TomTheDP

that use to be the case but I think since the C200, FS5 and now BM6K Pro, C70 or even FX6, that is no longer the case. They have great battery life so you can stay away from Vmount. Built-in NDs mean you can avoid a matte box. And stellar AF avoids the need for a follow focus rig. A lot of DPs do love to over rig their cameras and that's fine, just not my ethos. I usually strip them down to the bare minimum, I like fast energetic shoots to keep the momentum going. Obviously you can't do that with URSA Mini, RED & ARRI. You need a crew if you wanna be comfortable. Different scenarios. Different applications. Different results also.
Sony is definitely cornering the market, mostly in broadcast. A friend of mine just joined one of the biggest TV shows for fashion & music and told me it's all Sony now. Used to be AMIRA up until just a year ago. I'm not sure why they switched but could be weight related as he told me they alternate a lot in between sticks and shoulder rig. Or did they go FF? I hope to go visit the studios and find out more.
Fuji are killing it, and XH2S would also be my first choice today for personal camera and pet projects. But with no real upgrade path, limited ecosystem & outsider reputation.. Sony does feel like the best system right now as far as getting pro work in the industry. I still prefer Canon colors, ergonomics etc but their pricing isn't very competitive neither in pro bodies or RF lenses and their politics are lousy at the moment, they need a change in CEO or something.

RIP

RIP

Like it or not auto focus is likely to beat out almost any other feature. Being able to easily match to Sony cine/pro cameras is a big plus though. 

A7IV overheats in 4K60p though. Also has a whopping 26.8ms RS vs 15ms on FX30. 
FX3/FX30 are entry cine line cameras. Now with Cine EI & LUT import they do feel a little bit more worthy of FX range.
As an FS7 user, this would be the perfect B-cam for me.
That said, yeah strictly nothing exciting about it. Another utilitarian Sony camera.

It's all a matter of taste of course but I love Fuji colour.
I moved from shooting Natural to Flat on my Panny's but was a big fan of Eterna on the XT3.
Going back to that as my standard but this time around, with a very light Film Convert Nitrate grade.
Also interested in going back to shooting Jpeg and one of the film sims.
I used to to shoot mainly Classic Chrome, but am interested in Classic Neg and Nostalgic Neg, all with some personal in camera tweaks to see if I can achieve a SOOC near finished result.
Along with drastically cutting back my number of jobs (33 this year) and capping at max 20 per annum, I'd like to get my workflow reduced so I can spend a little more time on marketing.
No issues with bookings but I think you need to remain on top of these things regardless and even do a little more than is needed, simply to hold station.
Also, I'd just like a little more life back May-Sep which is something I haven't had much of for the last 20 or so years...
 

Well my XH2 arrives tomorrow. Yay 😀 
Between 11am and 2pm.
I’m leaving 8.30am latest for my last job of the year. Boo 😒 
I preordered with the hope of testing on at least this last real world job, but was resigned over the last few days to it not arriving in time.
Hey ho, would have been good and I’ll just have to run some post-season tests against my S1R’s to see how it stacks up in non-wedding environments.

I had one shortly but I fried it using a bad dummy battery to D-tap cable. I wasn't going to buy one again but I recently had the need for a small gimbal camera so once again I purchased the FP. This one has the tilt screen mode as well as a custom made SSD module, which makes it a super compact setup. 

Using the FP one of my big complaints was the lack of a tilt screen, so this new setup will address that as well as managing the somewhat awkward T5 ssd setup I had before. Dual ISO is very helpful, the color from the FP looks really nice after running it through resolve. It would definitely be nice if there was a way to color manage the dng footage in premiere. But hey it's a really inexpensive camera so I can't complain too much. 

I had one shortly but I fried it using a bad dummy battery to D-tap cable. I wasn't going to buy one again but I recently had the need for a small gimbal camera so once again I purchased the FP. This one has the tilt screen mode as well as a custom made SSD module, which makes it a super compact setup. 

Using the FP one of my big complaints was the lack of a tilt screen, so this new setup will address that as well as managing the somewhat awkward T5 ssd setup I had before. Dual ISO is very helpful, the color from the FP looks really nice after running it through resolve. It would definitely be nice if there was a way to color manage the dng footage in premiere. But hey it's a really inexpensive camera so I can't complain too much. 

