aaa123jc

Unfortunately, looking professional does matter to some clients. They have to look for something to justify hiring an "expensive" videographer. 
But I also believe it is more important to have a camera set up that works for you. Rigging up the camera to impress at the cost of usability is stupid, IMO.
I don't really have this problem because I usually bring my FS7, but I've seen people rig up their mirrorless camera to a point where it is absurdly big and heavy to use properly. The client may be impressed by his look. I highly doubted the client will be impressed by the video he made though. 

It is an odd world we live in. Originally cameras were made a certain way to serve a purpose. It's definitely got to a point where you question the necessity of much of what you see in the video world today.

I saw that tweet back when Andrew posted it, bravo on entering into a whole new world! 
Not sure if it is a path I'd personally take though (but then again, I don't know how much of a steal he got it for?? And a certain point you just can't say no!). 
As I keep an eye on RED prices now and then. 
 
RED ONEs have for a while now been ultra affordable, but they're such extremely heavy beasts! (and suck up power & media) That's why all those years ago I went with a Sony PMW-F3 instead, as my personal experiences with RED ONE meant I didn't want one myself. 
RED Scarlet MX have finally got to the point they're ultra cheap too, but they're a bit too crippled vs an Epic. Plus the MX sensor is so old. (who wants to go back to always shooting at 800 ISO? And never going higher. Not me. And arguably you should even still shoot 320 ISO, if you want a cleaner image, say if you doing green screen)
Thus I feel you have to look at the bare minimum of an DSMC1 Epic Dragon (or newer)
But you could buy a brand new Sony FX6 / Canon C70 for that price! Or an URSA Mini 12K.
Or if looking at secondhand, a Sony F55 or original ALEXA. Or a Panasonic Varicam LT / Canon C300 mk3 is also in the same ballpark. 
And if you start looking at the more recent REDs than that (DSMC2 bodies), you're then reaching into ballpark price territory for an AMIRA, or Sony FX9, or Canon C500mk2.
Is a personal preference thing, but I'd happily take any of those other alternatives instead. 

Unfortunately, looking professional does matter to some clients. They have to look for something to justify hiring an "expensive" videographer. 
But I also believe it is more important to have a camera set up that works for you. Rigging up the camera to impress at the cost of usability is stupid, IMO.
I don't really have this problem because I usually bring my FS7, but I've seen people rig up their mirrorless camera to a point where it is absurdly big and heavy to use properly. The client may be impressed by his look. I highly doubted the client will be impressed by the video he made though. 

I recently purchased a tiny set of microprime (5 lenses). I've only done some minor testing though. Still I think for the price, they are very very nice. 
They are compact and quite well-built. The focus ring is pretty smooth. The images are beautiful, with a slight vintage feel, but the lenses are not very sharp, especially at the widest aperture. It really depends on your taste or the project. 

I recently purchased a tiny set of microprime (5 lenses). I've only done some minor testing though. Still I think for the price, they are very very nice. 
They are compact and quite well-built. The focus ring is pretty smooth. The images are beautiful, with a slight vintage feel, but the lenses are not very sharp, especially at the widest aperture. It really depends on your taste or the project. 

Unfortunately, looking professional does matter to some clients. They have to look for something to justify hiring an "expensive" videographer. 
But I also believe it is more important to have a camera set up that works for you. Rigging up the camera to impress at the cost of usability is stupid, IMO.
I don't really have this problem because I usually bring my FS7, but I've seen people rig up their mirrorless camera to a point where it is absurdly big and heavy to use properly. The client may be impressed by his look. I highly doubted the client will be impressed by the video he made though. 

I use the original UM4.6k (not the pro) fairly often, but honestly, it's a pain in the ass compared to the pocket cameras. given the choice, I ALWAYS take a Pocket 4k over the UM4.6k
Unless you can find one with the EVF and shoulder mount kit, I don't think it's worth picking one up. The ONLY thing I like about it, over the pocket line, is physical audio dials to adjust the input levels. 
That said, when I shoot with the Pockets, I shoot Braw and enjoy playing in post. When I shoot with the UM4.6k, it's for in-camera results in ProRes, and the footage goes straight off to an editor. 
It's far from a bad camera, and the prices are very interesting. But I think you'll be better off waiting a little longer for the first generation of the Pro 4.6k to come down in price. At least then you also have NDs and a few other treats. 
Around here, they're going for about the same price as a brand new Pocket 6k pro.
 

