MrSMW

@OleB I've just started watching your series on the Sigma FP and it's really great what you have done and shared so big thumbs up from me.
I'm almost tempted with the FP (or L) but just one or two, 'too many' little quirks and issues that I can't quite get around for my needs.
Love the form factor with the Smallrig cage with wooden grip...which is as much as I'd want to rig it out and I know there is an aftermarket tilt option, but then I compare it to the S5ii and for my needs, sadly the Lumix 'wins'.
Sadly, because I'd switch to...or rather, would already be using the FP (or L).
Your series is still interesting however so thanks for that.

D Day is tomorrow Amazon France assures me, after several delays due to stock.
It will then become my principal stills camera with the 40mm f2 for every day and candid work, the Tamron 35-150mm f2/2.8 for ceremonies, speeches and couple stuff plus the Tamron 20-40mm f2.8 (adapted unless they bring out a Z Mount option within the next 5-6 months) for my wide requirements, but I will not now be getting a Z9 body to accompany it.
At least not until next Winter soonest.
Finances more than anything with even used Z9's still at 5.5k+ here in France, I can't justify it after a stupidly high unexpected tax bill due to a mistake on the tax people's side 😒
It comes down to a year of occasional lens swaps, maybe 5-6 times over a 12 hour typical shoot, or spend 5.5k. My head says I can't swing that.
Ideally, I'd flip everything and go all in on Nikon as my heart has gone back to them and for me, it ticks all of my boxes, but instead, 2024 will now be a hybrid year of Nikon for stills and Lumix for video.
This is no bad thing as Lumix did and still does shine for me.
The all singing all dancing wunderkind that is the S1H is going back into primary video unit role with one S5ii for longer static stuff and gimbal, and then selling the other S5ii and 3x now redundant lenses.
It's a slightly tighter, but more capable set up, especially on the stills side and whilst not the absolute ideal, ticks all my boxes.
Over the course of next year, I will try out some Zf video capability though just to see how it stacks up against the S5ii.
Anyone else getting a Zf? I can think of at least 3 other people who I think will be tempted at the very least... 

Ha, I was about to say the same, this having been my main approach for around 5-6 years now.
But I should add, more by default than design based on certain camera choices.
Some would argue, I should have chosen my cameras based around other factors and not let this be a default, but overall, for me, it’s about balance and compromise not outright ‘what I’d do in an ideal scenario with the necessary funds’.
On the topic of SDOF, I have always been a fan. I have always liked and been drawn to a shallower DOF throughout my 23+ year career in photography and 13+ in video.
I’ve never been a fan of hardcore uber-shallow DOF in my own work, but probably more because I have rarely owned anything faster than f1.4 lenses in full-frame terms.
For the last few years, I have shoot FF stills and a mix of FF and S35 video, but in 2024, reducing the amount of S35 dramatically as I am moving away from using so much 50% slow mo in my work which due to my kit choices, has meant using S35.
I’ve decided I prefer the full frame look and that coming from 6k, so that’s where I am going.
Lenses/DOF, with S35, I was mostly shooting f2/2.8/4 and I will continue to do the same but with even less apparent DOF using FF instead of S35.

Let's compromise and meet in the middle, and admit 1.5x is the "most cinematic". 

Before I started to develop the Rec709 conversion for the SIGMA fp I did quite a bit of research on how different manufacturers are creating theirs as a starting point.

One of the main ingredients seems to be that after the tone mapping of the cameras dynamic range into Rec709 nearly all manufacturers LUTs have a baked in default contrast around a pivot point of middle grey.

This looks great in a controlled studio scene, because it will be quite punchy out of the box. Additionally, it is hiding shadow noise because it will push these down as well.

However, in reality this means you are always pushing highlight information much higher by default than you would need to. Same goes for the shadow details. So usually the first post step would be to counter this effect.
My conclusion out of this was to create Rec709 LUTs, which are only tone mapping correctly and possibly create a smooth rolloff. Contrast has/can be added in post around a custom pivot point, or by adjusting the curves.
Let me demonstrate that effect on some sample stills, guess that is easier to understand. 

