Django

This one is my favourite, as it always gets a mention when discussing poor AF.
Right, let's compare a solo operated MILC with an ARRI on a gimbal.. with dedicated focus puller.
And your comment clearly makes me thing you've never experienced latest gen video AF. 
FYI I learned to focus with MF. Still use MF on my Leica glass. I hire focus pullers whenever I can.
I have contrast based AF on my FS7 which is my daily workhorse. I know how to adapt to it.
None of those negate the fact AF has made substantial progress and can be a reliable asset.
When shooting Vlog style with your own face in the frame, you're usually going to shoot one handed with some kind of Gorillapod arm or something. You may despise these types of shooters but its a valid community and one of the reasons why most video centric cameras have face detection and such..
 
You are so focused on yourself (pun intended) you missed the point I was making. I'm not telling you what to do with your action shoots. I'm telling you there are other scenarios, such as closer shots on bigger sensors with faster glass, where critical AF is required.
Oh cmon you're the one that started plugging your GH5 and your camera footage in a Canon thread. 
It's systematic here. You won't find me rambling off about DPAF benefits in Panasonic threads.
Could we maybe get back on topic?

I actually think what camera you choose can be crucial for a project like this but not for the reasons most may think. 
I'm thinking mostly about budget and time constraints. 
A big cine cam takes time to rig, to setup. do reverse angle shots etc. It all eats up precious time.
Having two or even three cameras like OP can allow multi-cam or multi-rigs speeding up down time.
Then you have the crew to think about. Big cam usually means first AC, 2nd AC etc.
With an A7S3/FX3 you could get away with AF on gimbal shots, handheld with IBIS, monopod instead of tripod etc.
This all saves you time & budget that can be allocated to more shots, location, production value.
Anyways maybe OP can share his own experience & congrats to him on the music video!
 

I actually think what camera you choose can be crucial for a project like this but not for the reasons most may think. 
I'm thinking mostly about budget and time constraints. 
A big cine cam takes time to rig, to setup. do reverse angle shots etc. It all eats up precious time.
Having two or even three cameras like OP can allow multi-cam or multi-rigs speeding up down time.
Then you have the crew to think about. Big cam usually means first AC, 2nd AC etc.
With an A7S3/FX3 you could get away with AF on gimbal shots, handheld with IBIS, monopod instead of tripod etc.
This all saves you time & budget that can be allocated to more shots, location, production value.
Anyways maybe OP can share his own experience & congrats to him on the music video!
 

I'm genuinely happy you are so satisfied with GH5's AF performance. If I were picky though I'd say those scenes aren't too challenging AF-wise with wide shots at that distance and with such wide DoF. Try that on a bigger sensor close range under F2.
There are tons of other scenarios then talking heads on a tripod. Here is the GH5 clip from the YouTuber I was referencing. It's basically unwatchable and the AF just can't seem to lock on face:
I'm sure you'll be quick to claim user error but that's just piss poor AF performance imo. I read he's switching to Fuji..

This one is my favourite, as it always gets a mention when discussing poor AF.
Right, let's compare a solo operated MILC with an ARRI on a gimbal.. with dedicated focus puller.
And your comment clearly makes me thing you've never experienced latest gen video AF. 
FYI I learned to focus with MF. Still use MF on my Leica glass. I hire focus pullers whenever I can.
I have contrast based AF on my FS7 which is my daily workhorse. I know how to adapt to it.
None of those negate the fact AF has made substantial progress and can be a reliable asset.
When shooting Vlog style with your own face in the frame, you're usually going to shoot one handed with some kind of Gorillapod arm or something. You may despise these types of shooters but its a valid community and one of the reasons why most video centric cameras have face detection and such..
 
You are so focused on yourself (pun intended) you missed the point I was making. I'm not telling you what to do with your action shoots. I'm telling you there are other scenarios, such as closer shots on bigger sensors with faster glass, where critical AF is required.
Oh cmon you're the one that started plugging your GH5 and your camera footage in a Canon thread. 
It's systematic here. You won't find me rambling off about DPAF benefits in Panasonic threads.
Could we maybe get back on topic?

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

Not if you're on gimbal, Vlogging or certain run & gun situations. I literally just watched a video from a pretty popular solo YouTuber at a music trade show in Berlin where the entire footage was ruined because of constant wild hunting. What do you know, it was shot on a GH5. Sure you can claim its user fault but there is no denying that Panasonics DFD AF is a major setback when compared to the competition. And like it or not, strong AF is crucial for some types of shooters. 
The AF reliability I get from Canon, wether in stills with eye-tracking shooting wide open at F1.2 or in video with DPAF tracking is outstanding. When I have to go back to contrast-only AF on my FS7 it feels like I'm getting punished, constantly punching in to check focus. Stressing I may have missed shots. DPAF is so liberating, you won't realise it until you get used to it. I know that a lot of M43 shooters use manual glass so this doesn't concern you, but it does to others.
I was just reporting Gordons testings, since he's the only one that actually performed one. All I stated was that they were pretty promising, even if indoors under controlled conditions. I also added:
Sorry but I'm not sure what you are arguing against? 

again:
The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light.

R7 is a true APS-C hybrid: 32MP stills camera & 7K supersampled 10-bit 4K Clog3. With the best AF in the game.
XT4 is currently its only competitor and $300 more expensive with less MP/resolution and not as sophisticated AF.
XH2S should be announced next week with some big video features expected (6K / 4K120p) but will run you $2500 and its expected to require an external active cooling kit (similar to the Tilta one for R5) to not overheat. 
So stay tuned for more APS-C announcements..
 

