Mark Romero 2

Looks like they might have released a new range of lenses....
https://ymcinema.com/2021/12/27/cinema-lenses-angenieux-ultra-compact-ultra-zooms-and-primes/
They're suggesting the EZ range is good for going handheld:
https://blog.angenieux.com/angénieux-ez-lenses-a-definite-choice-for-handheld

That seems to be a reasonable suggestion...  at least, moreso than with the Optimo range!

I feel perhaps 1 to 4 is only another generation away, perhaps? (a Z Cam E3-M4??)

5. they've already got a touch screen display option
6. 4K I reckon is plenty:
 

The lantern will spill light everywhere (unless you flag it).
An octabox will be more focused with the light throw.
Ideally, you would want an octabox (or round softbox) as a key light and maybe a lantern as a fill light.
If you want to light from overhead, then maybe the lantern is the best.

The Takumars for the money I think are pretty hard to beat. If you win the Lotto the Voigtlanders are probably top of the pile, not counting the best at low light. Most other older stuff tops out at f2.8.
Don't rule out the old Olympus film Zuiko's. Their size is hard to beat. Poor mans Leica lenses.

I 2nd the 2 above - Wandering DP and Epic Light Media. The Aputure youtube channel have a lot of good tutorials and "Gaffer and Gear" has some fantastic info on lighting too.

Also - probably even more importantly if you're trying to make a living out of it - research SEO (particularly local SEO). Having an effective website that actually generates leads is far more important for making a living than knowing how to shoot like Daniel Schiffer, or how many Skypanels were used on the latest Audi commercial.


 

Thank you for the elaboration!!!

@Mark Romero 2
Yes, indeed. It is a different sensor though. Watching test videos shows that Varicam holds onto colors much better in lowlight than eva. It also offers 444 video in hd and 2k. I imagine the eva 1 being to varicam what a gh5 is to eva. All three great cams, but Varicam being a fantastic true pro tool for cinema production with an image up there with an Alexa and Red.

Gh5 is using rec709 or at least a smaller color space than V Gamut is. I find it easier to grade for shots under natural light.
The S line is using full Vlog and V Gamut. Varicam still has a different response and a very impressive image with its S35 Varicam sensor.

Only took half a dozen posts to get on to AF......or lack thereof 🤦‍♂️
High end cinema cameras don't really need AF.
For a start, there aren't many lenses out there used in cinema that have internal focus motors. 
Secondly, there is a thing called a 1st AC or 'Focus Puller' that is usually on set when a camera of this calibre is used. 
Thirdly, there are plenty of manufacturers such as Arri, CineRT, Teradek RT, Preston etc etc that are working on and already provide AF in their lens control systems that CAN be used with manual cine lenses.
Pulling focus is part of the narrative, until a lens or AF System can read a script, I don't thing AF will be common in Cinema.
Lastly, Imagine watching a film on the big screen.......I would MUCH prefer to see the organic way a Focus puller finds focus to how many AF systems occasionally hunt and snap into focus. It would look awful on the big screen and extremely distracting.
I'm not against AF all together.....it has a time and a place but in a camera like this? I don't think so.
An autofocus system on a true cinema camera can be used to complement the Focus Puller and used in certain cases. It is part of the focus pullers tool kit and therefore I believe, that it should be incorporated into the lens control system rather than the camera itself. 
 

Yeah, regarding the sigma lens given away with the s5, I guess for people who want to shoot 4K 60 / 50fps, it might make sense. I was shooting video on my 24-105 f/4 at 60p two days ago and realized just how much tighter 36mm is than 24mm when filming indoors. 

Great video. Liked it a lot.

Kind of, as it'll meet some but not all of the criteria I laid out in the first few posts, but it's pretty darned expensive and so doesn't really require any "help" in being recognised for its strengths and advantages.
Of course, lenses are lenses and everything from the $10 lenses on eBay to the $100,000 lenses you can only rent but not buy still obey the laws of physics, operate under the same principles, and suffer from the same aberrations (to a greater or lesser extent).
LOL..  there's a trap for new players!
Another win for kit lenses - they always have coverage of the camera they're supplied with!!

As usual in recent years I have been making a Christmas video for the police force where I work.
This year with more sense of humor, parodying Breaking Bad.
No professional, all who appear are police officers.
GH5S + Sirui Anamorphic 35mm. Hope you like it.
 

I'm glad I'm not the only one who really enjoys using kit lenses. I have a Canon EFS 18-55mm which I use all the time, both causally and professionally. I've changed camera bodies many times throughout the years, yet this lens still stays on.
Kit lenses are lightweight, sharp and most importantly for me, often have image stablizations (because I don't like IBIS).
Low light is an issue though, but for more serious works I'm going to light the scene anyway, and for less serious works, I can always denoise the footages in post if they are too noisy. I've found the denoising in DaVinci Resolve more than enough to clean up a moderately underexposed image.
Of course, primes and fast zooms are nice to have, but they are much more expensive. The money could be more well spent on other things, such as lighting equipments and production designs.
 
