Mark Romero 2

Here's an example. I did the A Roll / audio for this with the Samson C02 boomed overhead the talent in to the Tascam DR-60-D II. There is a LOT of work done on the audio (I basically had to run it through Adobe Podcaster as well as some EQ and other things in Resolve... don't remember exactly what.
 
The only B Roll I contributed was the parts where Marin County was NOT on fire or under water. 
Aside from the (slight) wind noise (don't have a dead cat / blimp for these mics), we were about a block away from the local high school, and halfway through the shoot they had cheer leading practice, and so a dji was blasting music for them to practice to.
Here's a BTS shot that shows (more or less) the setup. Because my 300 Watt Godox light wasn't adding anything, I just changed out the softbox and light on camera left to a DIY scrim (just draped some translucent cloth over a background stand on camera left, then a white reflector for fill on camera right).
Note that the boom stand was a LOT closer to the talent at the time of shooting (probably around 18 inches or half-a-meter away for thsoe who don't speak Freedom Units). The talent requested this BTS photo after I had already moved the c-stand with the boom further away from the talent in order to strike the set.
On the tascam, I set the gain to medium (in the menu) and then crank the physical dial up, which seems to have slightly less noise than setting the gain to high (in the menu) and turning the phsyical dial down.
 
Let's not talk about the apple boxes :(

How exactly are you using them and your Tascam?

But the Samson's are CHEAP, and so am I :(

From my perspective. Definitely. 
But depends on how you are using it? And what's important to you. 
Do you for instance use it under your camera? The DR60D was designed for it, but I found the stack to be a bit crazy high! The MixPre3 at least is super slim. 
You'd gain a channel, as the MixPre3 can record 5x ISOs:
https://www.sounddevices.com/product/2-plugin-for-mixpre-3/ 
(note: uses the 3.5mm input. Sooooo... if it is a Gen1 device, you've now just lost the ability to use TC if using the 4th channel)
Gen2 can hold TC by itself. 
Gen1 can't, always needs a TC box attached to it 
I think the ergonomics of the MixPres are bad compared to the F8 Series, but yeah compared to the Tascam DR60D you probably will like the more modern MixPres, with their pretty color screens and mobile app. 
Ohhh... maybe that's something to fix first! Before changing your recorder.

One downside is I think that you will be spending $700 on a modification for a camera that you would be lucky to re-sell for about US $800. (I got a trade-in quote from MPB for like $535 or something like that. Gonna pass on that. Thanks.)
I don't think getting the OLPF mod would help with resale value (might even hurt) as anyone shooting photos would probably balk at the idea of buying a camera with a third-party OLPF installed.
Of course, not a problem if you plan on holding on to the S1 long term. But with the second-gen S1 / S1H / S1R "likely" to come out this year, it might not be a great idea.
All this is just my long and convuluted way of saying that the 1/8th Black Pro Mist filter doesn't seem like that bad of a solution.

Yeah I get what you're saying on all counts.
I do what you describe there right now, and generally the S1H is the A-cam, mainly due to the S5 ii's lack of OLPF and moiré issues in interviews.
I'll take the S5 ii around for cutaways and so on as it's way lighter and you can do touchscreen focus pulls.
The hope is that an S1H ii would add the AF, with some improvements, and hopefully not add any bugs LOL

 
 

Without being flippant, that is probably your answer!
I don't use it, as far as I am aware... I don't even know what it is really...
I record audio into my cameras using either a Rode Wireless Go or a Rode Micro shotgun and then simply replace it in my timeline with lav mic recordings that Adobe Premiere does at a click of a button.
Sometimes, I'll use the Rode WG itself if it's good enough for the purpose.
But then I am a simple man. In so many ways...

Well... it definitely has time code support of some kind, but I think it is more similar to the S5 (original, and possibly the S5 II / X are similar). 
I can't confirm either way about getting timecode though the flash sync port since I didn't get a BNC-to-flash-port adapter :(
However, with firmware 2.1 on my S1, there is no "External Timecode Settings" menu available (while the S1H has that option), so there is no way to set a TC Syncronization, as far as I can tell, through the menu.
I'll try looking in to it a bit more later on. But I think that we just are stuck recording audio timecode to the left channel and then converting to metadata in Resolve. (Suck it, Premiere Pro users!!!)
Unrelated Rant: Wish there was an easy way to store those flash sync port covers when you remove them.

Since your background is (basically) visual storytelling, how about marketing? (or social media marketing or buzzword-du-jour marketing???)
The other questions is, what does your heart WANT to do?

Since your background is (basically) visual storytelling, how about marketing? (or social media marketing or buzzword-du-jour marketing???)
The other questions is, what does your heart WANT to do?

It's easy to tell...
When you look in the mirror do you see a long majestic flowing magnificent beard?
If so, then you might be Ironfilm, or potentially a member of ZZ Top, but if not then it's ruled out definitively.