SIGMA fp Rec709 LUT (only colour and tone mapping into Rec709):

SIGMA fp Rec709 LUT + default contrast at a pivot of 45 IRE (intentionally a little bit too much to show the effect):

SIGMA fp Rec709 LUT + custom contrast at a pivot of 75 IRE

Guess this is one of the main reasons so many professional colourists are using CST/ACES workflows, to have a better starting point compared to manufacturer Rec709s. Maybe this information can provide useful for some of you. 🙂
 

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process.
Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection.
I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:
"Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios).
"Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times.
"Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point.
"Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward.
The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time.
And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including;
Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine.
Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit.
Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally.
Simply not available in the first place. That is around 20-25% of all enquiries.
Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin.
My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually.
As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good.
Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

Not sure about the first part of your statement there Mark but agree with the second.
Lumix’s option for the S5ii and S1H is not great and I recently took a look at Nikon’s on the basis I might be going there for video (possibly) on top of the stills (definitely) and from the examples of theirs, it was horrendous.
I’m not sure why they don’t just pay someone with clearly far more skill than they do for this kind of thing as after all, what would it cost (very little) and we’re talking global releases here.
I’m sure if any brand popped out a stellar conversion LUT and a series of great conversion LUTS, they’d sell more cameras. Which is kind of the point is it not, to sell more stuff?!
I am interested in this topic, though not quite to the level of some, but will be exploring it more over my off season whether I stick with Lumix or go Nikon for my video needs. Especially if I go Nikon actually as I’d be starting from scratch and at a place I am mostly happy (or know what I need to do) with Lumix.

Yeah, I have and use one of those:

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process.
Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection.
I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:
"Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios).
"Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times.
"Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point.
"Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward.
The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time.
And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including;
Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine.
Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit.
Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally.
Simply not available in the first place. That is around 20-25% of all enquiries.
Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin.
My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually.
As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good.
Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process.
Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection.
I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:
"Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios).
"Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times.
"Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point.
"Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward.
The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time.
And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including;
Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine.
Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit.
Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally.
Simply not available in the first place. That is around 20-25% of all enquiries.
Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin.
My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually.
As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good.
Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

I think we are long since past the point where your average Sony/Canon/Nikon/Fuji/Whatever mirrorless is more than a few simple clicks or sliders away from being indistinguishable on-line.
I've seen so many side by side comparisons and can't see any difference at all such as in, "look how much better Y is compared with X!" and it looks near enough identical to me.
Same with the stills side. Waaaay too much emphasis on SOOC unedited files.
Comparing like for like across brands. Of course we can find an increasing proportional difference if we start comparing apples with kumquats...
Now things like difference in IBIS capability or wobble etc, some very clear differences, but modern sensors these days? Nah.

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process.
Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection.
I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:
"Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios).
"Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times.
"Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point.
"Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward.
The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time.
And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including;
Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine.
Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit.
Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally.
Simply not available in the first place. That is around 20-25% of all enquiries.
Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin.
My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually.
As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good.
Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

People seem to be obsessed with nit-picking the colour science of cameras, but indicate they don't colour grade for one reason or another.
To me, even a few simple adjustments can improve the image so much more than the differences in colour science between manufacturers.  In fact, the image out of camera is like a plain sponge cake straight out of the oven - it's nice and the quality matters but it's far from the final result.
Colour grading is also talked about as being super complicated, and it can be, but it doesn't have to be.  Simple grades can still be really powerful.
Here are some examples from online, to show how much of a nice image is camera colour science and how much is colour grading.
ARRI  LOG:

With ARRIs LUT:

Grade:

The above grade was done using only white balance, the lift / gamma / gain controls, a vignette, log wheels, in that order.
To look at skin tones, the holy grail of camera colour science - here's a before and after....   before:

Then on top of the previous look, here's additional treatments to give it more of a film look.