 

Or you could get a used, but as new S5 for ballpark 1000 euros…
Not that I’m a fanboy or anything, - I will use whatever I need to do the job and right now that is L Mount.
I could easily make a case though for:
A7iii instead on my S5 (though IMO the S5 is ‘better’ + A7siii instead of my S1H and A7iv instead of my S1R.
But I could make that same argument with both Canon and Nikon and Fuji, so yes, cost has to be a consideration and buying used is a great way of making things work.
I did buy the first of my S5’s brand spanking new at launch…but I was without any kit at the time and had a job coming out and was probably going L Mount so… But glass aside, I bought my last 3 bodies used and with the S1R especially, at a stupidly cheap price (1500 euros).
So yes, price comes into it as it has to + use case + I have to say, enjoyment which is an important factor for me.

I have a more general basic question for those experienced in such things.
Watching live TV panel interviews the other day I was wondering how they do the thing where they cut between a wide shot of the interviewee and close up of the same person but with exactly the same angle of view. It looks like it is the same camera as the angle is identical and this is why it works, rather that being a jump cut (I mean it sort of is but does not jar). Is it some kind of auto zoom that can be clicked when desired or is it two cameras somehow positioned so the angle is the same, and the cuts are done by the director in the control room? 
It is a very simple, standard technique but it occurred to me I did not know how it is done and it would be a useful thing for me on a project I am working on right now.

Glad to hear the Sony's are working out for you. Hopefully you are staying safe and still having a good time.

I thought I would try the convenience of AWB in video the summer of 2018 if I remember correctly. It was such a nightmare to correct the footage in post so I swore I'd never do it again. 😁

To me between the S5 and the A7III I would take the S5 any day of the week, especially for video. The image quality is so much better in my opinion. The A7IV could be a bit tempting but apart from the AF which I personally almost never use, I can't think of anything that would make me want it especially in the projected price. Not to mention the aggressive noise reduction that can't be turned off even on the more expensive A7SIII. Thanks but no thanks! 😁

I put a pre-order in for the 7IV to pair with my Siii. I own a couple other Sony's and have a lot invested in the glass. I also have a set of FD's that I can throw on for manual lens. Like another user said, the AF is incredible on these. I am a one man band and it helps in so many ways. 
I like the S5 IQ but the modern Sony cameras are damn close. 
Few rolling shutter sucks, NR built in blows and no waveforms is a bummer. Oh and no 1/48th... 
I love the Sony cameras but I would 100% skip the A7iii if money is the issue. Save for the IV or pick up the S5. 

Actually, I find the rolloff on the S1 / S5 quite pleasing. I don't have an a7 III (only aps-c sony cameras) but I feel 10-bit V-LOG in the S1 / S5 cameras is much better than in the Sony aps-c cameras I own. 
No one can predict the longevity of the a7 IV, but I would say that sony usually splits their price point in to one of three branches: basic cameras (the a7 III), high MP cameras (a7R III and a7R IV, for example) and fast readout cameras (a1, a9). Then there is the a7 S series of cameras.
So... I think if you want less rolling shutter, you are going to have to pay for one of the more expensive fast sensor cameras. Unless, there is some breakthrough to speed up the readout of the more affordable sensors.
 

A7IV? I wish. I have one on order LOL, but I'm in the US and we won't see them for another month. Right now its the a7III/a7sIII combo for me. All of your S5 points are great and honestly features I would like to see on Sony, though I get monitoring and false color with the Ninja which I don't mind rigging.
The latest Sony AF has been a game changer for me, I need glasses for anything within a few feet and its just made me so much faster, I almost never focus manually because I can't see further away with my glasses on. So I'm looking forward to the a7IV to better compliment the a7sIII - Sony's real time tracking never ceases to impress, its really, really good. The other upgrades are welcome too, and I really don't mind the 60p crop, even if I didn't have the a7sIII.
Cheers
Chris

I assume this has been discussed, but I don't have time to read the entire thread...
Are there any advantages/disadvantages to the S5's S35 mode? Is 4K 60p relegated to the S35 crop? Is it 10bit?
Thanks!

Yes.
And if one is willing to use the gyroscopic stabilization method, it is supposed to be great. But there seems to be a few compromises (using faster shutter speeds and you can't batch process clips unless you upgrade to the paid version of Sony Catalyst).

Would love to see some of your work using the S1Alex Alexa lut.
Also, are you grading in resolve? If so, what color management are you using?