Yes... another 'what camera should I buy' thread.

[olindacat]

There isn't really a place for this, so I'm posting it here. I need a video/audio capture solution that makes financial sense for a non-paying community TV show.

Something that will play nice with Nikon glass (24-70 2.8/50 1.4 Gs), and has ENG-like video cam features, e.g., decent preamps, XLR in, a 5" monitor, etc. (The glass is not a deal-breaker, but I'll take a hit if I have to wholesale that and replace... I know... YMMV on that

Current set-up is a D810 with JuicedLink Riggy 2 channel. I also have a Marantz PMD670 for dual, ambient, narration, etc., using two G3 wireless kits w/stock lavs, a Shure Beta 58A handheld, two Octava Mk-012s, a Rode NTG3, boom pole, blimp, deadcat, one LED panel with eight Anton Bauer Gold Mount batteries, a pair of Gold Mount rig/taps, Petrol matte box, a decent focus assist, various filters.... It works, but the sloppy Riggy stinks to High Holy Hell and I am done with this thing! (Why not get a Mix-Pre? BC I am hoping to do better than the D810.)

At my capture quality level, which is pretty weak compared to most here, the image I get out of the D810 is fine, although I wish I could (obviously) shoot in RAW, and while I have no idea how to grade at that level, I have edited my stills for many years, and love the technology.

So, I plan to replace the D810 for another A-cam video/audio capture device.

The shooting I am doing is daily challenging. I run and gun, often jumping into a golf cart, camera and JuicedLink fixed to my monopod, headphones around my neck, and one hand on the wheel as I shoot and speed along side two golfers who are talking to each other and riding. I am often trying to ride their mics as I ride the cart! They stop. One gets out, I hustle off the cart to get the golf shot, the other chap is often still in the cart trash talking, and then the shot is struck and they speed off. There is no polite, "hey John, are we moving too fast"? No, 'let's wait or slow down'. The whole thing is natural, and happening very much in an ad-lib way. These are volunteers so I can't scream at them to 'stop', and if I make too much of a stick about myself they will tense up! Not much fun....

The RAW codec 'want' is bc light out on the golf course is harsh, and as I am not in control of where the action is happening, sometimes, I can't always ND my way out of trouble like I might if I had a Lee mount or the matte box (impossible to Frankenrig these shoots). The circular ND isn't really very good. Shadows are often super long and invasive, right when the sun is very bright. High contrast stuff.

The audio is victim to heavy winds. The the lavs do pretty well, but forget about a nice fat rich sound, and a boom pole with a monopod? Not a chance! When we move indoor the restaurants are invariably the locale. Refective walls and floors galore. I try to get mics as close to people as I can. The JuicedLink has tiny dials and no meter and I use what I can see on the cam's screen but outside the glare is unreal, and the headphone monitoring on this D810 is horrid. I often can't hear a thing as I have the in camera audio level down as low as possible and the JuicedLink up almost to MAX.

So... I'm looking to move to a proper video camera vs a DSLR. I know there are pretty good (better) DSLR solutions than what I have. I plan to keep the Nikon for stills work, but for video: a change is welcome. I sense, from everything I read, that most video cameras' preamps are NOT very good. Better to use them as bit buckets, like I do now.

That reality had me thinking about tethering the D810 to a BMC Videoassist but it's an HDMI nightmare IMHO as the D810's HDMI port is terrible. I mean it breaks contact a lot!

Same no matter the Odyssey, Atomos, and that SD PIX (which I almost once bought in a fit of GAS)....

So, a move from a DSLR to a real cam, but what? I can't post this on any one brand's subform that's why I'm posting it here, although most here are looking at the new mirrorless Nikons.

Anyway: I've considered the F3 forever, but I worry about cost of repairs if it ever goes. I once had a VG10. It was pretty good but not quite there so I let it go as I was basically facing the same problems audio wise, and I do think audio is probably more important than image, second only to story.

So... I think this puts me into the $5K+ realm, but also know a lot of smarter people lurk here and am wondering if others might be going though similar equipment challenges. I've looked. Daily. Here, on reduser.net, and on bmcuser. I am leaning toward an original URSA. I know it sounds crazy give it is 16# and not a run and gun machine. I actually think it is so huge it might, by virtue of its massive size, fore me (and my friends and show guests) to slow down!

