rawshooter

IMHO, nothing beats the Godox SL60W if you want a cheap light with good light quality/color rendition, and one that works like a proper film light (with optional fresnel lens, beauty dish, soft box) which can be used as both a hard and a soft light.
So far, it has completely been in a budget-vs-quality league of its own, like only few other pieces of video gear. (Others would, for example, be the Canon EOS-M with MagicLantern RAW, the Rode Video Micro and the Sigma 17-50mm/2.8 zoom lens).

IMHO, nothing beats the Godox SL60W if you want a cheap light with good light quality/color rendition, and one that works like a proper film light (with optional fresnel lens, beauty dish, soft box) which can be used as both a hard and a soft light.
So far, it has completely been in a budget-vs-quality league of its own, like only few other pieces of video gear. (Others would, for example, be the Canon EOS-M with MagicLantern RAW, the Rode Video Micro and the Sigma 17-50mm/2.8 zoom lens).

The rules are three-act narratives (preferably with a hero's journey) on 100 script pages, shot/countershot blocking, continuity editing etc.etc.
The breakers and benders today are filmmakers like Apichatpong Weerasethakul, Werner Herzog, David Lynch, Harmony Korine, Nicolas Winding Refn, Abbas Kiarostami, Michel Gondry, Paul Thomas Anderson, Lars von Trier, Hayao Miyazaki, Bela Tarr, Gaspar Noé, Kim Ki-duk, George Miller, Joshua Oppenheimer, Guillermo Del Toro, Miranda July...

The rules are three-act narratives (preferably with a hero's journey) on 100 script pages, shot/countershot blocking, continuity editing etc.etc.
The breakers and benders today are filmmakers like Apichatpong Weerasethakul, Werner Herzog, David Lynch, Harmony Korine, Nicolas Winding Refn, Abbas Kiarostami, Michel Gondry, Paul Thomas Anderson, Lars von Trier, Hayao Miyazaki, Bela Tarr, Gaspar Noé, Kim Ki-duk, George Miller, Joshua Oppenheimer, Guillermo Del Toro, Miranda July...

The rules are three-act narratives (preferably with a hero's journey) on 100 script pages, shot/countershot blocking, continuity editing etc.etc.
The breakers and benders today are filmmakers like Apichatpong Weerasethakul, Werner Herzog, David Lynch, Harmony Korine, Nicolas Winding Refn, Abbas Kiarostami, Michel Gondry, Paul Thomas Anderson, Lars von Trier, Hayao Miyazaki, Bela Tarr, Gaspar Noé, Kim Ki-duk, George Miller, Joshua Oppenheimer, Guillermo Del Toro, Miranda July...

The fp/L-mount has no built-in mechanics and electronics to support a leaf shutter.
It may be frustrating, but the current version of the fp is more a technology demo or beta version of a new camera concept.
For it to become mature, there needs to be improved hardware, such as: faster sensor readout to make the electronic shutter a fully-featured, fully equivalent replacement of a mechanical shutter, a faster CPU to allow simultaneous focus peaking and zebras and eliminate shutter lag, a higher-resolution display with focus magnification during recording to give more confidence when pulling focus, higher USB transfer speeds to allow full resolution and sensor readout for RAW video.

The fp/L-mount has no built-in mechanics and electronics to support a leaf shutter.
It may be frustrating, but the current version of the fp is more a technology demo or beta version of a new camera concept.
For it to become mature, there needs to be improved hardware, such as: faster sensor readout to make the electronic shutter a fully-featured, fully equivalent replacement of a mechanical shutter, a faster CPU to allow simultaneous focus peaking and zebras and eliminate shutter lag, a higher-resolution display with focus magnification during recording to give more confidence when pulling focus, higher USB transfer speeds to allow full resolution and sensor readout for RAW video.

Yeah, just rewatched Ozu's Tokyo Story this weekend - with the exception of one single travelling shot, it's all static tripod shots, using a single 50mm lens!

I think the bullshit in this topic is putting me in a very difficult position. The original story is about DPReview locking a protest photographer's thread on their forums.
And now this one has died with such ugly bullshit remarks I may have to lock it.
And then people are going to cry hypocrisy.
All I can say is, there is no free speech for racists.

Oh yeah, and another tip to @FranciscoB: If you really want to tune video quality, blow up your video to 4K in Resolve, and export, transcode and upload in 4K because YouTube will play 4K video with higher bitrates/less compression artefacts (even when it's just fake 4K).
(EDIT: @KnightsFan was faster.)

