MurtlandPhoto

I have a Tascam DR-10L and love it within its limitations. Lately, the kit I've used for almost everything is the DJI Wireless Mic. Two transmitters and one receiver, onboard recording, mic jack for lavs, good reception, great battery life, charging case, excellent user interface. I really ticks all the boxes for me as a solo run and gun shooter.

Completely agree!!

Have you seen the sequel, Out There, yet?? I liked it, but WNUF is definitely my favorite of the two.

I'm also enjoying some early Simpson's Treehouse of Horror and Are You Afraid of the Dark? to relive some childhood trauma lol. I HIGHLY recommend the director's cut of Doctor Sleep since you're a Shining fan. It somehow is a great sequel to both the movie and the book. Three movies I watch every Halloween are WNUF Halloween Special, Trick r Treat, and The Guest. All worth checking out for something new.

I agree with most of your points, but this one right here is precisely why this camera is very exciting for many people. Pretty remarkable camera for the price—a worthy upgrade for many APS-C Sony shooters, a great B cam for FF Sony shooters, and most importantly a gateway camera to get people into the Sony product pipeline all the way up to Venice.

I'm super intrigued by it. I'm a hybrid A7siii and A7iv shooter. They both serve their specific needs really well with plenty of overlap in the middle to make them a great pairing. For $1,800, this FX30 really makes a strong case as a solid C camera or even a B or A camera in certain situations. Sports videographers will flock to this for the extra reach you get with 4K120.

Thinking of you and your family during this impossibly difficult time. Cancer is a most cruel thief of good in this world. There are no words to comfort, only time. Your post is a beautiful tribute to someone I've never known, but now feel I have one small glimpse into. Take care of yourself, Andrew.

S model cameras have been the bane of forums' existences for generations 😅

It's nice to see this full admission, but I think everyone figured that out the moment the GH3 was released. Panasonic took massive strides to make that camera everything that a hacked GH2 was and more. Definitely seemed to have inspired them to big change.

I'm in love with my A7iv. It sorta of surprised me TBH. I've been making some major kit changes and decided to dip my toe into Sony with the A7iv just to see how I liked it. Within just a few days I was convinced that Sony was the right path forward for me and sold everything to rebuild my kit with the A7iv and A7s iii. No regrets whatsoever other than I wish I'd gone this route a little sooner. The two cameras pair really nicely together, both with some unique features that make it worth having one of each. With all factors added in, I do think the A7iv is the better all-around video camera for most people's needs.

My testing went flawlessly. I was using a Rokinon Cine DS lens—not vintage, but certainly fully manual. No black screen. The gyro stabilization works really, really well in some circumstances. Not so well in others.

Did you try swiping from the right of the screen to access the lens data menu? There you can manually input the lens focal length. I would think that would work for fully manual lenses. I plan on doing my own tests shortly.

For what it's worth, I'll be the second critic to say this. I shot with Panasonic cameras for over a decade starting with the GH1 and owned every GH camera through the GH5s. I then owned the S1 for about a year. I molded my shooting style around the strengths and limitations of Panasonic cameras with AF being their biggest limitation. The S1 was the best of the bunch. I worked within the limits of Panny's AF: well lit situations, with simple movements, usually in 60p, with middle apertures (f/4, f/5.6). Even then the AF only worked OK... I had to be hyper attentive to what the focus was doing to make sure it wasn't going awry. I thought it was good enough, even though I knew it was limiting how I could use the camera. Then I switched to the Sony a7iv and it was a complete revelation. The AF is incredibly accurate, fast, and feature-rich. It works so well and is so intuitive that I have no reservations about using it for any scenario: wide open, poor lighting, fast movement, complex frames. It just delivers the goods. It allows me to take my focus (pun totally intended) off the AF and turn more attention onto sound, exposure, framing, action, and everything else. Switching to a camera with great AF made me realize how much I was compromising by using a camera with poor AF. Old schoolers might call it lazy but I don't care. I've been reinvigorated to create new things because now this critical feature has been unlocked for me. I wish Panasonic could have done it for me, but nope.

Why not just get the Pro then? All the Pockets have the gyro already.

The tech itself is very interesting, but I'm most excited about the implementation directly in Resolve. All of Resolve's tools are sooooo quick and light, so it will be awesome to have this resource available without having to pay the toll of computer slowdown (fingers crossed) compared to other solutions.

That's been my sense as well. It seemed clear when they released the Broadcast G2 with the 6K sensor and specs. I think I remember Grant Petty saying essentially they couldn't source any more of the original Broadcast sensors so they cannibalized the 6K ones for that line.

I think the major issue is that the defined, specific minimum frame rate (and lesser extent resolution) RED used in their patent is the standard for an entire industry that existed for a century before RED. Not a great analogy, but it would be like Tesla patenting electric cars capable of going over 65mph while the U.S. interstate system is largely built for that exact speed of traffic with combustion cars for over a century.

It's insane to me that such broad ideas can be patented. No need to outline specific tech or software or whatever. Just the idea.

As I understand it, Blackmagic has openly provided the means for any NLE to read and work with BRAW, but they won’t allow camera manufacturers to record to BRAW unless they have a formal agreement e.g. Panasonic.

Perhaps I should rephrase. I think there's a true, scientific definition of DR and then there's the marketing definition of DR. The latter has always been squishy for most manufacturers with some taking more liberty than others. My understanding is that ARRI is much more conservative and "real" with their marketing definition of DR. I believe they claim the original Alexa sensor as 15 stops. So, if they say this new sensor has 17 stops I take them at their word that it is two stops better.

This is statement is true of basically every other camera company except ARRI.

Woah, this is a really good observation. It feels really likely BM would mark the anniversary with another disruptive camera. I've felt the Pocket 4K/6K/Pro cameras are the spiritual successors to the BMCC/4K and not really the OG Pocket. So maybe there's some room for a new, true pocket camera. Otherwise, maybe they're going to do some sort of Ursa Micro. Either way, I think there are holes in the "lower" end of their lineup. On second thought, with it being NAB and with BM doing all sorts of amazing things with their ATEM line, maybe they're going to release a PTZ camera with some really nifty features... disrupting more of the broadcast space than the cinema one.

A simple CST in Resolve to the original BM Film gamut and color space gets it 90% of the way there in 4 clicks. The last 10% comes from the s16 sensor size. In the end, the creature comforts of the P4K are just too great to ignore for me personally.

I'm inclined to agree with you. I think Patrick Tomasso said it best in his review (I've watched too many reviews to keep track)... essentially the GH5 was an absolute powerhouse because it could do things no other system could really do at the time. Now things have changed and full frame has caught up and surpassed in all the ways that matter to most shooters.