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Well, here is something I got tagged in yesterday that I worked on (as the Sound Mixer of course):
https://www.instagram.com/p/CquYJX2vwrm/ 
Can't seem to see any trailer for 女儿来了 (My Daughter Is Coming) anywhere online though? 
Here is a little review of it: 
https://hongi.co.nz/news_article/asian-new-zealand-film-makers-represented-in-nationwide-festival/ 
(and the whole thing can be viewed online, but costs $$: https://ondemand.showmeshorts.co.nz/film/nu-er-lai-liao-my-daughter-is-coming/ ) 
Was shot by Darryl Wong on an ARRI AMIRA:
https://www.instagram.com/p/CRxtDvMs61C/ 

For work, I use the Sony FS7mk2 and FX30. Before I purchased the FX30, the second camera was the FS700.
For causal photography, I use the Fujifilm X-E4. Such a lovely experience.
Before covid I used the Sony A7mk3, but I sold it after there was no photo jobs at all. I still keep my Nikon D810 though. It's ancient, yet still takes beautiful photos. And I wouldn't sell it because of all the memories we shared. Probably the only camera I refuse to sell.
 

Thank you! You can go ahead and assume that there was neg on everything except the super wide shots. I’m a bit lazy when it comes to scrimming, so no. The scene in the park was actually shot before golden hour, which is why the light on them is so hard in the wider shots, but i like the edges that you get from that. For the closeups, the sun was already behind the trees, which is why it looks so soft in comparison.
We had a tube light which was intended to emulate the hard edge, but obv it wasnt powerful enough at all, but i still liked the slight extra level it gave on that side of her face.

some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.

 

I'm still using my 5D Mark iii with ML Raw as my main camera for hobby narrative filmmaking. I recently bought a Sigma FP which I like okay enough. I also have a BMMCC all rigged out but I never use it. I think I'll sell it soon so I can hold onto the FP for a bit longer.
I'm still unsure about the FP. I like it, but it doesn't feel like an extension of my arm like my 5D does. Here's a frame from the FP with the Nikkor 35mm 1.4 ai-s lens that I took recently while working on a short film...

Otherwise, I have a few film cameras I enjoy walking around with when I'm out and about.

By far and by far the one I use the most is a Sound Devices 833.
Oh wait, that isn't a camera.... I guess my phone then?? 

I still use 2 GH2's for live 1080p 25fps stuff... English classes that I get paid for. Super happy with them and they seem good enough when used with an ATEM Mini. For personal stuff, I use the GH6 and a G100 for travel. I'll be selling my E-M1 ii this next week if I can get 400-ish Euros for it. The rest of my cameras are either film or just broken broken.

I am using a Nikon Z6 with either an Atomos Ninja V or an Atomos Ninja Star. Mostly shooting oversampled 1080p out of the HDMI port. By setting the rec setting to 4k and HDMI out to 1080p. I use the ninja v when I am doing interviews or lighting stuff so I can take advantage of LUT monitoring and waveforms, etc. For run-and-fun BROLL though I usually use the Ninja Star. Keeps the setup light and small. 
 
As for lenses, to be honest I currently only have a Tamron 45mm 1.8 F-mount lens using the Nikon FTZ adapter. Looking to explains, however, and am strongly considering the Viltrox 24mm 1.8Z. Or maybe I will go with an f-mount Nikon 16-35 f4 as a nice affordable autofocus-capable ultra wide. 
 
 

This guy is really Peter Jackson just trolling everyone. 

archaic motion? 24p is still the current cine standard. double frame rate output is literally what is called the soap opera effect:
Creating frames in-between the 24 original frames makes the movie (24FPS) look like a soap opera (30/60FPS), and this is something that many viewers don't like. 
 
Why does 60fps look like a soap opera?
It's due to motion. Soap Operas use cheaper cameras that shoot in 60 FPS rather than film that is 24 FPS. Basically, you've become accustomed to the dreamlike motion of 24 FPS being interpolated for 60 Hz TVs and now attribute higher frame-rates like 48 FPS to that of a lower quality production.
haven't we been through this before? not sure why you're getting so offended, you're the one throwing the word "cinematic" around. Sure takes more than a LUT to achieve the look. correct fps is a good place to start but hey keep ignoring this advice and do as you please. just don't get mad if people call out the videoish look of such motion, I'm far from being alone on this. in fact you are probably the only person I know around here or even on YT who consistently outputs 60p on a cine cam.

