Mako Sports

I should note the circle in the bottom right is the best value for the money...its probably a Sony F3 or something....or some other older, used, cinema camera that has seen some shit.

Will that be necessary for the EOR5 ? 😂

I call this rumour legit as african lottery hahaha
Especially coming from canonrumours.
 

Didn't wanna make a new thread for just memes.. 
??

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I have a smallhd 701 that im replacing, looking at the 5inch BM one, Shinobi SDI, Portkeys BM5, and the Smallhd 502 bright. 
I don't even need a recorder it's just a bonus.
However that 5'' 12G seems perfect. Dual batteries, 2500 nits, great UI, Lut preview, metal body, full range of scopes. AND it can record.
This might be the one boys. 

True even though my a7iii is smaller /lighter and usually puts out a better image over my FS5, the video camera just makes life easier/absolute grab and go setup if you pair it with a doctor style shoulder bag. 
Internal nd, sdi, rotating control grip, and xlr inputs are REALLY hard to give up.

Nobody ever regretted upping their audio quality for video.

Yeah I cancelled the preorder. Used the money to purchase a Mix Pre-3 II instead. Audio upgrade was more important for the documentaries I'm working on.  

I agree, which is why I don't like DSLR type cameras that have to be rigged. 

Huge reason is you end up having this weird skyscraper like form factor when you add a monitor to an SLR. I mean it can work I used a Pocket 4k with a small HD for a feature and it really wasn't bad. But something like a Z cam or red is better. 

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key
An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs.
Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

Inspire 2 with Zenmuse X7, possibly the best drone video ive ever seen.
 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

https://www.blackmagicdesign.com/products/blackmagicvideoassist
Monitor/recorder, 5 and 7 inch models, HDR support, scopes, etc.
A blazing 2500 nits for both options.
$800 and $1000 respectively
The most interesting part is you can record BRAW with it. I wonder how this will work with other cameras from diff manufactures. 
Also Blackmagic RAW is officially supported in Avid and Premiere Pro. 

If Fuji made a dedicated cinema camera with a large format sensor and the GFX mount totally by passing mid tier S35 and FF cine cameras would be insane. 

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path.
Maybe patents are the issue, or certainly a big part of it.
What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it...
FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop!
Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view)
5 axis IBIS (Panasonic S1H has the best performing)
Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!)
Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!)
4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3)
Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail)
ProRes RAW... Nikon had a go, but only externally
Sexy ergonomics and good menus (Leica SL2)
Anamorphic mode (Panasonic and Leica)
Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses)
Bonus point for medium format 4K (Fuji GFX 100)
Bonus point for value for money (Fuji X-T3)
Low light performance (Panasonic S1H)
Contribution tally:
Panasonic: 7x
Fuji: 4x
Canon: 3x
Sony: 3x
Leica: 3x
Nikon: 1x
Olympus, Pentax on zero, no stand out leading cinematic features.
So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it  but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen.
Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics...
So it is not always about leading in one or two aspects... It's about not falling down in important ways.
Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets
First time I've seen this table.
So that settles it then.
It is only at 60P DPAF packs up and goes home.
They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p"
Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.
Do it, Fuji. DO IT.

If Fuji made a dedicated cinema camera with a large format sensor and the GFX mount totally by passing mid tier S35 and FF cine cameras would be insane. 

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. 
I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.