Rinad Amir

The same for me @Rinad Amir, coming from the S1, image is mindblowing. So give it internal ND and faster readout, like 15ms for the entire sensor place it below 3500 and
it would be a tempting purchase, with SDI out, no contest.

The S1H was my weapon of choice when it came to professional work the image and DR was and still is outstanding. 
What id love to see in the mark ii version is internal ND or electric 
And bump in DR 16? Why not 
I care less about 8k or 10k 100%of people today  watch on phones or monitors that aren't 8k. 

Don't forget its also useful for white balance if you accidentally missed it on set 

Why not a changeable mount so one could choose.

Me and my friend are planning on shooting something over the summer and I thought this would be a good time to invest in a new lens. Right now I only have two kit lenses that came with the camera. What is a good lens that I can get that will be flexible enough to do most things in filming a short film? I understand that I will not be able to do the whole thing with just one lens.
My gear: Nikon D5600, Nikkor 18-55mm and Nikkor 70-300mm https://snaptube.cam/.
I am willing to buy a converter so if you have a good Canon or Sony lens please don't hesitate to drop it down there.
I am shooting for a lens from $500-$800. Any suggestions would be super helpful!

Spec sheet:
https://drive.google.com/file/d/1GPtPEuCoz-1HNyGaH-FPu93S-RnvD5ud/view
 
Same sensor as original GH5, IMX272
https://www.sony-semicon.co.jp/products/common/pdf/IMX272AQK_Flyer.pdf

Well i know am gona get slated for this but raw is overrated 😄

Well i know am gona get slated for this but raw is overrated 😄

Very strange they didn’t update the design a bit. The off centered battery causes tons of mounting problems, the screen isn’t that bright for $1600, and no SDI is very strange since these are basically raw recorders now (which wasn’t entirely the case when the first Ninja V came out). Pretty lazy upgrade. 

Because DR can be somewhat subjective in terms of how you measure/define it. 

Netflix buys non-4K stuff often, and even the stuff they commission is frequently shot on <4K cameras, including 2K Alexas.
Think about image quality not pixel quantity.
To paraphrase a quote from another industry: "If the pixels are sh*t, why would I be happy that there are 4 times more of them?".

Spider-Man maybe, but not Batman as there’s zero contrast and good luck with The Flash.

@gt3rs Here.

I don't know if you noticed @Lux Shots but there's banding in your picture? A big grey bar right through the centre. Or should that be gray and center? Anyway, I spotted it.

Almost all variable NDs suck when it comes to color shifts and polarization artifacts. They will all tint your footage, especially at higher strengths.
But in general I would go with one that:
Has hard stops Has smaller range; 1-5 and a 6-9 I use an aurora-aperture 1-6 stop ND. It’s pretty solid. The 7-11 stop version is not very good. I’ve been looking at the polar pro mist+nd combo going forward. Still haven’t made up my mind. 

The 1dX3 looks awesome, I would love to try it.  In the past couple weeks I have had the chance to try the Canon R5 and R6, and they confirmed that I did the right thing in purchasing the Nikon Z6 (or literally any other camera).

On yesterday's shoot the R5 overheated.  Thankfully it was working again after only a ten minute break, but we were only running it at 4k/24, and this is the important bit:

WE'RE SHOOTING OUTSIDE IN CANADA IN WINTER!  It's NEGATIVE FUCKING 12 DEGREES AND THE FUCKING CAMERA IS HOT AS A TOASTER!  WHAT THE FUCKING FUCKITY FUCK?!  WHO THE HELL GREENLIT THIS PIECE OF SHIT?!

Anyways, we took breaks and finished the show, but I cannot really recommend this camera, as it is an undependable tool.  I can't imagine how hard it must be to use in California.

I agree it gets cucumber some 
But gets job done , i do wish Sony will listen and include this feature(noise reduction) and true 24p😁 in next firmware update

Panasonic should release a S5S (lol) with Sony's 12MP sensor in A7SIII but without a mechanical shutter and a internal ND solution. Throw in some kind of internal RAW of some kind and it will be attractive vs A7SIII even without Sony level AF.
With a good telephoto it can take great pictures. But, I agree. Panasonic should make a future video centric camera more like a FX3 than the GH5S.
 

I'd say that's a bit of an overstatement. You may not need any of this year's new offerings, or last years. But you have no idea what other professionals are shooting on, or what equipment will make their jobs easier or what will help them book more jobs or sell more productions or help them boost their rates.
If you don't like the way the market's trending, awesome! Vote with your wallet. I won't be getting an FX3, or a A7SIII for that matter, or an FX6, a Pocket 6K Pro, or an R5 or an R6. But I'm not going to pretend that just because these cameras, or Panasonics offerings or any number of other cameras out there don't work for me, are not the right camera for someone else.
The whole idea of individual shooters determining what other people need is quite silly. Yes, the market might offer a whole lot of choices a whole lot more quickly than it did in the past. Some of it is pure marketing, as the FX3 seems to be. But a fair amount of it is due to more rapid technical innovation, some of it is due to market disruptors like BMD and the new breed of Chinese cine camera companies forcing the big dogs to compete on price and features. And some of it is camera companies scrambling to see what features and body styles will get a shrinking market excited.
In the end, we actually benefit from these new releases, if we're smart enough to weigh the options carefully and only buy what we as individual shooters need and can swing. That's the way I see it, anyway.

I use Resolve too, but I ingest raw to dpx, exr or prores444 so it's not a problem for me. There's a bit of a trend at the consumer level to edit in raw,  but I only see it as an acquisition format.

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

Andrew is so right about this camera. When I saw the release I was like...OK so this is a worst A7SIII for $400 more with a XLR top handle but all the important cinema features are missing:
No internal ND No XLR on body No audio controls on body Same shitty LCD screen without an EVF to save it No SDI They didn't even include a way to secure the HDMI PORT! LOL! Cinema camera my ass!

I hate to brag but they also come as bundle with X-Rite monitor cal😊

A funny and very pointed piece by Fujifilm.
"We don't negotiate with hobbyists."
 
 

So happy I went with Sony a7S III