FHDcrew

My Priorities for Panasonic:
1) Release a VERY SMALL M43 camera body with PDAF and full-sensor readout in 4k NOW!
2) Release a GH7 with variable ND and PDAF.
3) Release a high-end video camera with variable ND and PDAF for L mount.
4) Release a pancake (28mm or 40mm or both) lens for L mount.

Ha! I don't think anybody owns individually 3x Sony BURANOs
But if you're part of a wide production, say just shooting a few days on a doco or coming in as an extra camera on reality tv series or doing a pick up day on a feature film, then yes, what camera you are using is very important.
As you're just one small cog in a bigger machine. (maybe that's one of the big differences vs a lot of photography, there is no "machine". Or if there is, the photographer is a much bigger cog in the machine, or even more likely the driver of it)
 
I'd say there is are two very different classes of DoP:
Those who own a camera vs those who don't and just rent in the cameras for a project as is necessary. (although, anybody owning an ARRI ALEXA Mini kinda fits into that second category. Just the difference is whenever they want they can access "a free rental" of their Mini from the rental house where it is being stored. As they probably won't have it being stored at home, or at least that's been the case with people who I know who own one)
And those in that first category are very much so are broken up into different tiers depending on what sort of camera they have. 
Side note: there are people in the second category who own a camera, but still sit in the "second category" because that's how they portray themselves and do most of their work as. Their RED Raven or Sony a7S or whatever that they own is merely just their play thing, and something to do occasional passion projects with. So even though they own "the same" camera as someone in category one, they're still in a very different position, as their personal camera isn't one they daily work with. It's almost more like their hobby camera. 

Yeah, that's sort-of the same as not using colour management, as (unless you use the HDR palette to grade with) you're not getting any of the advantages of colour management.  Your workflow is basically the same as applying a LUT and then trying to grade in 709, which is essentially ignoring 95% of the power of the tools at your disposal.
Without teaching you how to do colour management, as there are much better sources for that than me typing, what you want your pipeline to look like is this:
A transformation from the cameras colour space / gamma into a working colour space / gamma Do all your adjustments in the working colour space / gamma Transform from the working colour space / gamma into a display colour space / gamma (e.g. 709) What you have told Resolve to do is to transform the cameras colour space / gamma into rec709, and any adjustments you're making to that using any of the tools will happen in rec709.  Some of the tools are designed for rec709 but some are designed for log, and most of them won't really work that well in 709.  Only the "old timers" who learned to grade in 709 and won't change still do it this way, everyone else has switched to grading in a log space - some still grade in Arri LogC because that's how they learned, but everyone else grades in ACES or Davinci Intermediate, as these spaces were designed for this.
I transform everything into Davinci Intermediate / Davinci Wide Gamma and grade in that as my timeline / working space (these mean the same thing).  I can pull in Rec709 footage, LOG footage, RAW footage, etc, and grade them all on the same timeline right next to each other - for example iPhone, GX85 (709), GH5, BMPCC, etc.  I can raise and lower exposure, change WB, and do all the cool stuff to all the different clips and they all respond the same and just do what you want.  If you've ever graded RAW footage and experienced how you can just push and pull the footage however you want and it just does it, then it's like that, but with all footage from all cameras.  Before I adopted this method, colour grading just felt like fighting with the footage, now everything grades like butter.

Indeed, being untruthful is never a good look is it. Standard par for the course in marketing land though.

EX1/3 have exactely that, 3 CMOS sensors,  1/2 inches each @zlfan 😊 Still cool cams. Really like the EX1's ergos and lens with nice zoom and focus rings and servo zoom lever. Despite in a 10bit container,  output over SDI is still only giving 8bit colour. Don't know if true 422 or not. Pana HPX250 is definitely a cam i wanna try. A 2/3 inch sensor version of it with interchangeable lenses... Nerds have different wants than other people:) A 100mbit AF100. Love the body and the huge eye piece of that cam. GH5II sensor and codecs in a AF100 body. Dreamcam. Nerds are weird.:)

In all seriousness though I do think this is a great step forward. Have been spending a lot less time on YouTube lately. Tired of the hype. 

Hahaha. Blackmagic Production Camera 4k. Global shutter. 2012 baby. 

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased:
Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!)
2x 480GB mini mags
Side grip
Red Pro top cheese plate
Red aluminum EF mount
V-mount battery solution (pretty difficult to find at a workable price!)
Nitze top handle and monitor mount

All in all, it set me back just under $3K.

I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF.

Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera.

I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

£9.99 to unlock the full app.
£3500 for a decent mirrorless camera.
You choose 🙂

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

As we're just going to make this now be a generic thread about old Sony video cameras that are cool, such as the "full frame" Sony NEX-VG900 (there are also the ASP-C VG10/VG20/VG30 cameras):
 

Oh yeah, that would be perfect!  
I didn't know it took RS into account, that's cool.  It makes sense because the data is all there.  
Hopefully we're heading towards a common gyro data standard, or at least a set of standards, that can be used for things like this.  I'd happily shoot without an ND, then apply stabilisation and blur based on gyro data, then apply any lens simulations, then colour grade on top of that!