That might not be the best solution. I welcome any thoughts. Thanks for any input... on any decent camera, of any brand, that isn't going to kill me or require double its cost in additional gear.

 

[jcs]

Your current setup is already excellent. Save your money and wait for the A7S III (I had a C300 II for a few years and sold it. Prefer DSLR for run & gun (C300 II sat in the studio its whole life)). "Real" video cameras that can produce DSLR/mirrorless level quality are way overpriced and depreciate massively (that's how you know they're overpriced). BM are decent however I personally would wait (still QC issues).

If you must get something now, look at the Sony A6400, Fuji X-T30, X-T3, and Sony A7 III, possibly the Canon EOS R, Nikon Z6. Wouldn't spend for more expensive gear right now. You can adapt manual lenses and also pick up a native lens for truly amazing and useful autofocus (provide by all those cameras). If you want to stay full frame and get max DR outside (SLog2- works great) along with decent in-camera ADC's, the A7 III is the best deal right now. You can use the D810 to shoot reference stills (in raw) until you learn how to color correct / set up the A7 III (it's not hard, though may take some practice for skin tones- I think it's worth the effort).

 

[NorBro]

The golf cart work truly screams for a small camera with IBIS and excellent AF (which would be the Nikon Z6), but if you're leaning towards the Blackmagic then I would consider the URSA Mini 4K or at least Version 2 of the big URSA.

The reason you'd want V2 is because V1 has the old "sun spot" like the BMPC did and it will turn a lot of your highlights into weird magenta/black orbs if they are too hot (especially all of the specular highlights on golf clubs/metal)...just something to consider.

RAW will also not save you in those conditions. That particular sensor has pretty mediocre dynamic range (today's standards) with 11-ish stops. And it does not clip well.

But with that said, the URSA Mini 4K has the same sensor as the big URSA but it's V2. The main differences besides the big screen is the big URSA has 4K/120p vs. 4K/60p on the UM. (The big one also has 4K 444 and 444XQ.)

There's of course also the 4.6K version but you said original URSA...

Also, IMO, Blackmagic cameras have some of the worst preamps. If you receive a bad unit off the conveyor belt, you may need at least 40-50dB of gain to get something normal around -12dB. If buying used, I'd ask the seller about the preamps (and XLR inputs).

If you forget about having XLRs or a real camera body (not saying you should), you'd have a lot more choices with various trade-offs, but video quality would be great in all of them, and much better than the D810.

 

[olindacat]

Wouldn't spend for more expensive gear right now.

.

Form factor issues are my primary driver, although the less-baked-in image file is also appealing. That said: you've reminded me why I am using a DSLR, even if it isn't the ideal.

 

[olindacat]

The golf cart work truly screams for a small camera with IBIS and excellent AF (which would be the Nikon Z6), but if you're leaning towards the Blackmagic then I would consider the URSA Mini 4K or at least Version 2 of the big URSA.

I had hoped you'd chime in. If anyone on this site has put his money where his mouth is you are the one! Your contributions here are among my favorites....

I have shot with VRI and II 70-200s and always felt the tech was overrated. Just the right shutter speed and reasonably stable technique, even a tree or an exhale helps. Is the IBIS really that good? Maybe it was just my experience with Nikon. Could also have just been my copies, as I know YMMV on QC. Hmmm.

The reason you'd want V2 is because V1 has the old "sun spot" like the BMPC did and it will turn a lot of your highlights into weird magenta/black orbs if they are too hot (especially all of the specular highlights on golf clubs/metal)...just something to consider.

RAW will also not save you in those conditions. That particular sensor has pretty mediocre dynamic range (today's standards) with 11-ish stops. And it does not clip well.

But with that said, the URSA Mini 4K has the same sensor as the big URSA but it's V2. The main differences besides the big screen is the big URSA has 4K/120p vs. 4K/60p on the UM. (The big one also has 4K 444 and 444XQ.)

There's of course also the 4.6K version but you said original URSA...

Also, IMO, Blackmagic cameras have some of the worst preamps. If you receive a bad unit off the conveyor belt, you may need at least 40-50dB of gain to get something normal around -12dB. If buying used, I'd ask the seller about the preamps (and XLR inputs).