Cage with a grip, rods and mattebox will do the job and a good tripod. Last corporate gig I had my FS700 with a speedbooster and a Canon 24-105mm with me and my S1 as BCam. 🙂

When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag.  When they see me pull that rig out of the bag, they think they think I am a total pro!

Hello all. 
In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. 
Shot in SLOG3 and a bit of 2. 
Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. 
Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. 
Fire scenes lit by fire light only and a 2x2 silver bounce. 
Stick around for the credits. 😊
 

@kye lol🤣
Of course that "bug machine" wasn't for the bugs, but a fog machine to make it all pretty on camera. 
Quite common on sets. Never yet caused the Empire to show up!! Although years ago I was working on the lighting department for a music video, and we got a few fire engine trucks show up because they believed there was a real fire  in the bush which they needed to respond to 🚒 🔥🔥🔥

@aaa123jc and it is one of the cameras besides the F3 and the BMMCC which has a fascination on me. I own them three but have only used the Bmmcc. But the latter one at least for a legit 5min narrative piece. Great image, even better when lit. I have posted a bit of my stuff lately. So always eager to see footage from the EOS M and the these classic digim indy cine treasures! Keep up coming, friends!

It's amazing to see what people are doing with this little camera! 
The EOS M always has a place in my heart. For some unknown reason, it just comes with great colors. It only requires some minimal effort to get it to look good in my taste. Not to mention you can install Magic Lantern and add in many useful features. 
Anyway, a camera which can shoot RAW costing around $100 is unbelievable. 
It's unfortunate I had to sell it last year. Maybe one day I would buy it back and play with the RAW feature more😅. 
 

It's amazing to see what people are doing with this little camera! 
The EOS M always has a place in my heart. For some unknown reason, it just comes with great colors. It only requires some minimal effort to get it to look good in my taste. Not to mention you can install Magic Lantern and add in many useful features. 
Anyway, a camera which can shoot RAW costing around $100 is unbelievable. 
It's unfortunate I had to sell it last year. Maybe one day I would buy it back and play with the RAW feature more😅. 
 

Sure, real film sets need them because they are using huge cameras with big glass on them, and they are story boarding. That is probably never going to change I get that. I can see a tripod for photography a lot more than for videography. If you are shooting movement move the camera. Ehh sort of what video is. Just panning on a tripod all day is not my idea of an interesting shoot. Looks boring pretty quick.
I did hundreds of weddings years ago and worked with other wedding photographers, and we never used a tripod even then.  Now some of the richer ones came to a studio with their dress and had shots done after the honeymoon. Had a Hasselblad, 3 lenses, 5 rolls of 12 shot film and away you go, was the weapon of choice back then. Static wedding shots are boring as hell. We didn't use 3 cameras and carry 20 lenses like people do today, so I guess it has changed, not sure why but.
Yeah, I guess if you are charging $50,000.00 for a wedding you need to look like you are earning it I guess. Sure they have a crew with bounce rigs, etc., etc. so I can see the complexity for a few super rich brides.

As you can see from the other replies, tripods are commonly used throughout the industry everywhere!
And even for weddings which are shot gungho nonstop with a gimbal by some keen muscular dude, they'll still be using a tripod for at least some of angles for the ceremony and reception!

And when I say "$100K indie film level" (or $500K) I mean also anything else at that "level", i.e. a web series or TVCs etc. 
Tripods are worth it, I have a nice one, basically the previous generation to this one here:
https://www.bhphotovideo.com/c/product/1431251-REG/vinten_vb100_ftms_vision_100_system_with.html
 

It really comes down to what kind of work you're doing. Event videos, corporate videos, short films...etc. All of these requires a tripod, while a gimbal may not be essential. 
The YouTube community makes many believe working in video production professionally is about making cool shots with gimbals or any other fancy new technologies. Making those shots are cool, but the majority of works are usually done in a more traditional, even boring manner. 
And I'm not even talking about working in a proper film set (I have only worked in no budget short films). I usually work solo or with one or two partners. It is safe to suggest I am the average (or below average) working professional. 

