josdr

No problems matching these two...

looks great. i am contemplating the 24-70 2.8 or the 28-70 - how is the 28-70 with no IS or did you use it on a gimbal here?

I have my X-T3 rigged out this way, with pre-amp so I can use XLR mics and multiple mics at once. Here are some crappy quick pics.  
 
You don't need to cobble together a dummy battery, Blind Spot and several other manufactures already make one.  I can't remember which one I have for this rig, a GyroVu I think. It's worked fine for more than a year. This is a heavy rig, but for hand held shots I like that the extra weight tames micro jitters and compensates for not having IBIS in the body. I also like being able to power the monitor and follow focus with one battery. 
This rig also goes shoulder mount very quickly. I have a pad that slips onto the Manfrotto tripod plate under the pre-amp. And I can move the wooden grip down with a SmallRig extension arm. To make it balance better on the shoulder, I should probably get longer rails for the battery and move it back a few more inches. A counter weight would also help. 
For a simpler solution, because you are using a monitor, you can always get Power Extra NP-F batteries with USB and DC power ports. I use this setup for my T4, which admittedly I'm using more these days for run and gun b-roll and walk and talk interviews. You can mount the monitor on the top handle, on an arm on the right side, or you can use a magic arm as a side handle if you bend it right. The only issue I see for using a T3 is that it doesn't have IBIS, so the lighter setup is going to give you more micro-jitters from hand holding.

What cameras don't use Sony sensors? Arri, RED, obviously Canon, Sigma (Foveon, anyway, the Fp is a Sony sensor), and by all indications, the Blackmagic Ursa 12K.
And I'm unclear about some older sensors, like the Panasonic Varicam/Varicam LT (guess that isn't "old" - it's still being made). That camera was the first true dual native ISO (vs. dual GAIN, which is what most cameras actually are despite being described as "dual native ISO") and predates anything Sony did with dual native ISO tech. So, my guess is they did not make that one - maybe Panasonic themselves or TowerJazz. Someone more internet savvy than I might be able to figure it out.
I don't put much stock in this whole "did Sony make the sensor or not" as it relates to how the image looks. Sony makes multiple sensors used in Hasselblad, Nikon, Panasonic, Fuji, Olympus, Blackmagic, etc. And every single one yields completely different raw output in a number of different metrics. The processing pipeline that Nikon/Fuji/Panasonic/whoever implements matters infinitely more.
Looking at images from, say, the original Blackmagic Pocket vs. the Pocket 4K/6K and preferring one over the other has far less to do with who made the sensor and more to do with what Blackmagic is doing (advancements from their Gen 1 color science to their new Gen 5, for example). Exceptions would be comparing CCD to CMOS; Hasselblad's Kodak CCD sensor clearly is very different from Sony's CMOS sensor, no matter what Hasselblad does. But that's a bit apples and oranges.
Now, should someone (like a big company) start making sensors? Absolutely. Competition is f***ing great, and Sony is bulldozing the sensor market. Samsung is probably best poised to do something like that, and I hope they do.

A used Panasonic S1 is a great deal and the IBIS is lovely. I never found Fuji AF reliable enough to rely on it so switching to Panasonic was no loss for me. 

You'll find the S1/S5 to be one of the best low light performers on the market. It also has some of the best dynamic range and IQ of any camera at its price range. It definitely punches above its weight. I like to think of it as a poor man's FX9. 

Fuji's 120fps beats Panasonic though. Fuji color is also nicer though not as much if you are shooting log. 

The XT3 is very capable but if you really need IBIS there is no better option than a Panasonic S1 IMO, at least in the 2k price range. 

You're not wrong at all - though I disagree about the IQ of the BMPCC's. But, The X-T3 and X-T4 footage is VERY nice too. Not as much latitude for editing and h265 isn't as pleasant to work with, and there are some other differences, but I do love the footage they produce.
I wasn't saying that people who don't like BM are ignorant about cinema cameras. I was saying people keep wanting stills camera features in cinema cameras, which *is* ignorant to what/how cinema cameras are meant to be used for. And I was pointing out Andrew's inconsistencies in his complaints against BM cameras (the Sigma Fp was FULL of reliability issues too).
And I agree about the Fp - it felt like the beta version of a product, but it was a very unique and original product, and I too am very excited for the Fp II (or whatever it'll be called).

