webrunner5

Doubt I’d ever use it for anything serious that might require ProRes, ie ‘work’.
Well I will use it for work, but only SOOC social media.
Never been in a pinch where I have had to use my phone and have a ZV1 for that purpose anyway.
Nope, it’s simply a Swiss Army Knife that is more than a phone and more than a camera and though I have seen some pretty impressive stuff shot on a phone before, just not going to use it at that level even if I could.
The only thing I’m less keen on is the size. I would rather have had a mini, but I’m more a tele kind of guy than a wide angle with 50mm+ being my preferred focal length.
I do use wide and have 20, 24, 28 and 35 (mostly just 35) for various purposes, but more because I have to than want to for work purposes.
I mean I could impose a “I only shoot at 52.5mm” FOV on my clients, but I’d then need to put myself in the category ‘pretentious tosser’.

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

Filmed with one hand on right handgrip and second hand on top handle. I've not use Power IS, just Dynamic etc...

Chip shortages and thin profit margin. Look at the Nikon announcement today. Everybody is trying to use the parts they already have in inventory or still available to order. This one has 1 inch sensor and two of them, at just $700! Japanese gave up single 1 inch P&S at $1000. I don't want to be business manager of this company.

Ergo, it's the story dummy. In this day and age you could shoot a movie with an EOS M and get the job done with a great script and good actors. The playing field is a Lot leveler in this day and age cameras wise.
Iti s probably harder to get sound right now than camera work right. And I would much rather sit though bad camera work than bad sound.

Maybe lower or switch off the ambient/fill light as the white/closer walls are acting like reflectors.

4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.

Absolutely.  It's a shame that many (most?) of the camera internet community are not craftsmen at all, just technicians.  Or are craftsmen of making camera content for social media, not a skill that really translates to almost any other use of a camera.
Absolutely, sound is definitely more than half the video.
In my quest to understand good sound design, I've discovered that unfortunately sound-design-related-content is by no means half (or even a single percent) of the camera-related materials found online.
In terms of getting sound right, I'd really like to see cameras implement more than two channel audio.  Having four channels would mean you could capture a stereo signal as well as a mono signal with a safety track, or two channels where each has a safety track.  
It's easier to get levels right if you're focused on sound, but as a solo-operator working in uncontrolled situations, this would be a killer feature.  I've absolutely clipped audio in the past, even with a safety track(!), and I hardly ever remember to capture stereo on-location sound, so I end up with a mono channel and have to scrounge ambient stereo tracks from all sorts of places.  Four channels would be a set and forget setup that I would very much appreciate.  I know I can do it separately with an audio recorder, but then media management becomes an issue, plus the rig and battery and charging setups become impractical.

Unfortunately I think that this is unlikely to resolve itself any time soon.
For sports-bros and the GoPro crowd, more than 100Mbps seems to become cumbersome (or at least the manufacturers seem to think so - the GoPro Hero 10 tops out at 100Mbps and hasn't improved much since the GoPro Hero 3 which was about 45Mbps).  I don't know why, because SD cards keep coming down in price every year, and computers keep getting more powerful, and the resolution is what kills a computer anyway, not the bitrate.
There are higher bitrate 360 cameras available, but they're huge, like the Insta360 Titan, which has 8 MFT sensors and records up to 11K and 180Mbps per lens (1,440Mbps in total before stitching? I'm not sure about this because stitching might create a VR image?).

Problem is that it's 23cm / 9 inches in diameter and weighs 5.5kg / 12 pounds.  I'm not casually putting that on a selfie-stick and carrying it around!
It's the old adage once again - big quality = big camera and small camera = shitty quality.

Disappointing and barely improved from previous models (or at all??)
Once again, people fail to understand what is actually going on here.  The problem with 360 cameras was always that by the time you crop to a FOV that doesn't look like you're on massive amounts of drugs, the image starts to fall apart with lack of resolution and compression (poor bitrate).
When you crop into the image, this 120Mbps 6144x3072@25/24fps in 360 degrees equates to:
15mm lens on FF (100.4 deg Horizontally) 1713x723 resolution (16:9) at 7.9Mbps
18mm lens on FF (90 deg Horizontally) 1536x648 resolution (16:9) at 6.3Mbps 
24mm lens on FF (73.7 deg Horizontally) 1258x530 resolution (16:9) at 4.24Mbps
Realistically, the 120Mbps is the limit, not the resolution.  A 1.2K image wouldn't be so bad in the context of a nicely graded edit if it was more than 4Mbps...  I'm waiting for a 400Mbps model - that would take that 24mm crop to something approaching 'real' camera territory (15Mbps or so).
The challenge is that these are often used in situations where things are moving a lot and really stressing the codec.