These additional adjustments were: Gain (to lower exposure), white balance, saturation (lowered), darken shadows, in that order.
Which was inspired by this frame from Sicario:

Here's the video showing the whole grade: https://youtu.be/8GkcqEA72QM
 
Next example - SOOC:

with 709 conversion:

Grade:

Video link: https://youtu.be/fRDjEB6ryyQ
 
Next one - with 709 conversion:

Grade:

Video: https://youtu.be/OmBBYHMi_ek
 
Next one - SOOC:

With 709 conversion: 

Grade:

Video: https://youtu.be/UNW_8jcGJqw
 
There are literally more examples online to count, but I just focused on the more neutral looking colour grades, as the people doing dirty film grades probably don't care about skin tone minutia when they're going to pummel the image with Dehancer etc.
So, what's the TLDR?
Even half-a-dozen simple steps applied in addition to the manufacturers LUT can make a huge difference It's about making small changes to make the image look slightly nicer, and they add up The reason that fancy cameras look incredible is because the colourist takes the great work done on set and expands on it How do I get started?
Look at the image and work out what tool might improve it (if you have no idea, just try the basic ones) Wiggle whatever tool back and forth, deliberately going too far one way and too far the other way, then find the best spot Compare the adjustment you just make to see if it makes the image better or worse, if it's better then keep it, otherwise undo
(sometimes a really good adjustment will look completely natural and the 'before' will look like something is being applied to the image and is damaging it) Go to 1. Repeat until you can't find anything that makes the image look better. If you're using another image to inspire your look, then for step 1, just look at both images and work out what looks different about yours, and try and fix it.  Is it brighter? Darker?  More contrasty?  A different colour?  More or less saturated?  Adding a vignette to lighten your subject or darken the other areas of the frame is a good trick.  Looking to find anything in the frame that's distracting and de-emphasising it is really useful too - even just lowering the brightness or saturation can really stop it from fighting for attention.
Even by the time you've adjusted these basic tools, you'll be well ahead.  

The tips for networking I've learned for networking in the corporate world (which is likely to be broadly similar) are:
Be brief - people like it when you respect their time Say something in the message that is unique to them - this shows them you haven't copy/pasted to a million people Tell them why they might contact you Tell them how to contact you Tell them how to check out your previous work A message as simple as "Hi - I loved your work on project X, I do sound on similar projects.  I'd love to work with you - if you have something coming up get in touch! <link to bio>".  
What I learned about networking:
People hire people they get along with, skills are necessary but are a secondary consideration When meeting people, establish rapport with the other person first, ask questions about their own work and projects, don't talk about yourself or pitch unless they ask If you can solve a problem for them or give them advice (that is welcome!) then you'll stand out and be seen as useful If they ask about your work, don't embellish or diminish it - successful people can often tell when people are bending the truth (even on gut-feel) and its an instant fail Focus on understanding their situation and challenges and try to help You probably know much of this, but in case you didn't, and also for the lurkers, thought I'd elaborate.

I will upgrade it to my own bodyweight if you like…because it is not going to happen 😉
Otherwise no idea on an EDC with a 3.5…which just goes to show how different each individuals needs are!

I wanted something that would carry on the spirit of the original X100 I preordered before it went on sale in early 2011 and then became my dual purpose 'EDC' (though that term I don't think existed back then) plus candid work camera.
It was brilliant at that role, at that time, albeit with pretty bad battery life and sloooooow autofocus.
I don't know why I 'moved' on from that after only a couple of years, - chasing something 'better' I guess, except nothing came close and I drifted into just using my phone.
The phone though is just a device to me. Utterly convenient, but utterly without any joy in it's use or the in the results it produces.
The only other element the X100 lacked for me was the ability to change focal lengths. I love the purity of the fixed lens approach but the reality is, for the work side at least, sometimes I need wider or longer.
I tried the '28' and '50' adapters with the X100 and they were kind of OK, the 28 feeling quite natural but the 50 nose heavy and spoiled the use of that camera. Plus not quite long enough.
Oh and at just 12mp, more than enough for my personal needs but a tad low for work.
I had considered and came very close to opting for the Ricoh GRiiiX and if it had just been for personal use, would have been the one due to size and that 40mm focal length which I really like.
But I have to consider my work needs so went Nikon Zf with the 40mm f2 SE lens.
I've been flip-flopping all year long regarding going back to Nikon but the announcement of the Zf sealed the deal. I never saw it coming (wasn't really looking) but a few weeks ago when the World was alerted to it's imminent existence, I knew they had made my 'X100' for 2024>
Arrives tomorrow I think...
It won't be going back. Not the slightest question mark over its purchase. So many times I put something in my shopping basket only to remove it before hitting the buy button, or hitting that buy button and then within 24 hours, changing my mind. With the Zf, I did a preorder and then canceled and then looked at it again and re-pre-ordered. Not even a hint of a regret since doing that and that's the first time in a decade I reckon.
As to use, personal will be 100% photo and work not entirely sure yet but probably around 50:50 photo/video, - it depends on what other unit I get to replace the Lumix S5ii's I am replacing...
It's not exactly cheap, the Zf, but it's what I have been missing in spirit/ethos for both personal and work. A tad larger, but far more capable and versatile than the X100. Only real gripe is the flip out screen over a tilt, but kind of got used to flip outs with the S5ii's all this year.
If I change my mind, I'll eat it's weight in leeks (I hate leeks) live on YouTube.

