rawshooter

The MagicLantern project is pretty much dead - the last nightly builds are from July 2018:
https://builds.magiclantern.fm/
There are only some (or just one?) individual developers who keep hacking individual camera ports and offering their own builds off-site.

See here:
https://***URL removed***/reviews/sigma-17-70mm-f2-8-4-os-hsm/2

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.

It's quite funny how a thread on the perils of G.A.S. has turned into another G.A.S. thread...

It's quite funny how a thread on the perils of G.A.S. has turned into another G.A.S. thread...

It's quite funny how a thread on the perils of G.A.S. has turned into another G.A.S. thread...

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...

Yes. The irony.
The time has come to face up to it. We're addicts!

In practice, you can switch forth and back between full frame 4K raw and APS-C 4K raw video recording without great image quality penalty. (The difference in noise and resolution is IMHO invisible if you master in 1080p). And you can put the full frame vs. APS-C crop switch on the camera's quick access menu.
That effectively turns any prime lens into a dual-focal length lens - or virtual dual lens turret. Often, this makes a zoom lens unnecessary in the field.
It's a neat (and often overlooked) little feature of the camera.

Since I found the YouTube comparison between the Sigma fp and the Blackmagic Pocket Cinema Camera 4K so worthless, I did a comparison test of my own.
I wanted to compare the cameras in two respects: 
(1) dynamic range when shooting a high-contrast subject under optimal light/with optimal exposure + robustness in grading the resulting image;
(2) low light/extreme high ISO image.
My setup was as follows:
Completely dark room; Both cameras with the same lens, Tokina 28-70mm/2.8 (Nikon mount adapted to L-mount and MFT respectively) at the same aperture setting (f4) on both cameras, but at 35mm focal length on the Pocket 4K and at 70mm on the Sigma fp to compensate for the different sensor sizes; Record settings: UHD 23.98p on both cameras, full frame CinemaDNG 12bit on the Sigma fp and BRAW Q0 on the Pocket 4K (= best quality codec settings on both cameras);  For the high-contrast test: daylight-temperature LED fresnel with maximum focus/spotlight on a plastic appliance reflecting some of the light to create high contrast; both cameras at minimum/native ISOs exposed ETTR/to the right. Both cameras set to 11.25 degrees shutter angle (in lieu of an ND filter, since motion rendering is irrelevant in this test).
(Note: Lowest, respectively native, ISOs on the two cameras are ISO 100 on the Sigma fp and ISO 400 on the Pocket 4K. Never mind that nominal difference, both cameras have almost identical clipping behavior at these settings, i.e. ISO 100 on the Sigma fp behaves like ISO 400 on the Pocket 4K. On both cameras, the zebras turned out to be reliable indicators for sensor clipping: To go absolutely sure that I would optimally expose the sensor, I also shot the scene at larger shutter angles - 22.5, 45, 90 and 172.5 degrees -, with zebras popping up as early as at 22.5 on both cameras. When looking at the material in Resolve, this was indeed where clipping had occurred and waveforms remained clipped in the RGB parade even when lowering exposure in Resolve's Raw control tab.)  For the low-light test: same 'scene' as above, but with the LED fresnel turned off and only a practical light in the background turned on. Both cameras set to maximum ISO (256.000), at f4 and 172.5 degrees shutter angle. Treatment in Resolve:
Basic image adjustments only in the Raw tab, interpretation in P3 color space with Rec. 709 gamma: adjustment of white balance/tint and exposure to make the Sigma fp and Pocket 4K footage match. (The raw material of the Blackmagic Pocket 4K was much warmer than that of the Sigma fp with the same Kelvin settings...) No highlight recovery. (Wasn't necessary anyway since there was no clipping in the images.) No noise filtering or sharpening, although the Pocket 4K's BRAW codec already has some baked-in temporal noise filtering. For the extreme grade, only a solarization-like custom curve was applied that pushed the shadows to the maximum and was meant to provoke banding in the material by pushing contrasts:
I exported 16bit TIFF screengrabs which can be downloaded here (6 TIFF files in a zip archive, 133 MB).
Here's how the well-exposed high-contrast scene looks like (25% downscaled images):

Sigma fp

Pocket 4K

- Note that the difference in sharpness may be my user error, and is also influenced by the different depth-of-field between 35mm/f4 on MFT and 70mm/f4 on full frame. The manual focus aides on the Pocket 4K are much better with latest firmware, so nailing focus without an external monitor was easier.