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

..and no overheat doesn't matter much either if all your footage is OOF. so yeah ying-yang.
from the testing so far R7 seems to manage all the way up to 2 hours in 4Kfine making overheating a non issue.
of course we'll have to wait for more real world tests but so far it seems promising on that end.
 
 

R7 is a true APS-C hybrid: 32MP stills camera & 7K supersampled 10-bit 4K Clog3. With the best AF in the game.
XT4 is currently its only competitor and $300 more expensive with less MP/resolution and not as sophisticated AF.
XH2S should be announced next week with some big video features expected (6K / 4K120p) but will run you $2500 and its expected to require an external active cooling kit (similar to the Tilta one for R5) to not overheat. 
So stay tuned for more APS-C announcements..
 

Well, if you insist.
I wouldn't say they're competing at all with the GH5/G9 due to the sensor size. Obviously, the GH5 is a great camera, but it's strengths lie solely in video, where the R7 is more of a hybrid camera. It will be better in lowlight, have better color, it includes a Log profile at no extra cost, and it will have great AF.
Actually, Canon always gets a bad rap around here, but Panasonic should be ashamed of themselves for selling the GH5 for $1300 over 5 years after release.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

Correct, the crop only applies to the 1:1 readout 4K60p mode.
Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming.
This isn't a bad offering for their first gen APS-C RF models.
R7 destroys any Sony A6xxx cam both in specs and ergonomics.
The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).
 

Correct, the crop only applies to the 1:1 readout 4K60p mode.
Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming.
This isn't a bad offering for their first gen APS-C RF models.
R7 destroys any Sony A6xxx cam both in specs and ergonomics.
The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).
 

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

I would buy a BMPCC 4K and just learn how to edit and color. They have aa pretty great output. With Raw you can make it look like just about anything. It is not the easy way out, but if you want a great look you have to learn to figure out how to do it. 
All these people you admire didn't just go out buy a cheap camera and make magic overnight. It takes years to get a certain look that stands out from the crowd. Video is not easy.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

Leaked photo of the 22mm f2 rf-s 
 

Ok didn't realise this was in the Mini category.
Yeah depends where you're at.
Here in Paris, France we've got pretty big film studios & production houses. ARRI also has offices.
I literally stumble on sets in the city daily with ARRI cams & lights.
My friends production house has 3 AMIRAS. they specialise in high-end Multicam shoots for TV & events.
Sounds good, let us know when that happens!
 
Oh I know that but for some reason I thought eND was a better (less polluting) solution than standard built-in NDs? could be wrong though..

I am not surprised, the Mini is their most popular camera ever. 
And the Mini LF is the hot camera for them right now which everyone was wanting.
No surprise here, would be more surprising if it didn't. 
Both the Mini and Mini LF has built in NDs. 
(so too does the AMIRA, but that's not so relevant. Oh, and the ALEXA LF "kinda" has internal NDs. They technically have them, but not in the sense you think of them: https://www.bhphotovideo.com/c/product/1389604-REG/arri_k4_0015600_alexa_lf_fsnd_2_1.html )
 
I know you're joking, but there are people shooting weddings with REDs all the time. 
Give it another ten years and we'll see people shooting wedding with the ARRI S35K 4K sensor as well. 
I'd be surprised. That's an extreme low end guess, I'd say more likely half way in between there and double the price. (probably very easily close to double your guess once you add in accessories / media / batteries)
Likely in a city such as Auckland (largest city in the country, but still a small city by international standards with one and half million people) then all the rental houses of any substantial size will get it eventually. But you could count on your fingers how many DoPs will own one, and probably a similar number of production houses would own it. 
 
Sure, it is likely zero EOSHD regulars will buy one, but probably quite a few of us will end up working with it at some point in time or another. I'm 100% certain I'll end up working with the new ARRI within the year. 
  
That's standard operation procedure for ARRI, chase image quality and not resolution. 
  
Very likely the image quality hit of an eND is why they didn't use them. The people at that level can be very picky about that. 

Not many folks in the world can afford this, aside from A-list actor/directors like Ben Affleck in the photo above.
But usually no one person buys a brand new ARRI. It's either studios, production companies or rental houses.
Rest assured pretty safe to say nobody here is in the market so its mostly just an industry look at what's happening on the high-end.
As to how it could trickle down, well Canon & Panasonic have both copied the Dual Gain output of the OG Alexa sensor in C300/C70/GH6. Took them 10 years though!
Again, its interesting to see ARRI took form them the built-in ND's. surprised they didn't go Sony's Vari E-ND but maybe there is a patent on that one.

Ok video specs are still a little confusing but from what I understand: 
4K60p (oversampled)  = no crop line-skipped 
4K60p (1:1) = 1.6x + 1.8x crop
So both 4K60p modes suffer quality hit.
4KFine (30p) is where its at for HQ IQ. It's rated at 30mn overheat but Gordon Laing shows a test with over 2 hours without overheat as do other youtubers. If that's really the case then that is the mode where it's going to be at for video.

wow.. was not expecting that kind of form factor! built-in NDs also rather surprising.. I guess they're also aiming at docu & action shooters that want the most compact rig. just pop on a lens and shoot. very interesting. oh and that rumoured DR is crazy. yeah new Hollywood standard for sure!