If you forget about having XLRs or a real camera body (not saying you should), you'd have a lot more choices with various trade-offs, but video quality would be great in all of them, and much better than the D810.

Here's where I thought patches had remedies that orb issue is all wrong on maps part. Thanks for what I obviously missed over on bmcuser.... A lot of threads I scan and just lose track so thanks for that. I know you had the big Ursa. Was the form factor just too huge for you? If I were to go with the original mini, vs say the 4.6 or pro, would that be a mistake? I've got to admit I can dig back in time but if you have a current (hindsight is 20/20) perspective on those, vs say your first comment about the Z6 (are you shootings with that now?), I'd love to hear your opinion.

I read John Brawley's posts in defense of the BMCs and while I have never owner a BMC, I do like what Grant Petty is trying to do.

 

[NorBro]

Thank you!

The 70-200mm f/2.8L II has my favorite IS of all time...you do or don't like it? (It's a magical piece of glass.)

However, IBIS can work really well. Panasonic and Olympus lead the way, and Nikon's Z6/Z7 stabilization is underrated. (Keep in mind that no other Nikons have IBIS besides those two new mirrorless cameras. Anything else is digital, which is common. That's probably what you tried?)

Here's a video showing IBIS in the Z7: https://www.youtube.com/watch?v=sxfXoGKAjuY

Nikon calls it 'Vibration Reduction'. And then they also have 'Electronic VR', which is the one you don't want to use (and that's in other older cameras).

Regarding the Blackmagics...amazing cameras. I did own the original big URSA V1 and it was one of my favorites of all time, but the weight and size eventually did get to me. It wasn't because of the physical demand (I'm a very athletic geek), but I just couldn't be as creative as I wanted to be. I couldn't run around, or use a normal slider or gimbal...it was just a hassle. If I were operating the camera in a studio, I wouldn't care and would absolutely love using it all of the time, especially because of it's amazing, amazing (twice) 10" screen.

I owned the camera in late 2014/2015 and it was insane for that time and price. Gorgeous cinematic motion pictures. And that could also be said about the URSA Mini 4K/4.6K or UMP G1 (and I'm assuming G2). All of the cameras no doubt provide the most cinematic images for the price. There is simply nothing that can compare for the money, but more importantly it's about what YOU really need in a camera system.

AF is my personal priority and I use small mirrorless cameras like the a6400 and X-T30, but I still think about the Z6. I've rented it.

Did you know it's going to get external ProRes RAW? (Ninja V)

It's definitely not a mistake to get any camera if it can work for you. There's a lot to say about the 4.6K UM or UMP (you'd probably love the ND filters). If you have any specific questions, feel free to ask.

But when someone mentions what or how they shoot is challenging, I think of how great AF and IBIS can really change their life/career.

Side note: The Z6 does not have internal Z-Log (only a FLAT option), so that could be a negative.

Choosing the right camera can be torture but fortunately we have a lot of options...maybe share a list of your top 5 must-have features and we can narrow down some of those choices...

 

[Jaime Valles]

Man, in my opinion the type of shoot you described calls for a fixed lens camcorder. Something like the Canon XF400 or the new Panasonic CX350. Built-in ND filters and XLR ports, servo zoom lens with optical stabilization, no mess of devices hanging off the camera with flimsy cable connectors. What you give up on shallow depth of field you gain in ergonomics and speed. Just a thought.

 

[jcs]

Man, in my opinion the type of shoot you described calls for a fixed lens camcorder. Something like the Canon XF400 or the new Panasonic CX350. Built-in ND filters and XLR ports, servo zoom lens with optical stabilization, no mess of devices hanging off the camera with flimsy cable connectors. What you give up on shallow depth of field you gain in ergonomics and speed. Just a thought.

 

[Mitch Gross]

I agree that for the run-around shooting described that an all-in-one camcorder makes the most sense. The Panasonic CX350 is a pretty impressive new camera, with built in stabilizing on a 20x zoom (24x with digital zoom engaged) that gets both wider and more telephoto than the competition. It’s also incredibly lightweight and the battery will last for many hours, and that’s not something to disregard when it’s all down to you running after your subjects. You’ll get much better footage if you’re not struggling, fatigued, and fighting your tools. There’s a reason for cameras of this type.

https://youtu.be/ssu7gLJ_JHo

 

[olindacat]

The 70-200mm f/2.8L II has my favorite IS of all time...you do or don't like it? (It's a magical piece of glass.)

