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I'm not buying your reason. :) I've white balanced literally thousands of times in the past 40 years all by myself. You just set the card down on something and press the button. Problem solved. Far faster, easier, and more consistent than any other method you're going to find. Don't make...

STOP! I don't know how you are viewing the video above, but on my monitors it is a soft, mushy, grainy mess. Just awful. Why in hell would you want to use a 20-year old camera that was never that good in the first place? Why?? The "look" is nothing special. There are so many far better...

Indoors (and anytime under man-made light): 1) Pull out a white card. 2) Aim the camera at the card and fill the frame. 3) Push the WB Set button to automatically adjust both warm/cool and magenta/green to fit the current light. 4) Shoot. 5) Fine-tune in post. Outdoors: 1) Set the camera to...

And it all looks like sh&^%t.

Yup. But they could easily change up the focal length once in awhile without any extra expense or hassle.

I agree completely about interview shots becoming repetitive. That is one of the main reasons I find it hard to watch a Ken Burns documentary. 50 hours into a story on Jazz, Baseball or whatever, we keep coming back to the exact same shots on the exact same people. It gets really old. This...

I agree completely. Oppenheimer and Dunkirk were awful. Intersteller is a modern classic.

Both ways.

And there it is. I give you credit for admitting the 2nd camera is mostly just a crutch to save time and energy creating/shooting/finding interesting visuals that will reinforce the content of the interview. To me, it will always be the mark of a lazy production. :) Please don't take that...

I am exactly the opposite. If a client suggests we need two cameras on a single person, I firmly steer them clear of that idea. I hate watching interviews that cut from one head shot to another head shot of the same person. It looks awful and makes for a boring interview. This is what...

All the more reason to have a long lens. I like to be able to shoot people from a distance without being in their face -- which always totally ruins the dynamics. After a little bit, they forget you are there and don't really know where you are aimed. Plus the compressed DoF and narrower...

The Sony 70-200mm f/2.8 GM OSS II has optical Steady Shot image stabilization with three different modes.

Out of all the lenses I own, the Sony 70-200mm f/2.8 GM OSS II lens is my favorite. Just a really great-looking lightweight lens that perfectly covers the focal length range I like best. With the exception of wildlife and a few other things were I need super-telephoto, I could easily get by...

Actually, I think you are lacking at both ends of the focal length spectrum. If it was me, I'd want at least a 20mm prime for interior classroom/hallway shots. Some people, such as Sam, might even argue you need a 16mm or wider. But for me, I almost never shoot wider than 20mm. In addition...

Yup, I was counting on them to come through soon. I was at the meeting during NAB where they requested CAD files to get the sizing right.

Yes, the ability to shoot 4K @ 120 fps with a good telephoto lens (for wildlife, aircraft, aerospace, sports, nature, etc.) gives me some unique footage most other stock footage producers cannot match. And coincidentally, that is exactly the kind of stuff I enjoy shooting most. If it earns...

Couldn't live without it. At least 75% of everything I shoot for stock is 120 fps or faster.

Nothing special needs to be done. Whatever process you use to set exposure at one frame rate is exactly the same as any other frame rate.

I have zero complaints about the viewfinder on my Z200. Works perfectly.

Yes, the lack of a VF nearly ruins this camera for me. I think there will be some 3rd party solutions . . . but not yet. This was the main reason I was a little relieved when the demo camera Sony wanted me to bring with me to Banff, Jasper, and Alaska wasn't ready in time. I was willing to...