I was talking to a friend this morning who started out planning to be a YouTuber but ended up doing actual paid work and losing interest in YouTube. He's a Sony user and he gave me a different perspective for why this camera sucks and it is a pretty simple one: given it's limitations it can't grow with you.
His first paid jobs were because people knew he did "that YouTube stuff" and they wondered if he could film something for them. He was of course stoked about it, but ended up having a problem: his A7iii was good for his YouTube channel but the 30 minute record limit didn't cut it for the theater productions he was asked to film. Suddenly the camera that he bought because all the YouTubers he wanted to emulate were using it, and that he bought on credit (he was 20 at the time and didn't know better), wasn't the right tool for the job. He was able to get around it when he found out the trick to remove the limit, but he still found it'd overheat sometimes. His parents eventually helped him buy an A7siii once they saw the potential in what he was doing, but it was a costly lesson. 
Obviously his experience might not be typical, but his point was that if he was just getting started now he'd probably buy this camera but end up regretting it because of it's limitations. People's intentions/priorities change over time. People buying this camera might only intend to use it for YouTube and short takes, but what happens when your co-worker offers to pay you to film their kid's play? Or you're asked to film your cousin's wedding? 
Anyway, it was an interesting perspective from someone that started out as a YouTuber that I thought I'd share.

The FX30 is great. A perfect camera for me.
Originally bought it to use alongside my FS7M2. Now, if the job doesn't require the bigger camera, I'll just use the FX30. The FX30 is so much lighter and image is also better. The pricing is great too. Much more affordable than the FX3. Super 35 is not an issue for me because I'm too poor to switch to all full frame lenses.
But if you want a hybrid, keep in mind it doesn't have mechanical shutter. Still very decent for taking some snapshots. Also 4K 120P has big crop. If you film a lot of slow motion, get the A7S3 or the FX3 instead.

I've never worked in feature films, let alone direct one, but have worked in a few very low budget short films for some local film competitions. They are 25-30 mins long each and the highest budget one still cost under USD$8K.
Of course it is made possible because I'm not living in the US. Things are generally slighter cheaper here.
Basically, we need to gather a small group of aspiring individuals, perferably friends, who are willing to work long hours for free. Everyone has to multi-task on set. It's almost required to have crew that can fill in multiple posistions. The same applies in post production. Luckily, we just have some simple VFX so it's doable.
Also, have to make a lot of compromises. That means very strict and tight schedule. All were shot in under 3-5 days. Crew members had to fill in for extras or even acted as important side characters. Had to walk around the city to find the cheapest places to shoot. Much of the costumes were brought from stores that have a return policy. Most importantly, tons of arguements regarding budget allocations by every departments.
Needless to say it's quite a stressful and gruesome experience. I can't imagaine making a full feature film with only $30K.
 

The FX30 is great. A perfect camera for me.
Originally bought it to use alongside my FS7M2. Now, if the job doesn't require the bigger camera, I'll just use the FX30. The FX30 is so much lighter and image is also better. The pricing is great too. Much more affordable than the FX3. Super 35 is not an issue for me because I'm too poor to switch to all full frame lenses.
But if you want a hybrid, keep in mind it doesn't have mechanical shutter. Still very decent for taking some snapshots. Also 4K 120P has big crop. If you film a lot of slow motion, get the A7S3 or the FX3 instead.

