newfoundmass

I love the concept and the pricing. The battery life would be my main concern with these though. 7 hours isn't terrible, but I think I'd have been OK with them adding a little extra size to try and get it closer to 12. 7 hours is cutting it close for a lot of shoots I'd use these on, whereas 12, or even 10, would guarantee that I don't have any issue. I'm using the Azden PRO-XD wireless system, which I got on sale from B&H for $149 and they've exceeded my expectations and have good battery life. Though I don't have any real complaints about them I'd probably have sold them for this if the battery life was just a smidge better.

I hate to say it but this is the direction things are moving in for "regular" clients. It's not to be unexpected, really. The key is evolving, and adapting to the way things are going and making it work for you. I'll get guff for saying it, but if someone offers me $500 for a 4 hour shoot and a 2-3 minute edit, and I'm available, I'm taking it. Why? Because I see friends, many with degrees, barely making that a week in their jobs. I don't feel it's devaluing myself, I don't personally put that much ego into my work, as much as looking at it from a business aspect and doing what needs to be done to make sure the bills are paid and I'm doing okay. And often times those gigs lead to bigger/better gigs. To me the motto I'd encourage is simple: stay humble and stay hungry. Be grateful that they see enough value in your work to have you do it instead of their nephew and his iPhone, which, if you look at a lot of small companies on YouTube, is pretty typical.

I think the delay in the A7Siii is obvious: the expectations/market has moved in a direction that outpaced Sony's tech and they're playing catch up. Last year was a huge year. Panasonic was still riding that GH5 wave for most of the year, until they announced their full frame camera. The full frame mirrorless announcements from Nikon and Canon. Nikon and Fuji made HUGE steps in their video capabilities. At the beginning of the year the A7III looked like a real impressive camera (and it still is despite its flaws) but by the end of 2018, not so much. Heck, the GH5s, and all of the new full frame mirrorless cameras even made their low light performance look less impressive: maybe not as good, but definitely in the ballpark. In a sense, they're probably not lying by saying that it's simple to add 4K/60p but to DO 4k/60p with their current mirrorless tech probably isn't so simple without overheating. The longer they wait though the bigger the expectations are going to be. It's not an enviable position to be in. At this point they're going to need to release something ground breaking because they've got a lot of companies gunning for them, and they're all very capable foes.

No one bought the A7Sii for its stills capabilities, and the same is likely to be true for the A7Siii. It's OK for web publishing, at best.

The expectations for the A7Siii are so high and very unrealistic.

V-log pre installed is very interesting. Wonder what the crop will be in 4K, if anything? If this is under $1000 it's a winner, imo. There isn't enough for me to upgrade from my G85 as a b-cam, at least not right away, but it's a great mid range camera. 4K60 would've been nice though, even if they had to limit it to 30 minutes for heating reasons (though I suspect it's limit has more to do with not wanting to hurt the GH5/GH6.) The lack of 4K60 here though does make me wonder if we'll only be getting 4k60 out of the GH6, though HFR options might add 120 similar to how it is in Full FD.

Strange how people can't just move on from Canon. You keep expecting more and more from them, they never deliver, and then you keep asking "when?!" Even if they did, in the not so distant future, provide exactly what you wanted, why reward them after all of this?

Same

What an "alliance." ?

That's really weird. Makes you think Leica doesn't want non Leica lenses on their cameras, and have asked their "partner" not to allow it. Perhaps it's how they intend to keep the Leica brand "premium?" Frankly it seems rather short sighted. And it'd be nuts if it extended to actual L-mount lenses made by Panasonic and Sigma. But maybe that's the only way to have been able to use the L-mount on their new cameras? If that's the case though, I'm not sure why you even bother and just don't make your own new mount?

I think the Osmo Pocket actually has decent sound, from what I've seen of it. It's actually pretty cool, because I believe it has two mics on it, the primary one and then one on the bottom that is used strictly for helping to remove background noise. However I think it'd be a nightmare in Morocco unless you get the compatible ND filters. I'm not sure how comfortable the Mrs. is with that stuff. A good review that touches on the audio and the need for ND:

ETC mode might also be enough to cover the sensor. Or if you have the LS300 you can adjust it accordingly Some of the results I've seen on YouTube look good in 4K, though I've heard mixed results from some people. I've had very limited experience with B4 lenses, but I've heard that the older ones don't look too great in 4K because they were built with SD in mind and the optics aren't there. I know my friend still shoots with a hacked GH2 and a B4 lens and loves it. I should ask to use it on my GH5. If you're shooting in 1080p though a B4 lens might be one of the more affordable options. I know eBay has tons of them ranging from $300 and up.