The lens is stellar. I rented the FL ED version last November while reshooting a lot of golf out at Kaanapali and loved it. I was just thinking (out loud) how the VR seemed as thought it wasn't even there (might be that I wasn't moving enough to notice?)....

However, IBIS can work really well. Panasonic and Olympus lead the way, and Nikon's Z6/Z7 stabilization is underrated. (Keep in mind that no other Nikons have IBIS besides those two new mirrorless cameras. Anything else is digital, which is common. That's probably what you tried?)

I have been trying (unsuccessfully) to keep away from the Z6/7 as they are early adopter tech that might come down in price and I will have to jettison all of my glass, or use old lenses on that juicy new mount, thinking I will wait for V2 of everything, so they (Nikon) can work out any kinks. I've been reading about it a lot. Am on DPreview almost daily as well. Kind of nice to hear you write so enthusiastically about it. I have been shooting Nikons a long time and am a bit miffed at them for allowing Canon (and seemingly everyone else) to hog on the video sphere.

Here's a video showing IBIS in the Z7: https://www.youtube.com/watch?v=sxfXoGKAjuY

Hands on Photography guy seems nice. I am probably in his shoes. I would have liked to have seen him walking with it. A gimbel has been in my mind for some time. I start worrying about GAS and as I am not billing for anything I do, it begins to become a little worrisome to start eyeing these toys. Very addicting.

Nikon calls it 'Vibration Reduction'. And then they also have 'Electronic VR', which is the one you don't want to use (and that's in other older cameras).

Yes, I owned the original VR 2.8 70-200 and would shoot some golf action with a D2X, on a monopod, often with a longer prime and second back. Maybe I was numb to it, but never felt like VR reduced a whole lot. (Could also be my technique was the problem!) I sold that VR1 70-200, and also my 14-24 so my holy trinity was broken up. Then rented both lenses late last year anyway ha!

I just couldn't be as creative as I wanted to be. I couldn't run around, or use a normal slider or gimbal...it was just a hassle.

I hadn't thought about a slider. Hmmm. I too remember when that camera came out. It was 5, maybe 6K. I was really on the verge of buying it. I saw them come and go in people's bags, read them saying what you are saying, but few really trashed it. That gimbel/slider/hassle remark sticks though.... Thanks.

I wouldn't care and would absolutely love using it all of the time, especially because of it's amazing, amazing (twice) 10" screen.

I would sow that screen to my wife to justify my GAS. She'd say 'buy it', and I sat there thinking about the fact that I am NOT like you, John Brawley, DPStewart, the hundreds of real cinematographers here, and how much of a mockery it is for a relative idiot to be out there with such equipment when he/she is so out of control with his subjects, etc. (The best stuff I see usually involves total absolute control, especially over light, sound, movement.) Then I look at the price, and I wonder....

AF is my personal priority and I use small mirrorless cameras like the a6400 and X-T30, but I still think about the Z6. I've rented it..

I'm not sure about the sensor tech on the Z6/7. I need to look back. I think I felt like I was getting what I already have but with a new mount, I'd need new glass, and some improvements with these two. The Z6 is the more video-centric of them.

Did you know it's going to get external ProRes RAW? (Ninja V).

I was reading (I think it was on Reid's site eoshd) that Atomos had something coming. This is why I threw this thread up: because even with me dropping in here almost daily I still can't keep up with it! I was looking at an Atomos or Odyssey or Videoassist for both audio and capture. The sexier image capture is (for me) great, and I would love RAW of some shape or size or flavor, but that audio is what had me (long ago) looking at the SD PIX units. I think the Videoassist is interesting bc it has those robust Mini XLRs right? Those 1/4 mini audio plugs (unless they are threaded like on the Sennys) wriggle loose and I am not aways aware and it can ruin the moment....

I think of how great AF and IBIS can really change their life/career..

