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Hi !
I recently shot a web ad for Wakaze, a japanese saké company in Paris. The morning of the first day of shooting, my camera mysteriously died on me 😕 So I had to use my first AC cam as a back up (he had it with him by chance !). The day before, one of the location (the appartment) wasn't available anymore, a nerve wracking start ! I then got another camera of mine for the rest of this two day shoot. So there are two cameras involved. Try to guess which camera shot what !
P.S. I had no say for the music... I'd rather have some good old rock music on a shorter edit to match the shooting style but they went with an electro vibe...
 
Here is the video : 
 

Well done for pulling the off the shoot with various challenges along the way!
I have no idea what the camera is, but the results looked pretty good.  I must say though, when the guy at the bar takes a sip of the product it looks like he's already had a bottle or two already!  Of course, it's fitting for the style of the piece 🙂 

Hi !
I recently shot a web ad for Wakaze, a japanese saké company in Paris. The morning of the first day of shooting, my camera mysteriously died on me 😕 So I had to use my first AC cam as a back up (he had it with him by chance !). The day before, one of the location (the appartment) wasn't available anymore, a nerve wracking start ! I then got another camera of mine for the rest of this two day shoot. So there are two cameras involved. Try to guess which camera shot what !
P.S. I had no say for the music... I'd rather have some good old rock music on a shorter edit to match the shooting style but they went with an electro vibe...
 
Here is the video : 
 

Hi !
I recently shot a web ad for Wakaze, a japanese saké company in Paris. The morning of the first day of shooting, my camera mysteriously died on me 😕 So I had to use my first AC cam as a back up (he had it with him by chance !). The day before, one of the location (the appartment) wasn't available anymore, a nerve wracking start ! I then got another camera of mine for the rest of this two day shoot. So there are two cameras involved. Try to guess which camera shot what !
P.S. I had no say for the music... I'd rather have some good old rock music on a shorter edit to match the shooting style but they went with an electro vibe...
 
Here is the video : 
 

I had many Tokina APS-C 11-16mm, they all had infinity focus issues. Canon lenses for instance go past infinity focus, there's a margin of error, meaning you're sure to hit infinity focus. The Tokinas, they're right on the infinite or just before... They also have lots of chromatic aberrations which I can still see on your picture. Those problems with their lenses are a shame as I otherwise like their products.

Hello guys !
I shot my first gig with my new A7S III. So far it's exactly what I expected : a formidable workhorse for corporate videos or digital ads and many more things. It made huge improvements in usability even though there are still some things missing (like loading custom LUTs) but not many.
Image wise, it's very much a Sony camera. Its image is in line with the other alpha cameras (which is not a bad thing), only with better codecs. The codecs are good but not groundbreaking. It allows the image to show virtually no pink macro blocking and smoother gradation in the sky for instance. Oddly enough, the image coming from the X-T3 feels thicker, less processed (but I HATE the magenta shift in f-log and the skin smoothening effect, impossible to get rid of and never discussed !). The image of the A7S III is quite clinical. I feel the same about what I've seen with the C70 so far (that being said, I've never actually had the sooc footage on my computer). We are far from what we get with blackmagic raw or red cameras. This is not the camera to get if you're after the best organic thick image quality.
I was curious to try prores raw to see if things would improve with less digital treatment. So far prores raw support in premiere is very basic but you still get an unprocessed signal. I was a bit surprised. Even though there's no noise reduction (I thought NR + H264 codec was the main factor for this clean/digital image), Prores raw image is very close to internal recording. Sure there's more noise, but the image doesn't feel "raw" at all ! Still very clinical. I'm sure you can make wonders with it, but right out of the box, it has no real "mojo" advantage over the h264 10 bit.
Anyway, there are so many things to say about the camera, it is wonderful for anything delivered on the web. The colors have improved a bit (not by much) and are totally fine. I think I might make a video review of the camera since I think there are not many real world experienced user who have done one, but many gear reviewers.
I respectfully disagree with the previous OP who shot the commercial for the massaging thing who said it's a totally different camera than the previous models. I think it's almost indistinguishable if you watch footage online with youtube compression. I watched a few old clips from ads I made with the FS7, and dare I say, I find the FS7 having something more, i'm sorry, "filmic". So does my 5d mk III ML Raw footage. I'm sure every manufacturer does something different when it comes to their cinema line. I always felt that way reviewing clips from all the different cameras.
And I had a quick question for the other A7S III owners : can you also see faint lines on the rear lcd screen when it's off ? I can't really see them when it's on, I think it's normal, but just wanted to make sure.
Thanks ! Feel free to ask anything if you have questions about the camera ! I'm surprised the camera is not much discussed at all ! With everybody waiting for it for years and buying it.

I also heard it in a FX6 presentation video. The Youtuber (can't remember who, maybe cineD) says he asks Sony why no IBIS, they told him they can't do it yet with an E-ND in the camera. It may be related to the room needed for the sensor to move around in the camera body and the ND filter being very close to the sensor...