If you're looking at Panasonic then the FZ1000, the G85 and the G7 all are decent options. The G85 has IBIS which is an added bonus and probably has the best AF out of any of them. Not to be a jerk to fellow posters, but "just have her use her phone" isn't really helping the OP. Given he's asking for suggestions on cameras I'd assume he'd already ruled using a phone out for whatever reason. And FWIW, even though I have a capable cell phone that shoots decent video, I always use a camera whenever I can because I know it will always get better images. Just my 2 cents.

Aren't a lot of B4 lenses parafocal? Depending on the sensor size / crop that might be an option.

I think, for their price, they're great lenses. Putting together a set of vintage primes is a great option, too, but if you're looking for sharp primes with a modern look you can't really go wrong for the price. The 85mm is one of my favorite lenses to use for interviews. It came free with my LS300. The 12mm is also very good for a wide angle. I only wish I'd gotten them in EF instead of M43.

If it's M43 mount I'll definitely be interested.

43 rumors says it is using the G9 sensor.

https://www.43rumors.com/ft4-panasonic-g85-rumored-to-be-announced-in-early-april/ They upgraded this to an FT5, too. This is exciting, because not only is the G85 one of the most underrated cameras out there, BUT it also might give us an idea on what we can expect from the GH6, similar to how the G85 did for the GH5. I'm guessing we'll see an improvement in low light, IBIS, and auto focus. Hopefully we get a more robust codec for 1080p, as that was my biggest gripe with the G85. Maybe some higher frame rates? 4K 60p seems unlikely, though who knows? I will say, I really, really hope this isn't a small update, like the LX100 mk. II was. I think that'd be really, really stupid on Panasonic's part, and maybe a sign that they've reached the limits of what they're capable of doing or an indication that they've changed their philosophy of putting as much as they can into a camera.

I'm surprised they even are releasing action cams anymore. But people will buy stuff that has the name "Canon" on it. I doubt any of us will see one being used out in the wild, but I feel like these things are probably so cheap to produce that they still make Canon money and ultimately that's what they care about.

Proper white balance and using a color chart is the easiest way to match the two. Otherwise you'll have to do it in post and by eye, which is possible but takes time. They're different sensors, and the color science has been tweaked over the years, so it's not really as easy as adjusting settings in camera to better match them, though it might help a little.

Yeah that looks like lens chromatic aberration. There isn't a ton that you can do about it, other than trying out different lenses. I've found Sigma lenses, both native and adapted, to have very little CA. On the other end, a lot of my vintage lenses have some of the worst though they have that ever elusive "character" to them that make up for it, in my eyes.

The Fuji will eat the GH5 for breakfast in stills. Not to say that you can't get decent stills out of the GH5 but it's not its biggest strength. For video I still have to give the heads up to the GH5 though, especially for event shooting. Fuji is getting really close though. I think I'm the most excited to see where they're going out of every other company, though I'm very interested to see what Panasonic has in store with the GH6. Fuji though is in the same advantageous position that Nikon is in where they don't have to worry about protecting a cinema line, so they're pretty much free to do whatever they can.

What if we all just harass JVC on social media until they listen? ? I kinda feel like it's a good sign of they're still featuring the LS300 at promotional events...

I've been putting some thought into this, and I'm thinking this might be a slow year for the major camera companies as they all focus on their new Full Frame mirrorless offerings. I think the most interesting announcements this year might come from some of the smaller companies. From the big dogs, maybe we'll get a true G85 successor announced, giving us a preview of what to expect in a GH6? I expect more info on the GH6, and even the A7Siii to start trickling out towards the end of the year instead of NAB. I think we'll see more budget gear announced from some of the larger companies, re: lighting, monitors, mics, etc. Atomos coming out with a lower priced monitor I think is an example that those companies are starting to take note of the budget offerings that are out there. The quality and price is hard to ignore.

I think he meant the AG-AF100, which in many ways was the precursor to the LS300. Both were ILC with M43 mounts. Had a lot of the features you'd see in cinema cameras, such as SDI out, internal ND, XLR inputs, etc. The LS300 differed though in that it had that Super 35 sensor instead of the 4/3 sensor. The LS300 sensor is so incredible because it literally let's you use almost any lens without vignetting via VSM. Wanna use a 16mm cinema lens? You can punch in with the sensor to 16mm to eliminate the vignetting and get max resolution allowed. My experience has been most M43 I've used will cover the full sensor, but if one doesn't you can VSM down to a M43 sensor to remove any vignetting. It also allows you to turn your primes into zooms using the VSM technology. Truly one of the smartest, unique features I've ever seen on a camera like this. I throw on my Minolta primes and they become parafocal zooms in HD (the zoom range is less in 4k, for obvious reasons.) I really wish more people checked out the LS300 and that others would look into making something similar for that price point, assuming JVC isn't in the process of doing so.