I have a 19 year old and would ideally like to retire before I’m 80, but with the shit that the French state keep giving me…
But I hear you @Marcio Kabke Pinheiro we sometimes need to keep a tight reign on spending.

Yeah, I have and use one of those:

Never recorded in log, started now with the X-S20. Will have to study a lot, because all my log gradings until now have the color quality of a Barbie cam.

LOL about leeks..  I'd just go for potato and leek soup, which is quite lovely actually 🙂 
In all seriousness, I think the biggest factor in any piece of equipment is how it makes you feel, because if you're feeling good then you'll make better compositions, people will react to you differently and you'll have an easier time and the people in the images will be happier and more at ease, etc.  
I get a good feeling when shooting with the GH5, knowing how nice the files are in post, and also with the GX85 because I like how it is to shoot with in terms of the size and form-factor.  If you feel like you're fighting with the camera all the time, it won't matter what the colour science is like, the shooting and content will suffer more than the image can make up for.

I wanted something that would carry on the spirit of the original X100 I preordered before it went on sale in early 2011 and then became my dual purpose 'EDC' (though that term I don't think existed back then) plus candid work camera.
It was brilliant at that role, at that time, albeit with pretty bad battery life and sloooooow autofocus.
I don't know why I 'moved' on from that after only a couple of years, - chasing something 'better' I guess, except nothing came close and I drifted into just using my phone.
The phone though is just a device to me. Utterly convenient, but utterly without any joy in it's use or the in the results it produces.
The only other element the X100 lacked for me was the ability to change focal lengths. I love the purity of the fixed lens approach but the reality is, for the work side at least, sometimes I need wider or longer.
I tried the '28' and '50' adapters with the X100 and they were kind of OK, the 28 feeling quite natural but the 50 nose heavy and spoiled the use of that camera. Plus not quite long enough.
Oh and at just 12mp, more than enough for my personal needs but a tad low for work.
I had considered and came very close to opting for the Ricoh GRiiiX and if it had just been for personal use, would have been the one due to size and that 40mm focal length which I really like.
But I have to consider my work needs so went Nikon Zf with the 40mm f2 SE lens.
I've been flip-flopping all year long regarding going back to Nikon but the announcement of the Zf sealed the deal. I never saw it coming (wasn't really looking) but a few weeks ago when the World was alerted to it's imminent existence, I knew they had made my 'X100' for 2024>
Arrives tomorrow I think...
It won't be going back. Not the slightest question mark over its purchase. So many times I put something in my shopping basket only to remove it before hitting the buy button, or hitting that buy button and then within 24 hours, changing my mind. With the Zf, I did a preorder and then canceled and then looked at it again and re-pre-ordered. Not even a hint of a regret since doing that and that's the first time in a decade I reckon.
As to use, personal will be 100% photo and work not entirely sure yet but probably around 50:50 photo/video, - it depends on what other unit I get to replace the Lumix S5ii's I am replacing...
It's not exactly cheap, the Zf, but it's what I have been missing in spirit/ethos for both personal and work. A tad larger, but far more capable and versatile than the X100. Only real gripe is the flip out screen over a tilt, but kind of got used to flip outs with the S5ii's all this year.
If I change my mind, I'll eat it's weight in leeks (I hate leeks) live on YouTube.