That's a formidable comment and will have me rethinking my attitude about IBIS now.

Side note: The Z6 does not have internal Z-Log (only a FLAT option), so that could be a negative..

Similar to what I am shooting with ow in the D810 then? I am able to lift shadows in pretty poor light, color correcting isn't to horrid. I shoot flat as a rule.

Choosing the right camera can be torture but fortunately we have a lot of options...maybe share a list of your top 5 must-have features and we can narrow down some of those choices...

I think the reason I made this post is because I can't find what I am looking for and it probably doesn't exist. (Right tool for the job.) Hence, I know there are compromises. I think the audio guys would eat me a alive here on this site if I talk too much about audio but it really is 70-80% of what we 'see'. I have spent about as much on that as I have for an imaging box, if not more, and I have made money with every camera I ever owned, but have not with audio. (That's how hard the discipline is! So, my top 5 list is slanted toward audio, but I get the sense that it (on the bulk of affordable , e.g., sub-$5K cameras) is still an afterthought, which is why I began this paragraph by saying what I want may not exist (?). If it does, I'm probably there.

1. Good, clean audio preamps and analog dials to easily ride mics
2. Robust connections for audio. (If 3.5mm or 1/4" are any threaded?)
3. Good monitoring on camera.
4. Affordable media and power.
5. All-in-one: no need to bolt cheese plates, rails, arms, and everything else I already own to it (this is what makes RAW unattainable, except maybe for the Ursas).

 

[olindacat]

Man, in my opinion the type of shoot you described calls for a fixed lens camcorder. Something like the Canon XF400 or the new Panasonic CX350. Built-in ND filters and XLR ports, servo zoom lens with optical stabilization, no mess of devices hanging off the camera with flimsy cable connectors. What you give up on shallow depth of field you gain in ergonomics and speed. Just a thought.

+1 (million).

I can use the D810 all day long with a fast prime wide open for the shallow DOF until I am purple. It really has a place but is it 'telling the story' any better? Do I really rack focus a lot? No. My 'art' is primarily crude, rude, in your face video. I am not on Netflix or HBO and never will be so I think you are spot on and I plan to look at these cameras now. I don't know if they have fat files but if they do, even if not RAW per se, I might just bite. The world of video is so complex, just the SONY choices alone are overwhelming. I see everyone going hog wild over the Fujis and wonder if I really want another system (lenses) and while they are jewels, do I need more? The fixed lens is at least keeping the 'new system' to a lower roar. The two models mentioned are very helpful Thanks.

 

[olindacat]

The highlights esp late day water bg (behind the branches) as well as the morning fog are more than adequate. The notes in post were a big help too, and that crop at the end isn't noticeable unless you really start peeping. Thanks. I just had a feeling video cameras were getting better. I don't know about the duo on these units. I may have to resort to the (dare I do it?) audio sub-forum (yeeeesh!).

 

[olindacat]

I agree that for the run-around shooting described that an all-in-one camcorder makes the most sense. The Panasonic CX350 is a pretty impressive new camera, with built in stabilizing on a 20x zoom (24x with digital zoom engaged) that gets both wider and more telephoto than the competition. It’s also incredibly lightweight and the battery will last for many hours, and that’s not something to disregard when it’s all down to you running after your subjects. You’ll get much better footage if you’re not struggling, fatigued, and fighting your tools. There’s a reason for cameras of this type.

https://youtu.be/ssu7gLJ_JHo

Hi mItch. You've always been a big help to me in the past so it is like seeing an old friend here with this helpful post. I am only a 45 minute train ride to GCT and a couple of tubes over to B&H so I might have to put this thing into my hands and give it a look. I will try to search around for these units and comments from audio guys, but my audio abilities are bottom of the barrel comparatively so I'm sure the JuicedLink/D810 bit box combo isn't much better! (I guess that guy imploded, eh? Sorry to hear that.... Kudos to him for making those things. I hate their mounting but still use mine to this day....)

Financially: I had hoped that the DSMC concept over at RED might have caught on and I guess the DSLR MO I have deployed has been out of a desire to keep costs down but the form factor issues I've posted out lease me right straight back to the old axiom everyone here repeatedly tells us: use the 'right tool for the trade'.

