on... a 2014 C100 mk2:

..ironically it was picked up by Netflix at Sundance (and is currently streaming on the platform).
So while many seem to obsess over "Netflix approved" cameras, this seems to prove that shooting great content will always trump camera specs.