I think it just depends what you look for in an image. The XT3 codec is much thinner than 12 bit BRAW and just doesn't have the same amount of color information. Won't always be noticeable of course and if you like the Fuji color science that's a huge advantage. 

I'm with you. I think reliable autofocus is key to shooting on a singlehanded gimbal, unless you're locking the focus and maintaining the right distance from your subject. Of course, I'm not the best gimbal operator and prefer handheld shooting.
I personally don't think pulling focus with a wireless system on a single handed gimbal is all that great an idea for a single shooter. If I were doing a lot of gimbal shooting and wanted to pull focus for myself, I'd probably build out my Ronin-S, or an S2, with a ring grip and Easy Rig type backpack stabilizer or the Tilta Float -- basically a support system that transfers some/all of the gimbal weight to my core so my right hand can focus on framing the shot and my left could run the focus wheel without having to provide stability. And of course I'd rig my Ninja V or another monitor to pull focus from instead of the camera's rear screen.
Both of those solutions are spendy and the bulkiness/rigging complications dilutes the simplicity of a good small gimbal. On the other hand, the type of shots you can get with a Arri Trinity style stabilizer system are dope. If I did a lot of music video content, I'd definitely buy the Tilta Float, which can work with the Ronin-S. Since I personally shoot mostly doc-style stuff, I'll probably going the Easy Rig route.
Do you still have the X-T3? If so, maybe make sure the firmware is up to the new version and play with autofocus settings for each lens you want to use to see if you can find a sweet spot for your intended use.

I'm not sure why you couldn't have flown your X-T3 on the Ronin S and done everything that the a6500 did, aside from perhaps a difference in AF in some situations. The Fujis are certainly going to give you better AF than the S5, and the latest firmware increases the AF to X-T4 levels.

For really reliable AF you are stuck with either Sony or Canon. The Sony A7s3 is 3 or 4 times the price of what you already have and in my eyes doesn't have as nice an  image of either the pocket 4k or Fuji. Sony A73 is cheaper but limited to 8 bit and similar quality to the a6500 you had 
Canon R6 is cheaper but still way above the cost of your current cameras and has overheating issues in 4k and again I prefer the image from what you already have.
I have had success using the Fuji XT3 with gimbal whilst using AF but that is only a small amount of the time, I don't rely on AF like you want to. Can't think of any decent alternatives other than maybe Nikon Z6 (AF seems ok but am no expert on using auto focus), hopefully other folk will chip in 

We shot an indie musical feature earlier this year on the BMPCC6K in Tokyo. It was the best choice for our budget range $40,000 ~ $50,000 and our DP just ended up buying it as opposed to renting. Other gear was Nikkor Lenses and TIffen Black Pro Mist 1/4, plus a lot of smoke machine use, and grain addition in post to try to a achieve something approaching a 'film look'. The trailer is much lower res than the finished film but we're super pleased with the results: https://www.youtube.com/watch?v=pKF0YxqqEiY&t=2s 

What a cutie.
On the Sigma Fp:

And on the Sony A7C:

What makes this lens stand out?
At time of release, it is the smallest and lightest full-frame F2.8 standard zoom for mirrorless systems. Available in Sony E-Mount and L-Mount for L-mount cameras from SIGMA, Leica, and Panasonic  Compact and lightweight, perfect for everyday use and travel. At just 16.6 ounces, it is almost a pound lighter than the 24-70mm F2.8 DG DN | Art lens (31.4 ounces). Fast maximum aperture of F2.8, providing consistent low-light capability from 28mm to 70mm. SIGMA Art-level optical performance, with incredible sharpness throughout the focal range. Gorgeous bokeh rendering that softly blurs the background and brings your subjects to life thanks to both the nine-blade rounded aperture and optical formula. Lens offers excellent edge-to-edge performance with well-controlled axial chromatic aberration and sagittal coma aberration. Dust and splash-proof mount with water and oil-repellent front element coatings. Working distance of approx. 2.8 inches (7cm) at 1:3.3 magnification at 28mm for close-ups and casual macro opportunities. SIGMA's Contemporary line strikes an excellent balance of both superb image quality and day-to-day usability. Stepping motor for swift, accurate, quiet autofocus for both still and video.  Compatible with AF-C for eye-detect AF and real-time tracking. Made in Japan