Thanks, Mitch.

 

[olindacat]

Something like the Canon XF400

Was reading http://www.dvxuser.com/V6/showthread.php?357820-My-Canon-XF400-review-Not-good-for-my-needs

That hunting AF has me scared stiff! One thing I know is I can stop a lens down in daylight and even my bad eyes can focus enough. I was indoors the other day, a trade show, and my wife was interviewing dozens. My focus was all over the place but I was able to use all of it thanks to knowing where I was in terms of the DOF. I am to too skilled re gain but assume it is a similar principle. That is always my concern with auto anything, but tech is amazing and I know you have that 1DX which I hear has great face tracking. The smaller 1" chips, and even smaller, gather less light but do give you more in-focus reliability in fast-moving situations as I am describing. Have to imagine the audio in your space when shooting was a challenge.

 

[robfilms]

that panasonic cx350 and the sony nx80 look pretty interesting as run and gun tools.

since much of what you describe is being shot outdoors, full frame or even crop sensor light gathering ins't a major requirement.

the current technology regarding 1" chips is pretty good.

if you are not worried about light or high iso, then it's about AF and ergos.

built in nd, good af, xlr inputs, quality audio pre-amps, some form of is, capable vf and lcd screen in bright sunshine, those would be on my list of needs.

the sony is less than $2500.

the panasonic is $3700 but seems to offer some ergo advantages for the price difference.

thumbs up.

rob
smalltalk productions/nyc

 

[NorBro]

Although I personally don't use them, it does sound like a fixed-lens camera is really worth looking into...

___

Just another side note about the Blackmagics regarding audio: The big URSA may exhibit some issues with crackling in the sound at random times, and its levels could also be inaccurate on the screen and appear much lower than what you're monitoring.

This is the problem with new cameras from a small team (at least back then) and quality control.

Today, maybe you'll find 1000/1000 of their cameras to be perfect, but just keep the above in mind.

 

[olindacat]

that panasonic cx350 and the sony nx80 look pretty interesting as run and gun tools.

since much of what you describe is being shot outdoors, full frame or even crop sensor light gathering ins't a major requirement.

the current technology regarding 1" chips is pretty good.

if you are not worried about light or high iso, then it's about AF and ergos.

built in nd, good af, xlr inputs, quality audio pre-amps, some form of is, capable vf and lcd screen in bright sunshine, those would be on my list of needs.

the sony is less than $2500.

the panasonic is $3700 but seems to offer some ergo advantages for the price difference.

thumbs up.

rob
smalltalk productions/nyc

Your multiple angle shots on white background talking heads are really well done Rob. I saw how much effort you put into the scene at the bottom of your Portfolio page. Looks like an FS-series camera. I remember when they came out with the FS100, I so wanted to buy that camera after using a VG10.

I am just about through with the big thread on the cx350 so thanks. (Need to watch that APNTV review https://www.youtube.com/watch?v=v-MCq3tiF_c as it might help me a lot.)

I didn't mean to say ISO or indoors was not important, as it is, but most golf does 'happen' outdoors. Here is the twist: during winter and much of the shoulder season it moves inside. So, I'm going club fittings, workshop repairs, and simulator stuff, interviews, etc. (I shot a bunch of exhibitors with my wife and dog at a trade show at the CT convention center last week and with that D810 and JuicedLink spinning around under the camera it was lots of fun shooting mushy flat ugly footage! While I have only myself to blame for the shite workmanship, the form factor even in that relatively benign environment is a misery.

Thanks for the help. Are buyers of this camera looking to use the 4K in post for added reach/intimacy in shots (I wonder aloud...)? I have used my D810 for those purposes as a lot of landscapes on the golf courses were over gulches where no donkey (especially me) will roam....

 

[Imamacuser]

Is 1080P sufficient or do you need UHD?

The following cameras come to mind, but I haven't shot with them:

Canon C100, possibly one with DPAF.
Panasonic DVX-200
Sony FS-5
JVC GY-LS300

Panasonic and Sony make hot-shoe XLR adapters for their mirrorless cameras, which might make a GH5 or A6500 more viable for you.

 

[olindacat]

Although I personally don't use them, it does sound like a fixed-lens camera is really worth looking into...

