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Have you noticed differences in style between different cultures or countries? In a sense these videos are in the universal language of visuals and audio, although the music YouTubers I follow have shown me that there are still interesting differences in music between cultures. I'm curious to hear what differences or preferences might exist, especially because I'm not attuned enough to see them myself if I watch foreign content.

I have read magazines and followed people on forums across several industries and there is a point that each business-owner reaches at some point in their career which will decide if they go on to be successful or to struggle and perhaps close up shop. That point is where they are worth more than the majority of available budgets and they either take the view that some clients aren't worth working for, or they go negative and complain about budgets but muddle through. Those who choose the first approach take the path of charging a healthy amount for their work but also focusing on customer service and quality of work, and are respected in-turn by their clients. These people normally make that decision blind, that is they decide not to take the under-budget work even through they have no confidence that they will be able to win enough work to stay in business, and they often reflect back saying they don't know why they were worried and that they've built a client-base of good clients who appreciate their work and the value they bring. In a contracting or rapidly changing industry this decision becomes more important as it's the people that don't value themselves and go negative that end up going out of business. Work hard, do your best, but value yourself.... We teach the world how to treat us by how we treat ourselves.

You forgot Mojo!! I agree. Comparing a Corolla to a Ferrari requires some accommodation of pricing. I like the "X vs Alexa" because it serves as a good reference for the state of the art. It also does some small good to educate people that are new to this space and think that their $3k camera setup should be the best in the world. I also like that it (can) spawn some interesting conversations around various cameras having strengths and weaknesses. A cellphone is a lot more 'professional' a camera when the shot required is wide angle and in plenty of light with deep DOF, for example. That knowledge is useful to those people who respond to the "$100k movie camera" clickbait titles. We could definitely do with more nuanced debate around things though, sadly it seems that the world has become more polarised and succumbed to more black-or-white thinking now that globalisation is really kicking in. Watching on a phone is actually more meaningful than you might think. The differences between 1:1 RAW and 12:1 RAW are visible, even through YT compression which must be hundreds-to-one, which tells you something about the nature of compression and signal processing through a signal path. It's the same with resolution, although most phones are 1080p displays now. Besides, most camera tests are completely useless at worst, or just a reflection of how well they were graded. Content and story loose neither dynamic range nor resolution when viewed on a phone...

Not too much but definitely at the upper end of that genre. Considering it's already been raised, I wonder what your impressions are (as someone who pushing this genre) of the future of this style of film making? Some say it's innovative and entertaining, and others say that it's using fireworks to replace story (as I would suggest many Hollywood action films are guilty of) and the associated kick-back from this style of film-making, as well as the Vlog style from Casey Neistat / Peter McKinnon where the lesser practitioners rely on B-roll over content. Is this style still evolving? or has it peaked? What's next?

Nice work!!

I've got 7 cine-cat videos at picture-lock but i'm still perfecting the grade. I've got about 53 nodes in Resolve across the final timeline, but I just can't get it to be cinematic enough. I thought that any camera that shoots 4K120 came with a basket of kittens? Or maybe it was just a multi-year promotion that I saw that has now lapsed? It's hard to keep up. I think the general idea is that if your production is using a cine camera (which requires a number of crew to successfully operate and is big and heavy) then your production will have enough people and sufficiently limited portability that you can use artificial lighting and not require low-light performance. Even in scenes that are shot in 'low light' such as external street shots or whatever would get enough light because you'd build a set for it. My impression is that large productions typically spend a very low percentage of their budget on the camera, and it's only smaller productions that have this as being a significant cost. In this sense, a cinema camera is actually a camera for a completely different type of film, rather than it being the same but just nicer quality. [edit: or they would just shoot day-for-night where they shoot during the day and change the shots in post to look like they're shot at night]

Yeah, when I was looking at cameras the Fuji lens system wasn't as appealing as the MFT system, partly because I already had some MFT lenses, but also because I use MF and the decent selection of Panny/Oly lenses combined with the huge range of third party lenses spanning all areas across the cine / super-fast / vintage / adapter / Frankenstein territory was a real draw-card.

More cameras = more competition = better for customers

Cool shot... This thread might be of interest...

It sounds like you are very sensitive to colour rendition, I can understand because you're using colour more as a scientific instrument rather than aesthetic for entertainment. In this case, I'd be worried that changing camera would change the colours - camera brands have colour differences much greater than individual lenses. Maybe try to rent the camera bodies before you commit to buying - it would be better to find out if they're going to work before you pay retail price for one!

You're looking at spending thousands of dollars to use your existing lenses instead of spending a thousand or less getting the right lens for your GH5s. I would question the logic of that decision. There are wide and fast lenses available for MFT, people don't talk about them much because they're expensive, but they're cheaper than buying a brand new flagship camera body. Plus they'll hold their value longer. What are your specific needs? You talk about "best color HD" because you "lose angle in my lenses". It sounds like you just need a wide designed for MFT with little CA to match your APO lenses.

Not until you're delivering in 4K. Seriously, as the owner of a 4K monitor the only uses for it are delivering in 4K or as a tool to reduce time spent on story and increase time spent pixel peeping. I guess you could also argue that 4K monitor is useful to have a 1080 window with room for a GUI in your NLE, that's useful too.

I'm not surprised. The P4K has great colour science, but zebras have no colour so they're not compatible. I think to shoot zebras you have to be a black-and-white thinker. Maybe having a DPreview account would help?

I saw that one. It's a pretty fragile effect, you'd have to be careful applying it otherwise you're likely to get a hard edge and artefacting. They apply it pretty non-carefully in the video and it's bordering on breaking the image.

Hilarious! Well done Andrew!!

Surely a curved sensor for all lenses would be a better fit on average than having a flat sensor for all lenses?

+1 for the advice from @Nikkor to shoot test stills to check if it's the lens or the camera. If it's the camera it might be a setting changed, like the Sharpening or other adjustment?

I always thought that they removed the Star in order to force people to buy the larger (more expensive) recorders and that they could do that because they were really the only game in town for RAW/prores at this price point, and that anyone who wanted those codecs would want them badly enough to just go along with it. However, now there are lots of cameras doing these things internally they have less of a monopoly on these maybe there will be some incentive for them to re-release that lower-end option. I know it would make a bunch of people happy.

And don't forget that Panasonic have a history of adding modes and unlocking things with firmware updates...

That wasn't on your list!

It will be a while, so buy a temporary camera to use in the meantime. Make sure its well specc'd and robust so it lasts long enough to fill that gap.

+1 for there being limitations to focal lengths, or at least if you're using them to look at things that are far away. I started having difficulties around 1000mm equivalent, so similar experience. This may or may not apply to the OPs situation..

Depending on what camera you're using, some modern lenses act like they're parfocal because the camera compensates throughout the range. The XC10 is like this and it works quite well as long as you're zooming slowly. If you do anything fast then it struggles to keep up.

Absolutely agree. The one thing I've learned from shooting family videos is that the moments you're after happen without warning and tend to be interactions between the kids and the outside world. This means that you need to always be rolling, and need to be filming everything so you can get the action/reaction shot sequences. From that point of view...... TAKE MY MONEY!!!!