I’m not so sure of this “disappointing” talk. The A7SIII got the same slack by many and that’s turned out to be an absolute marvel of a camera. 
The FX6 is what people asked for... an A7SIII with E-ND, XLR’s, SDI, S-cinetone and video ergonomics. Both cameras are unique in the market for what they offer. 
The handle thing is annoying and lack of LongGOP - yep I agree. It’s not perfect. 
I’m just wondering what people expect these days? A full frame compact video camera with 4k120 in 10bit is no longer good enough? 
All the manufacturers are smashing it and every camera released this year has gone beyond. 
 

Everyone: Please Sony, give us an A7sIII with professional video features! If you do I will buy at least seven of them.
Sony: Ok, here it is!
Everyone: Meh it's just a rehashed A7sIII. This is lame and I'm not buying it. 

Hi !
The eterna LUT is to use if you don’t have a color checker. You could actually use it before applying the color checker correction nod but there’s no point to it.
For the gamma question, I can’t remember what gamma there is in Resolve. You can try gamma input « slog2 » as it’s not far from flog gamma and I usually do a blackmagic 4k gamma output as rec709 crushes everything. But most of the time, I put the same gamma Space input and output so the color checker only corrects colors and put me back to some rec709 color Space, and I adjust the gamma curve myself in another nod, so I have more control.
But overall, if you don’t have to match your XT3 with other cameras, I’d suggest You apply the fuji WDR lut (the one which only affects colors, i can’t remember the exact name) so you’re back to a rec709 colorspace but with fuji’s touch. And then in another nod, you apply a custom curve. I have gorgeous results with this simple workflow.
and finally, another method is to use color transform and put « gamma input flog » « color Space input rec2020 » gamma output « blackmagic 4k (same as above) » « color Space output rec709 ».
There You go, 3 methods to normalize your flog image. I encourage you to use the second one if you wanna keep fuji colors.
 

Hi !
The eterna LUT is to use if you don’t have a color checker. You could actually use it before applying the color checker correction nod but there’s no point to it.
For the gamma question, I can’t remember what gamma there is in Resolve. You can try gamma input « slog2 » as it’s not far from flog gamma and I usually do a blackmagic 4k gamma output as rec709 crushes everything. But most of the time, I put the same gamma Space input and output so the color checker only corrects colors and put me back to some rec709 color Space, and I adjust the gamma curve myself in another nod, so I have more control.
But overall, if you don’t have to match your XT3 with other cameras, I’d suggest You apply the fuji WDR lut (the one which only affects colors, i can’t remember the exact name) so you’re back to a rec709 colorspace but with fuji’s touch. And then in another nod, you apply a custom curve. I have gorgeous results with this simple workflow.
and finally, another method is to use color transform and put « gamma input flog » « color Space input rec2020 » gamma output « blackmagic 4k (same as above) » « color Space output rec709 ».
There You go, 3 methods to normalize your flog image. I encourage you to use the second one if you wanna keep fuji colors.
 

Nice work !
Funnily enough I was Place de la contrescarpe and right where you were in the quartier latin doing the same kind of shots with my X-T3 two days ago !

got the 1dx III - Shot a few projects with it. It's very nice.

Highlight rolloff is my favorite part. 10bit ipb 60fps won't playback on a 10 core iMac pro. same for all-i 24fps. that part sucks. 
Here's a trailer from the wedding with the 1dx III. I got to play with pushing exposure to more of a light and bright look, which matched the planners style - this was clog and IPB recording. 
 
 

Congrats, just shoot with it and see if everyting works.

This is available for free, new 3D LUT for BMPCC4K (inspired by the industry standard Arri - Rec709)
The LUT is currently available for Blackmagic Pocket Cinema Camera (BMPCC4K, BMPCC6K, orig. BMPCC) I've been bothering a lot of different LUTs for a long time... until I created my own
http://tondadamborsky.cz/2020/03/19/lut-for-bmpcc4k/
BMPCC4K has warmer colors i recommend u bmpcc4k - WB set slightly to minus (-300,500) than other cameras or orig.Pocket (BMMCC)
I hope, you will like it. I tried to keep the max dynamic range, and natural skin color.

Same thing as BTM_Pix said. The analog route with FPV system works very well with "old" GoPro. You can find all in one FPV monitor for $100 online (minitor + battery + video receiver).
https://www.amazon.com/s?k=fpv+monitor&ref=nb_sb_noss_2
An antenna costs $10. Then you just install a video transmitter on the AV out interface. Range will be more than enough (get at least a 100-200mW video transmitter, with CP antenna on both ends).
As for the GoPro, the wifi link is weak, it might be fine if the follow car is close but it will be prone to disconnection. Plus the latency will be bad whereas there is almost no latency on analog FPV system except for the one introduced by the AV out interface but this is not major (less than a second).
As for mounting, I recommend the magnetic route which is easier and more reliable than suction cup. Plenty of options for GoPro online. For serious rig, the RigWheels RigMount is very solid. However, a few cars don't have magnetic hood but they are the minority (usually high end cars or green vehicles).