This... except I would argue that theme is craft... just a different discipline. But I get your point. I'll take it a step further due to this thread. A writer/director with an inkling of visual sense could take any of these crappy cameras... or a camcorder and make a sale able or popular film. On the converse, most craftsmen on the technical side of filmmaking still need that writer or director to utilize or show off their craft.

Oh, I've been there.....
I remember one festival that I submitted to (as co-producer) where our submission didn't get in, but it ended up being won by a charming little documentary that was a thinly-veiled excuse to get old people to talk about sex.  The oldies were adorable and the content was gold, but it was shot absolutely terribly.  There were shots under and over exposed a bit, maybe one with a poor white-balance.  At one point there was a locked-off interview shot where someone bumped the tripod and the whole camera moved about a quarter of the frame and was slightly off-horizon, then about 5s later they slowly straightened it up again, but it was a funny moment in the interview (I understand why they left it in).  
Sure, it was funny and the concept was great - it deserved to win for best writing or directing or something...  but it won Best Cinematography.  It beat another entrant that was a music video that was super-clean and where the cinematography felt like a commercial project.  
It was literally at that moment that my sister (my co-producer and the director of our film) and I looked at each other, sighed, and gave up on festivals.
Most festivals I've seen operate behind-the-scenes using a dozen or so categories, normally like this:
Film that the judges happened to like Another film that the judges happened to like The next film that the judges happened to like A film that the judges happened to smile at Some other film that the judges happened to smile at That strange film that the judges happened to enjoy A film that the judges happened to laugh at The film that the judges happened to think was cute The film from the people the judges know The film starring the person the main judge is sleeping with The film directed by the person one of the judges wants to sleep with Judges choice

fast update 0.2:
Today I get to shoot a replica Ferrari 250, and here are some sceen shot with simple color grade
shot on PMW-F3 and sigma 35mm f/1.4 lens:

 

 

 

 

 
 
and a lovely BTS:

 

Next purchase to come... Can't wait! :- )

Said this here before but...
As someone that's on a film-festival selection committee with a bunch of joe-lunchbox-folks, it becomes very obvious what floats their boat.
Horribly or lazily crafted films with a theme they like get the thumbs up while beautiful films with challenging material gets ignored.  They can watch stories that look incredibly lame but if they dig the film's message they'll be totally into it and forgive so much.  So, so, so much.  You all would probably get upset seeing how tolerant they are of bad craft.
So as it was, so shall it always be.
That's not to say us low-budget video folks shouldn't strive for a higher level of craft, but these minutiae levels of refinement shouldn't necessarily go before the bigger design, y'know?
I mean, 3 extra stops of DR is nice, but if you're shooting a shitty script or boring documentary ...what's that DR really doing for ya aside from self-edification (which is okay, btw, if that's all you want).

Also did a test. Here are some observation:
1. It doesn't work with lenses that don't have electronic contact with the camera. Gyro data is there but after applying gyro type of stabilization in Resolve got a black screen. This may be a bug in the beta version but it's unlikely. Seems logical that software needs to know focal length of the lens.
2. Can it replace gimbal while walking ?  Short answer - no. OK to stabilize simple panning or static shots. With 60p + slow motion in post it can give almost gimbal like results. Good if you want to have a hand held like shots and feeling without the jitter. Still having a good shooting technique is essential. Unfortunately lens IS can't be used in conjunction with gyro stabilization. It is one or the other.
3. It doesn't compensate for up and down movement or does it in somehow subtle manner.
4. As already said and demonstrated it needs 45 degree shutter angle to work best which is not OK for me. Apart of slow motion and simple rather slow pans and static shots when shooting at 180 degree shutter angle it won't be practical.
5. Easy to apply in Resolve. As fast / slow as other types of stabilization in post.
6. Expect with time and new Resolve versions Blackmagic to give more control options to gyro type of stabilization.

Bottom line is: Good to have one more option for BMPCC line of cameras for hand held shooting but it has many limitations and won't replace tools and technique required to stabilize shots. It is not a game changer. This explain why it was not introduced with fanfare but rather quietly between lines by Blackmagic.
On a side note : With new firmware BMPCC 4K menus look now nicer. A lot of minor improvement to a 4 years + old camera. Well done Blackmagic !
Blackmagic already carved a solid place in cinema cameras business making RAW video available at a low price point. Camera picture quality is great, build quality not that much, but I guess this is the compromise to make for the low price point. If they come with a more compact and solidly build bodies and put a mirrorless mount in next generation of cameras this will be a step in the right direction even with expected price hike.