___

Just another side note about the Blackmagics regarding audio: The big URSA may exhibit some issues with crackling in the sound at random times, and its levels could also be inaccurate on the screen and appear much lower than what you're monitoring.

This is the problem with new cameras from a small team (at least back then) and quality control.

Today, maybe you'll find 1000/1000 of their cameras to be perfect, but just keep the above in mind.

Have you migrated away from the BMCs? The only fixed lens video capture device I've owned is a Canon camcorder from Costco I paid less than $200 for, and an iPhone/iPad. I did once buy a VG10. It was interesting as it was a poor man's version of the FS100. I was really too new to appreciate that camera but got great shots out of it. At the time, I was looking at bigger and better, and knew it was depreciating quickly, and was uncertain what I wanted to do, so I sold that .

Then I drilled down more, spent a lot of money on stupidity, and ate some humble pie and have just used the Nikons ever since. The Nikons gave me the ability to use one system for work and fun and to change glass and have different compression and control, which is familiar and to a degree comforting.

I know the form factor is a killer, so the notion of a run and gun camcorder is probably the right tool for that job (CAPs intended). Big learning curve for a DSLR guy, so I am only just reading more about the 1" cameras suggested here and am gleaning a lot of what people are feeling re auto focus, auto everything and less manual zoom. My initial impressions are an oversimplification, obviously.

I say +1 (million), re a camcorder, more out of the misery of the form factor of rigging, is one leaning (now I see why these threads exist, oh boy). The look is wholly another story. Unfortunately, I do not see myself buying a Raven system anytime soon, so the BMC has been on my radar a long time. The Sony F3, FS, VGs before that. I know the big guys here use Varicams, F55s, Amiras, but for the weak and meek a used Ursa anything is hitting the big time, but a camcorder is probably the right 'tool'. (A BMC a tool for making 'movies' or real 'cinematographic art'. Is that fair?)

The fact that you are shooting Fuji, after your time with BMC, is revealing. It shows me you have run the gamut with regards to interchangeable lens tech.

(At least I know I'm getting sage advice on that front, from you!

 

[olindacat]

Is 1080P sufficient or do you need UHD?

The following cameras come to mind, but I haven't shot with them:

Canon C100, possibly one with DPAF.
Panasonic DVX-200
Sony FS-5
JVC GY-LS300

Panasonic and Sony make hot-shoe XLR adapters for their mirrorless cameras, which might make a GH5 or A6500 more viable for you.

Reach is the only reason I'd honestly need anything beyond 1080P yes. I cheat and would use that extra file size to make up for either shoddy/rushed composition, or impossible mission shooting, which can happen when you are on the opposite side of a ravine or green.

The GHs I've followed for years. Only because I was so wedded to Nikon have I not gone to Panny, as they make beautiful images (or their operators do). I know the A6xxxs are beloved value cameras. I did not know they had the XLR adapters. I did know about the GH adapters. They had me very close to moving. I just didn't want to go MFT for stills as I still do a lot of print and some shots wind up on LF printers as wall-mounts in pro shop walls, etc., and I also use the larger files for crop, and those bigger sensor photosites supposedly improve DR, which I sorely need when foreground is dark, in lieu of the distant surise/sunset sky, even with grad NDs.

So, the GHx and the Sony 6xxxs would move me into having two DSLR rigs, and could adapt lenses if I went that route. Suppose I could bone up on their audio pres to get a sense of how people feel about them too. Just not sure about the whole DSLR proposition....

I know a lot of Cxx popularity here, and for good reason. I'll never forget the Mark 5s. Stunning. The thought of selling my Nikon glass to learn Canon, ugh. If that is my only option I may do it! (I don't think it is.)

Remember the roll out of the DVX200. But in reading about the cx-350, and Barry Green's talk about how it (the cx-350) merges all of the good and fixes the missing (I am loosely paraphrasing him here) from prior Panny cams, it makes me wonder if I'd be too far downstream (too late in that tach) to go that route (I see they are still retailing so I guess not)? I'll bet there are a lot in the wild now with tons of threads to learn from too. Thank you!

JVC's LS-300. I remember when that came out too. Been a while as well, right? I'll look into that too. Very helpful to have this research list growing....