1:1 crops of the above two images:
 
Sigma fp (left) - Pocket 4K (right).
 
Extreme grade, with the same curve (as posted above) applied to the two above images:


Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
 
Low light, with both cameras at maximum (256,000) ISO, 172.5 degrees shutter and f4:

Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
So, to summarize, I think it's fair to say that the full-frame 12bit CinemaDNG material of the Sigma fp simply shows the benefit of a larger sensor and its lower image noise (even at base ISO if you compare the full-size TIFFs). It's thus only logical that it holds up better in extreme grades and in low light.
My likely user error in nailing the focus of Sigma fp also shows the strengths of the Pocket 4K, namely better camera assist functions and overally a better user interface/more practical user experience for video shooting. - But it's also nice to see that the Sigma fp has some genuine advantages over the Pocket 4K, especially for my own type of videomaking which revolves around event videos (concerts at indie/DIY venues) shot in extreme low light conditions.
 

Not sure whether this forum here is the right place for this video...

Not sure whether this forum here is the right place for this video...

Not sure whether this forum here is the right place for this video...

Not sure whether this forum here is the right place for this video...

Not sure whether this forum here is the right place for this video...

The MagicLantern project is pretty much dead - the last nightly builds are from July 2018:
https://builds.magiclantern.fm/
There are only some (or just one?) individual developers who keep hacking individual camera ports and offering their own builds off-site.

Have you ever heard of the HTML <video> tag? The times where you had to embed players (back in the days, via Adobe Flash) are gone for 10 years now.
What exactly is the "video player issue and the standard on page display issue"?
I tell you what: they don't exist, and you're just making up nonsense, like you always do here, because you are a full of shit.
"I build and maintain a lot of wordpress sites" - yes, and you also hire and direct DPs from Disney and have internal connections to Canon, among many other things that you wrote here before.
Your postings are not only bullshit, they poison this forum (and people looking for advice) with wrong information.
Can somebody please check your Egyptian IP address?

Have you ever heard of the HTML <video> tag? The times where you had to embed players (back in the days, via Adobe Flash) are gone for 10 years now.
What exactly is the "video player issue and the standard on page display issue"?
I tell you what: they don't exist, and you're just making up nonsense, like you always do here, because you are a full of shit.
"I build and maintain a lot of wordpress sites" - yes, and you also hire and direct DPs from Disney and have internal connections to Canon, among many other things that you wrote here before.
Your postings are not only bullshit, they poison this forum (and people looking for advice) with wrong information.
Can somebody please check your Egyptian IP address?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

Vimeo's real business are film production companies who upload their screeners for clients and festivals as password-protected videos. That's why in the current times, so many films festival and arthouse theaters have been able to switch to streaming overnight: all they needed was to unlock their Vimeo screeners for larger publics.
My own plan is to wait till support for the open AV1 codec will be mature on both on the client/browser side and the encoder side. I've already run a few encoding tests, and the quality is absolutely stunning at much lower bitrates than both h264 and h265.  Once AV1 will be ready for the masses, hosting your own videos will just be a matter of uploading them to your web site/blog and hosting them the same way you host & serve still images.

Most of it will be blocked/be no longer visible and only be unlocked when you renew the paid subscription.

Yes, in Egypt, right?

Yes, in Egypt, right?

Yes, in Egypt, right?

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?