Can you connect gopro to a wifi network? If so you can add some mesh AP to extend the range. Probably exist some USB powered versions to use with power bank.
If the gopro can only present itself as a network you could connect to it with an AP and have that extend the signal.
If you want some cheap point to point link I like the UBNT NanoStation LocoM2 or M5 (there is a now AC version too). They can be set to work as AP, station (connect to network) or router if you need that too. Think most if not all of 24V passive poe so should not be hard to power it.

HF??? Do you mean "RF mics"? 

You ideally need more than just lav mics to do a car scene well. 
Does you sound mixer have experience doing car scenes?
 

Depending on which vintage of GoPros you use (the new(er) ones don't have the AV output), you can go the old school quadcopter route of using FPV transmitters and monitor on either a dedicated FPV monitor or one of the plug in receiver adapters for phones.
The FPV transmitters are cheap, have a much longer range obviously and far lower latency than using WiFi.
Whether you'd get enough channel separation to run more than a few in the same space is something you'd need to look into.
 
As an alternative If you are going to use cameras that have live HDMI outputs then you could get something like this.

This lets you put 8 different feeds in a variety of different splits (one big one with seven small picture in pictures etc) onto one screen simultaneous so you would put this in the car and then attach its output to a single Acsoon CineEye HDMI transmitter (which has enough range for the sort of distances you would be running) to monitor in the other car on a tablet or a phone.
It runs on 12v so will be easy to power from in the car and small enough to put under a seat.
There are 4 channel versions as well if you don't need to monitor everything.
Total price including the CineEye would be under £300 and you'll get a lot of bonus use out of the CineEye on other jobs when the car one is over !
https://www.aliexpress.com/item/4000089013424.html

You can also use a 360 VR cam...
Full thing: here btw (campaign is long over, but info can be found here). That's like the only VR 360 application I actually thought was a promising format. I could imagine a 'who dunit?' crime video/game, where you have to pay attention and catch clues of who killed who and schtuff. Otherwise I never found implenations of VR that interesting.

Are you that adamant on wireless monitoring?
I'm quite into cars so I follow some automotive journalists if you will in the form of these 'cartubers'. Tim 'Shmee150' Burton for example mounts Sony FDR-X3000 action cams (with BOSS) in- and outside the car. So... that's the sorta thing I would do.
The smaller the camera and the wider field of view the lens has got, the easier the rigging of course. So... Sony FDR-X3000... GoPro, Blackmagic Pocket or Micro or any other MFT camera perhaps (broadcast shows like Top Gear and The Grand Tour use Panasonic GH-range cameras most of the times). Set up your cameras, have a look at how they're pointing, hit record, fetch the recordings after the drive and put it all together. Have a trial run beforehand to make sure every occupant is clearly visible and audible.

Don't forget about sound! 
I've got lots of videos on my YouTube channel about car rigs:
https://www.youtube.com/channel/UCniNTuAtkFiSCQNfIaw9SJw/search?query=car

And WiFi from the camera won't be a robust and strong enough signal to be able to always monitor from in your follow car. 

Hardwired is always a good backup to have!
 

Specwise it's a bit disappointing. I'm sure the image out of it is spectacular (like most of the cameras nowadays), the tilting screen is a great evolution, the evf and IBIS are topnotch : sure it's a great camera. But when I read Andrew's article, I can't help remembering his rant about those biased youtubers under Canon's influence, because they were flown under the sun of Hawai, etc.
Now I read about Andrew at Panasonic's headquarters, and all I can read is praise about the camera, not even a single remark/critic about anything, eventhough there should be a few, in my humble opinion. I fully understand that when you are invited somewhere, treated well, etc. You don't want to be rude and say bad things about the product you had the chance to shoot with before everybody, even more so when it's a good camera like the S1H seems to be.
But come on, no word on NO Full Frame 4K 60p (what would you have said if it had been Sony), codec and bitrate very good but not revolutionary (especially for the added resolution of 6K), no ND, no PDAF (why not, but suddenly AF is not important, it varies from camera to camera...?). I can't even tell the difference with the S1 (I'll have to check it) but the fact you can have manual controls in HFR. I understand your rants, it's good sometimes, it might even be productive if heard by the brands. What I don't like is that it's so variable and relative. You should make an article about Panasonic crippling the S1 not allowing manual controls in HFR. It's as puzzling as canon not giving 24p...
And finally, the price. It's very very expansive. A very few people will be able to afford it. 4 000$ is in the realm of a real cinema camera with proper ergonomics, ND filters... That's why I think, you could ask for a bit more from this camera. The Fuji X-T3 has almost the same offering, (in aps-c) with crops between framerates a lot more manageable. The codec's bitrates are even better. There's no IBIS, EVF and build quality not as good, but the price difference is huge. Well that's only my take on it

Hallo, thank you very much! I think the magic really comes from the lens. The Fujinon 12.5mm 1.4. It does not quiet cover the full 16 to 9 image on the Lumix. I shot this on the G6. Grading and grain in Davinci, any other characteristics of the image come from the beautiful location, the light and the lens. The whole piece was shot in a cinema verité approach, with hardly any shots posed for the camera. I hopefully get around doing some more of these personal vignettes this year. I will see. For this piece it was the right energy and the right moment in time and right kinda lightning:)