Yup. Maybe the older one. There is a new G2 that just came out: 
https://www.bhphotovideo.com/c/product/1787638-REG/blackmagic_design_micro_studio_camera_4k.html 

I just saw this video where Waqas demos the OFX version of the Motion Blur effect, and it does a seriously good job - I've linked to the final result:
He's also applied a blur to counteract the ridiculous sharpening (what a great idea!), corrected for the lens distortion, and added a subtle grade.
I have no idea if the OFX version of this has recently gotten better or if it's just been there all along, but it's waaaaaay better than the tool in the UI, which is what I tried previously.
I haven't played with it yet, so this might be a cherry-picked example where it worked ok, but it's interesting and worth playing with, especially on clips with more subtle movement.

Easy!  It's that black thing with some white writing on it....  duh!

Agreed.  The program here is much more broadcast oriented than is film.  Which is fine, because through my own experience, forum-reading, YouTube watching, and real-world practice I've found I can learn and mature the skills I need without college.  I have learned lighting pretty much solely based on my own research.  There are people in this program who are seniors and want to be "film directors", but I sit back and think "what have you actually edited?  Did you ever pick up a light during your 4 years here?"  Of course, they would rather spend their time in a fraternity or some other stupid thing.

Just upscale it - people can't see the difference anyway!

Yeah, from what I've seen it offers video-paths similar to the old Grass Valley switchers.  Intuitive, but also deep in certain ways.
Also, I like how the old half-million dollar equipment is now ridiculously cheap.  Of course, who wants NTSC? but still...kinda neat.
https://cutt.ly/FwEfAsoc

The camera integration tips the balance for me towards the ATEM family, particularly with the release of the new Micro Studio 4K G2 camera.
For under $4000 you can have four of them that are timecode locked and they can be fully controlled from the ATEM not just for colour and exposure but focus and zoom (with the inexpensive powered zooms from Olympus and Panasonic).
With the integration with Resolve, the ATEM ISOs and these cameras give you three products to sell to a client from one job.
The 1080p live stream The 1080p master recording of the live stream. A re-cut version of the live stream in either 1080p or 4K. The last one is interesting because with any manufacturers camera you can just bring in the ISO recordings and re-cut them in Resolve (as the ATEM generates a Resolve project with the cuts in it) but with the BMD cameras gives you the option to bring in the 4K BRAW recordings from the cameras own recordings.
When used with the ATEM, the BMD cameras can provide a 'video mode' output through the HDMI for the live switching whilst simultaneously recording their own 'cinema mode' versions to SSD.
This is a great option for doing live videos for bands as they get the 'video' version for the live stream and the possibility of a more cinematic looking version from the recut BRAW files.
The ATEM Mini Pro ISO is a bit limited so I would definitely recommend going for the ATEM Mini Extreme ISO not just for the extra four channels but also the additional media player and the SuperSource function which offers a lot of creative and practical possibilities.
The drawbacks with the ATEM are in the animated CG and video player aspects.
The former you can get around fairly easily with software such as Uno Overlays etc and the latter can be addressed using BMD's HyperDeck record/playback devices.
The cheapest of these, the newish HyperDeck Shuttle HD, is interesting in the role of producing live sports as with some inexpensive additional hardware splitters you can coax it into being a very decent instant replay system complete with tactile jog/shuttle control.
For around $6500 then, you can have an eight channel switcher with ISO recording and streaming, four timecode synced RAW shooting 4K cameras with full remote control and three channels of instant replay.
Unlike the Tricaster TC40 that I used to own (which was nowhere near being even half the functionality of this system let alone how much more its modern equivalent will cost) it will also all fit comfortably in a Peli 1510 case rather than an 8u flight case and is a fraction of the weight ! 
Another thing that people tend to overlook about the ATEM Mini series is that it has an excellent fully fledged Fairlight mixer in it with EQ and Dynamics on every channel including the Master channel.  Its mind boggling really how much of a value that is as they didn't really need to make it that comprehensive !
Don't get me wrong, the ATEM system isn't perfect but it is a very good eco system to start a business around.
And you never know, maybe one of these days someone might release a product that integrates a few more things to make it even more useful......

Indeed. I work with 3-4 cameras, 2 of which can be static any time, 2 lights, 6 audio recording devices, shooting video and stills 100% (or as close to as makes no difference) all day long.
But only because of 3 essential ingredients.
1. Practice practice practice, starting simply and building up over time, adding and eliminating elements that work or do not.
2. Having a game plan in advance based on an understanding of what is going to happen and when etc. Advance knowledge is key.
3. Determination/hard work.
4. Bonus element, being organised and having a system.
My environment is weddings and at one level they are ‘all the same’ but at another, they are all different and people do random stuff. But it’s rare for there to be enough random stuff to make a difference.
It’s not rocket science and there are limits so it’s a case of knowing those limits and working up to what is possible but without it totally frying your brain.
It’s more weird for me if I am doing just video or just photo and the latter feels like I am doing just 20-25% compared with both and the kit level is tiny by comparison.
My brother by comparison gave up working in the video industry because he couldn’t work alone or make more than solo shooting viable. 
We must have different genes!