I wanted something that would carry on the spirit of the original X100 I preordered before it went on sale in early 2011 and then became my dual purpose 'EDC' (though that term I don't think existed back then) plus candid work camera.
It was brilliant at that role, at that time, albeit with pretty bad battery life and sloooooow autofocus.
I don't know why I 'moved' on from that after only a couple of years, - chasing something 'better' I guess, except nothing came close and I drifted into just using my phone.
The phone though is just a device to me. Utterly convenient, but utterly without any joy in it's use or the in the results it produces.
The only other element the X100 lacked for me was the ability to change focal lengths. I love the purity of the fixed lens approach but the reality is, for the work side at least, sometimes I need wider or longer.
I tried the '28' and '50' adapters with the X100 and they were kind of OK, the 28 feeling quite natural but the 50 nose heavy and spoiled the use of that camera. Plus not quite long enough.
Oh and at just 12mp, more than enough for my personal needs but a tad low for work.
I had considered and came very close to opting for the Ricoh GRiiiX and if it had just been for personal use, would have been the one due to size and that 40mm focal length which I really like.
But I have to consider my work needs so went Nikon Zf with the 40mm f2 SE lens.
I've been flip-flopping all year long regarding going back to Nikon but the announcement of the Zf sealed the deal. I never saw it coming (wasn't really looking) but a few weeks ago when the World was alerted to it's imminent existence, I knew they had made my 'X100' for 2024>
Arrives tomorrow I think...
It won't be going back. Not the slightest question mark over its purchase. So many times I put something in my shopping basket only to remove it before hitting the buy button, or hitting that buy button and then within 24 hours, changing my mind. With the Zf, I did a preorder and then canceled and then looked at it again and re-pre-ordered. Not even a hint of a regret since doing that and that's the first time in a decade I reckon.
As to use, personal will be 100% photo and work not entirely sure yet but probably around 50:50 photo/video, - it depends on what other unit I get to replace the Lumix S5ii's I am replacing...
It's not exactly cheap, the Zf, but it's what I have been missing in spirit/ethos for both personal and work. A tad larger, but far more capable and versatile than the X100. Only real gripe is the flip out screen over a tilt, but kind of got used to flip outs with the S5ii's all this year.
If I change my mind, I'll eat it's weight in leeks (I hate leeks) live on YouTube.

I have some exciting plans for next year. During the pandemic, like many, I developed a bleak outlook for the future and wondered if I should even bother making art. Now things are still not nice in the world but at least where I am things are stable enough that I feel I can work on making art again. This year I finished a short experimental narrative. That was fun to do, messing around with the two genres of both narrative and experimental. (It does mean though that festivals are confused by it and don't know how to program it.)
This year and next I'm working on a lengthy atmospheric film about shapes, colours and patterns in the Vancouver area. It's an extension of the photography I've been doing for several years. Finding the patterns in architecture but also including nature in it.
If you want a taste of it, I took some of my footage and put together a music video for the musician I'm using. I'm pretty happy with it.
Test Card - Monochrome Dreaming Softened The Broadcast
https://youtu.be/Tk72eAvOoow?si=8Fron9g6IgVd2RE0
 
Last year I spent a fair amount of money on purchasing gear. New camera, tripod, lights, monitor, etc. Now I think I have enough gear and am just working with it. I'm fairly happy with what the purchasing decisions I made. I now have to refocus away from lusting after new gear and move towards being creative with what I have.  A couple of years ago I was very much into getting more lenses and researching aspects of the different types, now I see ads for lenses and I really don't care. This is good.

Yeah, I have and use one of those:

200 or the unit physically?
I like the former. It’s enough for me but not too much. I’ll call it Goldilocks.
Re. the size & weight, as a hybrid shooter, I would prefer slightly smaller, but mainly lighter.
However, if I was just a videographer, it’s just about right (for me) as it’s a nice stable platform.