And then I know I would immediately wish I’d spent a couple of hundred more… 😜
I think it’s an inevitability re. my smaller, lighter, faster mission that I am currently on but as the least important part of my puzzle and readily available, I want to see how my Nikon Z6ii + lens vs all my L Mount kit goes first and when that is settled…

They're simply better. 
True diversity + more features + slimmer bodypacks. 
But anyway, I quickly upgraded to Lectrosonics. 
Ahhh... I remember the Samsons C02, it was awful, yet I did all of my first feature film with it for anything indoors. 
Get a better shock mount?? The boom pole can't be that bad???
Nice, it's better than nothing!!
nah, it will make you look high end  😉
Also a good option! I worked on an overseas Reality TV show where they used that a lot.
Get the older secondhand generation of it?

The latest Samsung USB SSDs get 2000MB/s, which is 16,000Mbps. The BM 6K FF camera does 6144 x 3456 (6K) with Blackmagic RAW 3:1 at 323 MB/s for 30p, so 2000MB/s would be able to do 10810 x 6080 at 60p.  
Of course, that's BRAW, but I don't think it being a removable drive would be the bottleneck.  Also, if it was removable, not only could you swap them out in the field, but over time when the SSDs got larger / cheaper you'd be able to benefit from that progress.

Something I’d welcome would be combined battery and SSD grips as in here is your basic body with 1 or 2 card slots and here’s your ‘pro’ version with twice the battery power and an SSD. 
Or for those that would prefer not to have a ‘larger’ grip, a non-battery, SSD grip that is more slimline.

Not an odd request at all!
These days it does seem that the preference is to go with ProresRAW or BRAW in order to get file sizes under control though, and after looking at the Sigma FP I can understand this trend because WOW, those data rates are just stratospheric!
One thing I'd dearly love for the manufacturers to offer is downsampled Cinema DNGs.  So, if you had a 6K sensor then you could choose 4K, 3K, 2.5K 2K, 1080p resolutions that were still the full sensor width.  This gives much of the benefits of both worlds.
Are you talking about internal storage like a small internal SSD inside the camera?  I have definitely noticed that many cameras record externally to SSD at much higher data rates than their card slots are able to muster.
Perhaps, and I know I'm being optimistic now, an open standard might emerge where NVME shaped SSDs in a slimline hard-case could be used as removable media via a slot.  Any camera that supported it would have the benefit of not requiring a fragile lump+cable to be attached, but the user would get the benefit of a fast drive.

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. 

Thanks for the input.
I have tried looking up some comparisons, but it really doesn't seem to be a particularly popular camera.
Any idea if the EVA1 body has lens compensation for EF / EF-S lenses built in? I know that my S1 / S5 DOESN'T have compensation for, say, my Canon EF-S 10-18 IS STM, so I have to spend a bit of time fixing the vignette and the barrel distortion.
Hopefully I will find some of @IronFilm productions on it.
Thanks again.

Always makes me laugh when I read that someone thinks a 700g mirrorless is heavy.
Heavy? What are you? A 5 year old girl?
Having said that, this 53 year old girl got pretty tired of his 2.8kg set up from last season so replaced it with something almost exactly 1kg lighter.
But then there is pure weight vs weight distribution and handling due to ergos and how you use these things…

Actually, that's an interesting idea - you could take the 4K image and Super Scale it to 8K, then when you crop into it on the timeline you'd be cropping into (let's say) a 6K area of the image, which was originally a 3K area.
It's definitely worth trying along side dialling in the sharpness yourself.

Thanks for the suggestion. It is something I can try out. I know that Resolve Studio version (which I have) has a super scaling feature as well. I think the implementation is a bit clunky because, IIRC, you can only up-res in certain pre-defined increments (like double and quadruple the size, or something like that... don't have it open right now). 
In most cases where I punch in during post, I am only punching in by 40% or less.