It's amazing to see what people are doing with this little camera! 
The EOS M always has a place in my heart. For some unknown reason, it just comes with great colors. It only requires some minimal effort to get it to look good in my taste. Not to mention you can install Magic Lantern and add in many useful features. 
Anyway, a camera which can shoot RAW costing around $100 is unbelievable. 
It's unfortunate I had to sell it last year. Maybe one day I would buy it back and play with the RAW feature more😅. 
 

It really comes down to what kind of work you're doing. Event videos, corporate videos, short films...etc. All of these requires a tripod, while a gimbal may not be essential. 
The YouTube community makes many believe working in video production professionally is about making cool shots with gimbals or any other fancy new technologies. Making those shots are cool, but the majority of works are usually done in a more traditional, even boring manner. 
And I'm not even talking about working in a proper film set (I have only worked in no budget short films). I usually work solo or with one or two partners. It is safe to suggest I am the average (or below average) working professional. 

Here is a music video I did with my beautiful GX85.
It now has dethroned my GF1 for photography pleasure, loosended my bonds with my eternally appreciated and now disfunct G6. GX85 earned no1 place in my heart. It was a bit of a way to go for this cam. It has pleased me with nice footage, great personal short cine verité extravaganza, BCam as last resort.. But only until now it has reached my heart completely. It is a true treasure.
The road to love was slippery by the slipperyness of the camerabody, the soon to become disfunct back wheel and the mediocore EVF. But still, it is almost as pretty as the GX7 or my GF1 and it feels good in the hand and now even better in the heart. So enough talking, time to let this camera speak.
Used Fujinon 12mm in 16 to 9 and ind 1:1 4K photo mode, Tokina 25-50 in the mix. Shot in colour and graded with love in BW. 🙂
 

Cannot wait to see it! Some crazy Pete in action! 🙂 @Matt Kieley
I found my all time EOS M RAW footage when it comes to colour. Makes Berlin look like before all the greedy hipster and gated community freaks fxxed up the community and heart and soul of the city. I know it sounds kinda harsh but girls n boys, they really bulldozered many, many landmarks of Berlin to build cement monoliths for rich, tastless fxxers from all over the world. Nothing against wealthy people, just against the powerful axxxholes among them who fxxxk up everything with their money. Anyway, here is the beautiful EOS M in its most impressive colour glory, imho.
Btw, my C-mount to Eos M-mount didnt arrive but I got the full refund. Very nice of the seller. Anyway, I a slouch when it comes to rig up cameras.:/
 
 

Holy crap, don´t scare me! @webrunner5 I just discoverd my all time favorite colour palette on the EOS M, which I just posted. Now you come up with even cooler news. I have not been a great fan of the colours from the videos on youtube so far. Only the one I discovered gave me wowsers. Until then the videos always had postpro with very crayon and videoish results. Technically nice but not painterly with thick oils. Now let me check that video with a coffee and some cake. 🙂

(yeah, the MTBing is pretty cool too)
 
 

Yeah, doing those big sweeping gimbal shots that run for ages and ages are a lot more work for EVERYONE. 
Art Dept, Director, Actors, Camera Dept, Sound Dept, etc etc

I did late last year a very low low budget feature film (dunno about the budget, but I'd take a wild wild guess that it is probably to likely be sub $100K, but with all the favors pulled in we were "operating at" more like the $500K-ish level? Which is still ultra low budget level for a feature film).
Bulk of it was shot on either a tripod or a dana dolly. (as a dana dolly gives you that movement in the scene, but also still allowing you a lot more fine control over the camera movement than anything else would. Well, anything else that is affordable that is!) A fair bit was shot handheld / easyrig as well. Oh and of course sometimes a high hat / sandbag / saddlebag. 
But perhaps a couple of times a week we'd get in a Steadicam Op, for particular scenes/days when camera movement made a lot of sense for the story. 
We also had at least three days of car shoots, of which two of those days were done with the car on lowrider being towed by a truck (with Director / AD / AC / Grip / DoP all in the back, in the truck bed. With myself, with my mixer & monitor, and the truck driver in the cab itself). 
Never used a crane. Never used a gimbal. Never used a drone. (although I wouldn't be surprised if there is a splinter unit done sometime after we wrapped main production which goes out to get some drone footage. Or perhaps they just use a bit of stock footage? I dunno)
100% shot on an ARRI Mini btw. 
  

The average YouTuber with a big following is totally disconnected to the reality of how the professional world works on film sets / tv productions / reality shoots / TVCs / etc