Don't ask this because you'll be shocked with the real number... LOL Well, we're used to make miracles at times... ; )
Kenjo's next one I've already been literally invited to participate as Executive Producer if not more I guess I will ; ) it will be in a different tone on such darker side (INFINITE BLUE is the working title) as every single piece of him BTW.
INFINITE BLUE has been designed as a low-budget, psycho-sexual art-house-horror: A bored housewife discovers a mysterious portal that leads to her joining an underground cult and unlocking her potential.
YAMOME (2018) -- The Widow, in English, is something he did from a 30-year old young director and, well, it's simply a way beyond only a middle age man like my age could even imagine to shoot... 'cause it's simply amazing his insight as outcome there in one of the best portraits of a middle age woman I've ever seen on screen... Ozu would be proud! As much as Mizoguchi or Naruse, I am pretty sure. Kenjo knows very well my enthusiasm when I privately told him exactly such words...
Kenjo follows their tradition and legacy for his cinema. It's an old award-winning film critic who addresses to you now this line.
I am suspicious as his producer but you can mark my words. I am with him since AUTOMATION (2017) and MAKE-BELIEVERS is the result of an intense labour since TRAMSMISSION (2019), also producer there, based on 'The Statement of Randolph Carter' by H.P. Lovecraft to celebrate one century of his work.
No film grain simulations were used. Just raw and pure post-production work with many hours (in Philippines) of delicate grading obviously well cared to carefully fit the story and the characters. Inspired both on Kenjo's emotional side and mine with both fathers of us. BTW my own father is Executive Producer for some reason ;- )
 
Thanks for your kind remarks,
- EAG

Trouble is with Fuji glass it only works on a Fuji. It is a tempting system but an expensive experiment no doubt.

Wow I always wanted a Contax G1. That was a Very special camera with even more special lenses for it. You can't go wrong with one of those.

It is for family videos and travel, why on earth get a Canon 5D mk2 / mk3? 
Doesn't really seem compatible with your purposes. 
 
Get a Panasonic G9 (or heck, even a Fujfilm X-T30) and enjoy!

Nice, the 1N sounds like a great camera. Since I already own some EF lenses, I'm looking to pick up a cheap rebel and get some auto features.
I must admit that I have a bit of GAS with film cameras lately. I started researching and shooting some film last summer. I started with P&S cameras and rangefinders but the first camera I bought was a brand new Nikon N6006 for $48. I didn't have an AF-D lens for it so it sat away in the closet and I eventually listed it on eBay... it hasn't sold yet. Since then, I started buying and shooting with the typical SLR cameras from the 70s/80s...
I'm narrowing down my favorites and will keep a few. I tried to make a rule to only buy an SLR that I had a lens for. Other than the N6006, I've held to that rule. Of course, this rule reminds me that I have too many lenses and I need to thin my herd.
And with that, I'm thinking of picking up an AF-D lens for that N6006... haha. It seems like a fine brick of a camera actually. Good news is that I have been looking for an excuse to buy the Nikkor AF-D 35mm f/2 for years...
Ugh.

I can take the same iPhone 6s picture put it in Lightroom and make it look like it came from an old camera if I want. This stuff is not magic anymore.

Even with the usual caveats about pre-pro firmware, video AF looks good in this one that @Django posted back on page 3
https://youtu.be/NpBN7-qGgWE

I'm very prone to "motion sickness" (car travel, sea travel, VR etc):   https://en.wikipedia.org/wiki/Motion_sickness
zero problems in airplanes, trains, or when I'm driving myself (only as passenger). the worst is FPS video games & VR, I get sick within seconds. Probably why I had similar reaction to the gyro stab tests..

Will the URSA Min Pro 12k get this?  I hope so. I also hope that the reset of the USRA Mini Pros and Broadcast get this as well.  
From what I have seen test wise (thanks for the tests! @FHDcrew and @Davide Roveri), I like the look and feel of the Gyro stabilization, it reminds me of a professional hand held shot rather than a gimbal shot which I am pretty sure I prefer the look of the Gyro.
I would also like to see what a gimbal shot without a stabilized lens followed by Gyro stabilization looks like. Should probably look similar, but maybe Gyro stabilization will make it look more like hand held footage and hopefully it will be the best of both worlds.
This a game changer feature for me as I like experience of shooing hand held, but it alway looks worse than I think it will  when I review the footage.  Now I can live in my movie making fantasy world and not have to appologise for following my creative impulses at the end of the day. Thank you Blackmagic!