Follow Noam Kroll: https://noamkroll.com/ 
He talks a lot about making films in that general budget range. 
I'd say the key tips are:
Everything on the cheap. A short shooting schedule. Doing a lot of it yourself (even perhaps all of the post!). Sometimes he'll even OMB then entire shoot. Or just have merely an extra crewperson or three, no more. 
Personally if I was given US$30K and told to produce a feature film then:
1) I'd find someone to direct it for free
2) leads would have nothing up front (maaaybe if we could get "a name" for half a day, we'd pay for that. But realistically, that isn't possible on this budget. But depends on what your connections are)
3) find a keen aspiring DoP wiling to shoot it "for the reel" (who will use their own camera gear, or mine). Have a second keen aspiring "DoP" -ish person who can work under the actual DoP as the B Cam Op. Won't be too reliant upon the B Cam, but extra coverage might save us in the edit, as we won't be slowing down to get that during the normal shoot itself. (yeah, shooting multicam will screw over the Sound Dept, but that's going to be me... I'm ok with that compromise. Plus I will have the absolute power on the film set that if I need to say "no, we can't shoot this scene for sound with multicam" I will be listened to and obeyed. Thus that reduces a lot the risks and downsides of shooting multicam)
4) have a couple of keen film students as PAs / Unit / LX Assists / Grips / Boom Op / etc to give extra helping hands, I wouldn't count upon them showing up or being moderately competent, but if they are then that is a nice bonus. 
5) make a tough decision about if we can afford paying a token amount to a 1st AC and/or a Gaffer and/or Boom Op
6) work myself "for free" as the Sound Mixer (I know this not an option most people have, and normally you'd have to prioritize this above paying a 1st AC or Gaffer), as I'd be doing this just to get a successful production and a substantial producer credit on my IMDB (and maybe something for me on the backend too, if this project succeeds)
7) shoot it under two weeks, preferably in under a week
8 ) lean hard on the director and/or DoP to be doing their own editing / color grading / VFX for free themselves (or taping into their network to find someone).  For example, ideally this film has no  VFX, and the director might do the edit, and the DoP will do the color grade. 

Hacked cameras are fine if you’re a hobbyist YouTube filmmaker and you like experimenting but on paid sets, things like Sdi, shutter angle, video assist tools, timecode, full hdmi, long battery life, reliability and a big screen definitely helps, especially on long 12hr days.  
 

Hmmm. My understanding is that a major reason for the almost exclusive use of Arri for serious movie making is the fact that if the camera goes down the Arri network is so good that another will be delivered within hours. I should have thought that kind of protection against downtime would be just as important (if not more) on a low-budget production.

Let’s share our work guys!  I’ll start. Here is an interview I shot and lit the other day, featuring a congresswoman from Indians!  One camera was a Nikon z6 recording into an Atomos ninja v.  With a Tamron 45mm 1.8.  The other was actually the ancient, cheap Canon 7D fitted with a Canon 85mm 1.2 shot at f/2.5!

im unemployed, check out my reel!
https://vimeo.com/797642822

Definitely not for us! But these AI "gimmicks" can offer someone with very limited knowledge some "production" values. One of the best Sony sensor/stabilization also helps..
I am not defending the camera, I respect the product placement and the marketing decisions in this..
We all speculate, it will be strange for me to use this camera on any production that I usually work, but I get what are they doing, I guess.

I agree with the technical specifications. The tricks I can't say for certain though. It looks to me that cinematic mode does more harm than good at the moment. It may depends on how limited the knowledge of that person.
Anyways I haven't had a chance to test out this camera, so I'm just speculating.
If the ZV-E1 indeed can give someone with limited knowledge the ability to produce professional result, it's going to be a VERY BIG DEAL, but perhaps not so great for us professionals.😅

Haven't been following the camera market for a while and then this ZV-E1 appears. WOW. What a camera.
Obviously I'm not their target audience so it makes sense that I find it uninteresting and too expensive. That cinematic mode sounds cool until you look at the image and it looks really bad. Almost like the picture effect of older sony cameras. The AI framing thing looks much more practical and interesting but I'm sure it's not yet ready for professional work.
A season filmmaker can make great videos with this ZV-E1, no doubt. But on the hands of newbiew vloggers or regular people who want a travel camera, the ZV-E1 isn't going to give them better results than much cheaper cameras.

I agree with the technical specifications. The tricks I can't say for certain though. It looks to me that cinematic mode does more harm than good at the moment. It may depends on how limited the knowledge of that person.
Anyways I haven't had a chance to test out this camera, so I'm just speculating.
If the ZV-E1 indeed can give someone with limited knowledge the ability to produce professional result, it's going to be a VERY BIG DEAL, but perhaps not so great for us professionals.😅

No point videos I call them..what is the point of those? What do we learn? That kids play soccer at some Arabic country? 
1:30 minutes of nothingness..