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 can find lots of faults with Fuji, but their colour science is just great...  I think he is confusing smaller cameras destined for Asian markets where skin over-processing is something that is sought for with what the X-T series can output. My X-t2,3 and 4 are stellar in this.  It all sounds like a bad YouTube video reeking of fanboyitis shouting for Full frame good, aps-c bad. I will concede that Panasonic has improved , there was a poster here with one of the S series cameras that posted some great footage, but even that has a video look to it in most cases. Prores raw externally may come eventually to Fuji but I am very happy with great 10 bit log footage as well. Take the C70 for example. Its 10bit output seems better to my eyes than Blackmagic's raw efforts. I have found the 10 bit footage from the X-T3- X-T4 very malleable to correct/transform if exposed decently enough. 
 
Back to the F-X3 now. I read that They just released Cinetone for the A7siii

It's true, the Fuji colours are exceptional at times. I'd love it if the X-T3 was able to output ProRes Raw or something.

You should share what you are drinking buddy . Keep the Panasonic vcr colours , we will keep the lovely and unparalleled Fuji colour science.. You have no idea on how to use one do you??

Ugh, the X-T3 and 4 have a nasty artificial and plastic looking image with strong temporal filtering on top of the excessive sharpening which gets thrown on the footage even when it's set to -4. Even the A7s3 performs better in that regard.
Really no comparison to the S1H with NR set to -1.

R5 is gimped and won't get through a shoot, and the Pocket 6K is overrated - sure the image is quite nice - erm that's about it. It's a dog to use unless you intend to rig it up and then you will have to think about weight, accessories, reliability, lack of IBIS, lack of EVF, etc.
I would consider putting your Canon lenses on something else. How about Sony A7S III with Sigma MC-11 adapter?

Here is a very short movie I made, under heavy covid restrictions etc... It was meant purely for fun and shot in about an hour. I used an X-T3 with a 18-55 , f 2.8-3.6 , f-log, iso at 3200 mostly. Denoised in a very buggy Resolve 17 that could not export a 1080p file from a 4k master and which gave me lots of trouble with its idiotic ram handling of my  gpu .Very inefficient code. ( I know its beta , but Resolve is very inefficient in handling 6gb of Ram even in 16)
 First outing for the mixpre 3-ii I was really impressed by  it , I have never recorded sound that sounded so lovely and clear. I blame @IronFilm for his bad influence on my sound aspirations 👍
Fuji's AF in the dark is mostly useless . It was mostly manual aF and parts of scenes were shot a bit out of focus for artistic effect (that is my excuse and I am sticking to it) 😁
Mostly shot handheld/on the shoulder with his supposedly engaged on the 18-55. In retrospect I may have saved myself a couple of stops of light and used my 35 1.4.
 
We had fun and that is the most important thing that we sometimes forget.
 
https://vimeo.com/495306397
 
 
 
 
 
 
 
 
 
 
 
 

It may be unfair but it's just how it is for me. I am not going to keep a Fuji around when my Panasonic cameras can do unlimited recording. I wouldn't care but its been an annoying thing to have to deal with on several shoots, enough to where I'd not warrant keeping it over a Panasonic. For weddings I had an external recorder to bypass that, but micro HDMI is too fragile. Plus record limits are just a pointless gimp. The camera is perfectly capable of recording past that, especially in 2k. 

As to rolling shutter its not usually noticeable, but its nice to have low or global shutter for handheld.

Here's the thing, kid. In the old days, when everything was cinematic, we had film cameras without 30 minute recording limits. Why, we could turn one on and have it record for a full year.

It is a standard switch with three prongs where you need to solder three wires. No point in a video really if you get a switch, a suitable tip and some wire. I have done one without having a diagram, just by trial and error. I suggest that your soldering will give you more trouble , so here are a couple of tips. Apply solder  to both sides of a connection before applying them together. Warm up the joint before applying solder. You will probably get "cold" joints in your first tries but you will get there.

Let's find out...

This movie was a torture to watch, one of the worst I have seen in many months, great review from Andrew, he has put in words what every art lover will think about this masterpeace of shit, really guys, do not waste your time and money, it is pure shit packed with feminist and many other sauces to make it more easy to digest, and now going to the OSCARs?, well, most probably is going to win a lot of Oscars, since in that convention most of the votes are political, art really does not matter.

No surprise. 

And thank you again Netflix for helping encourage more cameras to get TC input! Doubt the C70 would've got timecode if not for Netflix.