First, thanks for the three replies. You do seem to have a pretty good grasp of the current camera situation at most of the different budget levels.
Yes, I agree with your points. 
My needs are that MOST of the time I would be a one-man-band doing it all myself. 
And used EVA1s are fairly inexpensive (around $2,500 on ebay).
And the 24-015 f/4 L Mount I use currently on my Lumix S1 and S5 OG is a great lens for product photography.
But...
I would also want to pick up work where I can as, say, a cam op on an agency job, or as a second shooter at a wedding, etc., and here in California, it is much like the rest of the USA (and probably the world) that agencies pretty much want Sony operators, and wedding shooters want second shooters who shoot Sony, too.
(Of course I am sure there are some agencies that want RED or Canon, but it seems most of the agency-originated jobs are going to Sony shooters. Unless I am missing somethign completely.)
I don't HATE Sony, and in some instances it would make (much) more sense than Panasonic and / or L Mount.
My only real gripes are why they don't have 6K resolution? I don't need to DELIVER in 6K, but kind of need it to cover up jump cuts (the kind of talent I work with struggles even with a teleprompter, so being able to cut to a tighter shot can cover up a jump cut... of course, I have a second camera too).
Also, I saw a video comparing an FX6 to the Varicam LT (I know, an EVA1 is not a Varicam LT), and I certainly liked the image from the Varicam a lot more than the FX6:
Oh, my other gripe is, why can't they put waveforms on their hybrid cameras? And why no Timecode??? (I got the Deity TC-1 and I use Resolve so I can convert audio timecode to meta data in Resolve, but still, since I suck at audio, I like to have as much redundant audio as possible and using up the audio jack on an a7 IV with the TC-1 timecode is kind of a bummer.)
Also, S-Cinetone is trash.
And I can't stand "creators" who buy sony because of the amazing autofocus, and then shoot in anamorphics on them. 
Anyway, so now that I am done complaining, I will probably end up with an FX3 and an a7 IV since I need a camera for still photos (that has a mechanical shutter for firing  flash).
Heck, Maybe I will even get an FX30 since I still have a handful of Sony aps-c lenses like the 10-18 f/4 and the 50mm E OIS, and about four copies of the 16-50 pwoerzoom kit lens that all suck and I can't even seem to give them away...

If you haven't done it already, I suggest you do a test to see how much you can zoom in post before it becomes visible.  I did this test and was able to zoom to 150% without degradation.  
Here's what I recommend (and I did):
Get your sharpest lens Find a subject with sharp edges / textures Put high contrast lighting on the subject, so the edges have maximum contrast Setup up the shot, be sure to stop the lens aperture down 2-3 stops from wide open so you're in the sharpest part of the lens Take one shot from this perspective Move the camera a bit closer, refocus, take another shot Repeat 6 a few times In post, take the first shot and crop it to roughly match each subsequent shot For each crop, go back and forth between the cropped and normal shots, and add sharpening to the cropped shot until the overall level of perceptual sharpness is even Apply a colour grade across all the shots Export / upload the footage how you would normally deliver Compare each pair of FOVs and see if that level of crop is acceptable I've done this test, and I've seen others do this test too, and the results are surprising.  I've also seen a bunch of morons do this test but without applying sharpening, then when the sharpness didn't match they declared that they needed the extra resolution - talk about embarrassing yourself in public!
Of course, this test is grossly unfair, as in real shooting it takes a much greater difference to notice, and what is visible on the timeline is often not visible in the export (and is obliterated in the stream...)

I personally have never shot with the EVA1. 
Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason)
Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally)
So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. 
I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. 
Heck, Canon had even already launched the C300mk2!
Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7).
Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!):
1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED)
2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on)
3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you!
4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you!
5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you!
6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you!
7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you!
That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. 
Might have missed out one or two niche exceptions, but I think it's quite comprehensive. 
I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. 
The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. 
There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. 
I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)
But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. 
More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. 
Then another year or two after that we get the box camera version announced of the S1H mk2.
But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

If you're working solely by yourself (never on other people's productions) say as a wedding videographer or small in house corporate productions, then yes getting say an EVA1 + S1H + S5mk2 (for when AF is critically important, say when shooting solo on a gimbal unpredictable content) would be a nice little package to have!
 
Of course it depends a lot on where you live, and what kind of markets you work in (narrative vs doco vs sports vs commercials vs whatever can all have very different preferences. Likewise low vs mid vs high budget tiers can have different preferences too. Ditto what's popular in Berlin vs Vancouver could be quite different) but generally speaking if you're looking to work quite a bit as a Cam Op / Second Shooter / etc it would be rather foolish to pick anything other than a Sony. 
With a very strong preference for going with the Sony FX6, maaaybe the FX9 depending on your market niche and/or budget. (some people might even be targeting the Sony BURANO, such as this guy who just posted about it this week: https://www.youtube.com/watch?v=91_psSssbGk&ab_channel=CrankyCameraman As that what makes sense for his market and the work he does) But if on a very tight budget, and the FX6 isn't viable, then go with either the FS7 or FX3/FX30 instead. 
If for perhaps you hate Sony and your joy is more important the $$$ in the bank account, or maybe you are targeting a niche where Sony isn't so big & relevant (say narrative for instance) then you can think about other non-Sony alternatives. 
For instance if you're trying to break into the narrative world and make it as a DoP (or you've already "made it" as a DoP, and you can work on productions where you can use whatever cameras you wish and are suitable for the shoot. As they've got the rental budget for it. But you want a smaller cheaper "personal camera" for yourself, so you can bring it along to passion projects you're shooting that you wish to help out) then I'd be seriously considering non-Sony cameras such as the Blackmagics (any of them) or the RED Komodo (or older cheaper models such as the RED Raven or RED Epic / Scarlet) or an older ARRI Alexa Classic (or perhaps the AMIRA). Maaaaybe the BS1H would get a consideration.