Oh yeah, and another tip to @FranciscoB: If you really want to tune video quality, blow up your video to 4K in Resolve, and export, transcode and upload in 4K because YouTube will play 4K video with higher bitrates/less compression artefacts (even when it's just fake 4K).
(EDIT: @KnightsFan was faster.)

I've owned both the BM Pocket 4K and the Sigma fp - and while I stuck with the fp because I mainly need a stealthy low-light camera, I'd say that the Pocket 4K is a far more mature camera in every respect (from the user interface to the postproduction workflow, not to speak of the absence of bugs).  

Sorry, I call that bullshit - and take (for example) Koyaanisqatsi over a reality soap opera any time - in fact, having to watch that reality show is my personal definition of hell.

I really wonder where these voices are coming from, on this forum that is supposed to be about the beauty of cinematography.

Of course you can get a cinematic image from a 1" sensor - just take the first-generation Blackmagic Pocket and the Digital Bolex. (Let alone analog Super 16mm cinematography which uses the same frame size as the sensor size of 1".)

Yeah, just rewatched Ozu's Tokyo Story this weekend - with the exception of one single travelling shot, it's all static tripod shots, using a single 50mm lens!

Their website is from 2014, and their webshop is dysfunctional - so I'd expect them to be old tech...  Quality of LED lights (particularly color rendition) has dramatically improved in the last couple of years, so I wouldn't buy an old light.

Of course you can get a cinematic image from a 1" sensor - just take the first-generation Blackmagic Pocket and the Digital Bolex. (Let alone analog Super 16mm cinematography which uses the same frame size as the sensor size of 1".)

Yeah, just rewatched Ozu's Tokyo Story this weekend - with the exception of one single travelling shot, it's all static tripod shots, using a single 50mm lens!

Yeah, just rewatched Ozu's Tokyo Story this weekend - with the exception of one single travelling shot, it's all static tripod shots, using a single 50mm lens!

Well, still a camera limited to 8bit 4:2:0, and even for the Vlogger target group, I don't quite get how you can release a camera in 2020 that only has USB 2.0 with a MicroUSB port...
Not getting very excited by the image quality either - just see the newest DPreview episode which was alternatingly shot on the Fuji XT-4 and the ZV-1. IMHO, the ZV-1 footage sticks out like a sore thumb:
In the last segment (at 13:10), I actually find the iPhone XR footage looking much better than the ZV-1 footage... So then why bother with the ZV-1?

These two videos cover the subject:
 

Experimental filmmaker legend Maya Deren had an excellent take on this,  in 1959! Her text "Amateur versus Professional" is worth quoting in its entirety:
The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word – from the Latin “amateur” – “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom – both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the display of a star or a sponsor’s product; nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom – a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package.
Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them.
https://hambrecine.com/2013/12/10/amateur-versus-professional/ (also includes a PDF of this text.)
- She shot all her films on a 16mm Bolex H16 btw.

Experimental filmmaker legend Maya Deren had an excellent take on this,  in 1959! Her text "Amateur versus Professional" is worth quoting in its entirety:
The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word – from the Latin “amateur” – “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom – both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the display of a star or a sponsor’s product; nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom – a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package.
Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them.
https://hambrecine.com/2013/12/10/amateur-versus-professional/ (also includes a PDF of this text.)
- She shot all her films on a 16mm Bolex H16 btw.

I'd say: forget about green screen. Not only is proper lighting - and postproduction - for grey screen complex/difficult, but the Sony isn't really the right camera for that task because of its 8bit 4:2:0 codec. (Greenscreen work is one of the reasons for using raw cameras...) 

For a good and inexpensive mic, I'd first go for a lavalier, especially if you speak to students. The Audio Technica ATR3350 is a really good low-cost solution. - And I wouldn't use an on-camera mic 10 feet away...

I'd say: forget about green screen. Not only is proper lighting - and postproduction - for grey screen complex/difficult, but the Sony isn't really the right camera for that task because of its 8bit 4:2:0 codec. (Greenscreen work is one of the reasons for using raw cameras...) 

For a good and inexpensive mic, I'd first go for a lavalier, especially if you speak to students. The Audio Technica ATR3350 is a really good low-cost solution. - And I wouldn't use an on-camera mic 10 feet away...