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Agreed. I got lost in the details on my first set as DoP. The director set me straight really quick and things were better for it. 

Agreed. I got lost in the details on my first set as DoP. The director set me straight really quick and things were better for it. 

https://www.43rumors.com/the-panasonic-s5ii-might-got-leaked-and-it-will-use-a-completely-new-af-system/
 

I think you're spot on. There's no way they'd not mention Panasonic without some sort of NDA prohibiting them from doing so. 

I learned a lot from this video (probably already posted). Presented by The great Driftwood himself (kudos to Panasonic for hiring him to do this). For you millennial noobs, Driftwood was the Englishman who gave us many important hack settings for the hacked GH2, arguably one of the cameras that really started everything for mirrorless cameras.
 

It'd be asinine to fly a bunch of auto focus obsessed YouTubers across the world to release another contrast AF camera, right? Then again this is Panasonic, so who knows?! 

Some frames from the Panasonic 12-32mm F3.5-5.6 on the OG BMPCC.
This lens is a good size appropriate option for the OG BMPCC as a general all rounder and has the additional benefit of IS.
It is pretty slow though but this has the advantage of you not really needing ND when you are in what passes for broad daylight in Copenhagen.
The big downside is that there is no manual focus so you have to rely on the one shot AF on the camera to pre-focus. 
Again, though, the small aperture is an advantage here as you generally have enough DOF to get away with the AF getting you in the ballpark.

I just picked up CineMatch. I’m very happy.
 
 

I just picked up CineMatch. I’m very happy.
 
 

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.

This is hilarious. I intended this to be about how the C100/C300 codec holds up in 2022. We are talking about something SO DIFFERENT now

For that stuff I'll happily use a FS5! 
Shooting a convention tomorrow with my F3 & FS7, would also be happy with 2x FS5 instead in the context of this particular type of shoot. 

Hey whatever works best for you. R5C vs C100 is an uneven comp on so many levels. That said I maintain that to get all day battery life, NDs and XLRs on R5C, you're looking at a rig and investment far away from what the C100 gives you from the get go.. and no I'm not going back there either but for under $800 if you're ok shooting FHD, still a fantastic option imo..

Sony's breathing compensation, at least for now, only works with some of their more expensive G and G Master lenses–no third party lens support as of yet. That could be a deal breaker for some. 

Sony's breathing compensation, at least for now, only works with some of their more expensive G and G Master lenses–no third party lens support as of yet. That could be a deal breaker for some. 

This is a large reason I like the DJI wireless mic. I can have the wireless signal embedded in my video files, but the transmitter is constantly recording even while the camera isn't recording. So, I'll always have audio. It's been a manageable setup for my small 2-3 minute doco shoots. I can see it getting very unwieldy on longer pieces. It doesn't replace a timecode setup, but functionally speaking it accomplishes some of the same goals.

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. 

Good points.
Perhaps the first thing I should say is that I've never declared that MF is superior, just better for me, and better for some people, although probably a minority at this point.  I'm trying to engage in a more nuanced discussion, rather than it just being one-sided.  Nothing is all-good or all-bad, and everything depends on perspective.
In terms of "getting the shot" the situation is more complicated than just AF.  The primary one, for me, is shooting stable hand-held footage.  No point slightly improving my focusing hit-rate if I'm going to lose more shots to shake than I gain by having better focus.
I find that shooting MF with left-hand under the lens gripping the MF ring and right-hand on the cameras grip is a pretty good approach if the camera is lower than eye-level.  
If it's above eye level then I'll normally be lifting it high above my head and so I'll normally close the aperture a bit and pre-focus and then hold onto something near the end of the lens that doesn't move in order to keep my two hands as far apart as possible.  I don't normally miss focus on these and the screen is normally too small for anything except composition so this setup probably doesn't matter either way.
My favourite position is looking through the EVF with left-hand doing MF and right-hand on the grip (like above), and I'll be getting three points of contact.  Stabilisation isn't normally a big issue in this setup as I wouldn't normally do this unless I was stationary, whereas the other setups are often when I'm walking or squatting or holding the camera out at arms length etc.
There's no good way I've seen to use touch-AF on the screen while also stabilising the camera with both hands, so that doesn't beat MF in terms of getting the most shots.  It also doesn't work when using the EVF (pretty sure I'm pressing the screen with my face at this point too!).  I could potentially use the thumb of my right-hand on a joystick, although that would really lessen the grip from that hand as it would really limit the amount of pressure I could apply with my thumb so I wouldn't really be holding the camera much with that hand.
Thinking about it now, MF loses me far less shots that stabilisation does.  If it was the other way around then I could absolutely see that my cost/benefit assessment of AF would change substantially.  
The other thing to consider is that, at least in my eyes, imperfect MF still has a loose kind of human feel that suits the content that I shoot, but when AF misses focus or is in the process of acquiring focus the aesthetic just isn't desirable.
I tend to miss focus or fail to track a subject when there are lots of things happening and lots of movement, so it suits the vibe.  If I have a second or two to adjust aperture and focus then I don't miss those shots.  
When AF misses a shot it just seems really at odds with the aesthetic that the rest of the image is creating.  Watching AF pulse, or rack focus either too fast or too slowly always seems so artificial, like a robot having a mal-function.  Also, I'm not sure how many AF mechanisms are able to ease-in?  They seem to rack at one speed and instantly stop on the subject, or pulse momentarily (which is worse).  This is probably made worse when the focus speed is set too high, but I'd suggest it's still a factor.
"Getting the shot" isn't just making sure it's exposed and focused properly and not too shaky, it's about getting the shot that has the most chance of making the final edit.  Getting the technical things right are the bare-minimums in this context and only get a shot to survive the assembly stage of the edit, it's the subject matter and the aesthetic that determine if the shot makes it to the final edit, and if the shot is interesting then technical imperfections can be tolerated.  
I can imagine that if you're shooting commercially, the equation between technical imperfection and aesthetic is very different, so would generate different decisions based on different trade-offs.

All the WNUF talk making me smile as well. 

I know Chris and will have to tell him the next time I see him, though he's been traveling all month screening the sequel.

BE NICE! I did, I was a backer and got the DVD a little while back! I liked it, though I wish they'd leaned into horror more like he did with the original. But the commitment to creating something like that, I have no choice but to love it. Watch it with the Trader Tony commentary on if you haven't already, it's hilarious!
That's dope! Both Chris and Jimmy George seem like really cool dudes, though I don't think Jimmy worked on the sequel due to the pandemic. I've really enjoyed all their films!

WNUF getting love makes me happy! 

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'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.

Ciao Andrew, this news really touched me a lot, believe me it really makes me angry to hear about cancer at a young age. I'm very sorry. I'm sure you won't like what I'm about to say, feel free to insult me or kick me out of this forum . What i am about to say doesn't fit your beliefs and many others here. Many people are dying during this time for cancer and heart diseases. Many of these die because of the Covid vaccine, all this obviously is hidden by the politics ,media and especially by  doctors. I understand that this is unacceptable and that not everyone has the means to discern this type of information. Did your sister get the vaccines? If I were you I would dig it more on this topic.

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.