The only challenge I've found is finding new media that can support 60fps compressed CDNG. For everything else the Angelbird cards that were tested for original BMPCC work (although they are very pricey). The cheap Kingston cards seem to work for many people but mine only lasted about 6 months. I fortunately have a good stash of the original SanDisk 64 gig cards that met the spec back in the day and continue to use those along with the Angelbird 128gig cards.

Yeah the XH2S indeed looks over sharpened. It's obvious when compared to the bmpc6k and Komodo, because it looks a good deal sharper. 

I captured a post film screening interview last night between the director and his mom who is one of the first Black filmmakers in Canada... nothing prepared ahead of time just a capture of the moment for his family archives. I seriously considered pulling out the 5D MKIII to pair with my R5C but ended up going with the R5C and 1DC bcuz the second shooter wasn't familiar with ML. The R5C's footage was obviously great but the DPAF struggled at times to keep focus on the director's mom - and while it was happening, all I could think was maybe I should've just stuck with my trusty 5D MKIII/1DC combo. All that to say my relationship with the R5C has been kind meh so far (altho the image and cinema options in essentially a 1DC sized body once u add the grip are great!) - but the biggest takeaway I've had so far is that now more than ever, I know I will never sell my 5D MKIII. 

Yeah but the BGH1 was so bare bones compared the FX6 imho. I am just speculating here based on my own thoughts though. I never use auto focus so it doesn't at all matter to me. If the S1 had raw internal like the FP I would have held onto it. 

I had one shortly but I fried it using a bad dummy battery to D-tap cable. I wasn't going to buy one again but I recently had the need for a small gimbal camera so once again I purchased the FP. This one has the tilt screen mode as well as a custom made SSD module, which makes it a super compact setup. 

Using the FP one of my big complaints was the lack of a tilt screen, so this new setup will address that as well as managing the somewhat awkward T5 ssd setup I had before. Dual ISO is very helpful, the color from the FP looks really nice after running it through resolve. It would definitely be nice if there was a way to color manage the dng footage in premiere. But hey it's a really inexpensive camera so I can't complain too much. 

Thanks Emmanuel, click the image and you'll see a more accurate representation of the final image.
It's for the 11th Hour Audio Challenge. It's a 30 day challenge to produce an audio drama in honor of World Audio Drama Day. It's run by a couple friends of mine and the actor came up with a cool concept, so we shot it very quickly last week. It was fun, I got to use a fog machine and shoot day for night.
I keep saying the FP will be my next camera. How do you like it? I agree they're similar in some ways. But like BTM said, the FP could be the true successor of the OG Pocket. 

That's an interesting comparison - not one I'd contemplated before, but makes sense.

interesting, who was the promo for?

I have been tempted several times to the 5D MK3, just got a sigma FP tho. I feel like they are similar cameras. 

I thought I'd resurrect this topic since I am still shooting on my trusty 5D3. Here's a frame from a web promo I shot last week...
 

I don't have enough experience with mini to really say for sure as most cameras either go micro or full. Honestly micro should just be banned 😅

Agreed, if we can't have SDI or full-size HDMI, mini HDMI is the preferred option.  I work with a Panasonic G7 and 2 Panasonic FZ1000s for a live-stream setup.  The micro HDMI is just so fragile, i have the full-HDMI smallrig cage bolt on the FZ1000s.  The G7 as with you, is double-clamped.  And I just never ever touch the micro HDMI.  I notice mini HDMI, while not perfect and i still get a bit nervous, is 1000 times better than micro HDMI.  Honestly as long as you are careful and only run short cables to monitors i don't even think you need a clamp.

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing.

I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa.

Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied.

This is what I came up with in Resolve using the color space transform tool. ARRI on top.
 

I guess it depends how run and gun the job is. I always manual focus but I am probably behind the times. 

Ha, I literally just finished watching that 2 minutes ago!
Bored in a budget motel Northern France on my way to a job in Germany…
All being well, an incoming XH2S with a pair of XH2’s.
I wish they had called the latter the XH2R as it would make identification so much easier!
 

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. 
For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post.
The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list.
The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. 
And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. 
The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. 
But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!