The Top 5 Documentary Cameras at Sundance 2024

🎥 LEVEL UP YOUR DOCUMENTARY CINEMATOGRAPHY. LEARN TO SHOOT LIKE A PROFESSIONAL 🎥 bit.ly/3YkuBcL
📱 GET HELP FAST: SCHEDULE 1:1 CAREER DEVELOPMENT OR CONSULTATION CALL WITH ME📱tinyurl.com/3b9k9h7
What are the go-to documentary cinema cameras for the cinematographers behind 2024’s best documentaries at Sundance?
And don’t forget to grab your LIFETIME Audiio Pro Plan for just $199 using the code Luc199. Or save 70% on 1 Year of the Pro Plan using code Luc70: audiio.com/lucforsyth #filmmaking #gear #audiio #musicforvideo
👇🏻MORE RESOURCES FOR FILMMAKERS 👇🏻
📘LIFE-CHANGING ADVICE FOR FILMMAKERS (FREE 70-PAGE EBOOK) 📘: tinyurl.com/ax9c3kkf
📽 A FILMMAKER’S GUIDE TO LONG TERM CAREER PLANNING (FREE 5 DAY CHALLENGE) 📽: bit.ly/40ZS9GC
📖 THE DOCUMENTARY FILMMAKER’S NETWORKING GUIDE (FREE DOWNLOAD) 📖: bit.ly/3VIA7Vm
🗞 FREE MONTHLY TIPS FOR FILMMAKING, GEAR, AND CREATIVE LIVING 🗞: bit.ly/3imiDAj
📝✅ ESSENTIAL GEAR PACKING CHECKLIST (FREE DOWNLOAD) ✅📝: tinyurl.com/ycknfa7j
🤘 WHERE I GET MUSIC FOR MY VIDEOS (Luc70 for 70% off!!!) 🤘: audiio.com/lucforsyth
🔗 LINKS FROM THIS VIDEO
Save up to 70% on 1 Year of Audiio Pro (code Luc70/Luc199): audiio.com/lucforsyth
Indywire Article:www.indiewire.com/gallery/sun...
CHAPTERS
0:00 - Intro
1:48 - Full List of cameras
2:33 - What surprised me from that list
3:45 - First take away from the cameras selection
6:02 - A word from today’s sponsor
7:16 - Why this particular camera is not in the list
13:10 - Final thoughts
🎥 🔥 📷 GEAR I USE
MY ACAM: amzn.to/3CsrOoy
MY KZbin CAM: amzn.to/3TcW12m
BEST DOC TRIPOD IN THE WORLD: bhpho.to/3VD3Gsn
MY FAVORITE CAMERA BACKPACK: bit.ly/3yTAJPh
EXPEDITION BACKPACK: bit.ly/3MEkco2
KZbin LENS: amzn.to/3CuSl4x
PRIME LENSES: amzn.to/3CuVrWk
CURRENT DRONE: amzn.to/3VUUiQk
KEY LIGHT: amzn.to/3MzpsJn
SHOTGUN MIC: amzn.to/3hVwVnL
COMPUTER: amzn.to/3HXNwlE
CRAZY GOOD POWER BANK FOR FILMMAKERS: www.omnicharge.co/luc
Some of the above are affiliate links, but all are personally vetted and recommended
✋ SAY HI
Email (business inquiries only): [e-mail]
Web: www.lucforsyth.com
IG: @lucforsyth

[@chipcurry]

I love to say "a camera is like a saxophone" the quality is important, but the handling of it is where The real work is done.

[@HGQjazz]

Ha! I get it, because I play saxophone and do videography! GAS is alive and well in the saxophone community too!

[@Tommy_Beal]

I bought an FS7m2 at the beginning of this year because you recommended it so highly. It’s my A-cam and has brought me enough work to stay busy fully-time as a freelancer. I’ve got to shoot for Comcast multiple times with it, I DP’d a biotech shoot a few weeks back with it, and lots of other shoots! It’s been super solid, and I don’t think I’ve lost a single good shoot, because I’m using an older model camera.

[@MichaelDavis-ew8gg]

FS7m2 is legendary. One of the best do-anything cameras ever!

[@Tommy_Beal]

@@MichaelDavis-ew8gg I'm loving it!

[@Brian-Hansen]

Thanks Luc. Basically what I’ve learned is just shoot on whatever the heck you want to that you like, and then you will actually shoot stuff. The brand you like is the best camera to shoot on. Don’t worry so much about anything else and get out and shoot!

[@laurenoe]

As an FS7, FS5 and FX3 (and FX30) shooter, the camera I reach most for is the FX3. Its small, can be put on my gimbal and aside from a variable ND leaves nothing to want for. I do wish for a BNC timecode connector, and a viewfinder but that's about it. Maybe the new FX camera they are talking about will give me those things.

[@AndyLSB]

Would you say an FS5 is still worth getting ? The mkII

[@ChestiiPrinAmerica]

Why do you need a viewfinder? I have one on a7siii but can't find a way to enhance my filmmaking. Never used and courius where others find it useful.

[@malmomotionpictures]

There is a Tentacle Sync E cable that works to get embedded meta data time code with the FX3 and A7s3 now. Not BNC, but still.

[@mystarafilms]

@@ChestiiPrinAmerica I suspect they mean one more like those found on ENG cameras, or on Arri's cameras.

[@RustyShackleford9000]

I just got an fx3, so stoked to use it more. I love it so far

[@dr.gregoryf.maassen2637]

It totally makes sense for filmmakers to stay with a camera if they like the form factor. I shoot with Canon C70s and see myself using them in 10 years. I understand anyone who bought a C500 in 2012 that they keep on using it if the client allows it. Netflix for example has minimum camera standards for commissioned work. I am happy that you address RAW. The workflow for independent filmmakers like me is already complex enough and we don't need to add more with RAW. You also address Sundance as a market that is out of reach for many filmmakers because of the costs involved producing competing documentaries. So true. Sundance is not a market for one men/women filmmakers. Neither is Hollywood. We have many excellent documentaries that are specifically filmed for other markets, such as public television. This is a totally different market with equally impressive documentaries. I would love to see an analysis of camera equipment used for these more accessible markets. I wouldn't be surprised to see lots of old gear as well. Thanks for sharing your wisdom. Your channel makes perfect sense.

[@LukeChristopherPhoto]

Check out the Vision Color custom Canon color profile. It does not crush the blacks and looks great SOCT. I looked at C70 but find the R3 more useful with my lens lineup. My DP friend in LA uses the R3 for side projects but hands over the card in 6k Raw. He does not have to edit those files.

[@JojoJoget]

Well docu work don’t usually use RAW for logistical reasons.

[@juliusherth]

look how beautyful Porcelain War shot with Bmpc4k as A and B cam looks.

[@Valleedbrume]

FX6 does the job for me,regardless of its age.Even shoot sports with it.Customers love it.Fx3 is the best B-Cam and in some cases .

[@BarryMaskell]

It’s not what you make it’s what you save $$

[@teddygage6623]

It's age? It's barely 4 years old

[@rgleesonrgleeson]

I disagree with the premise of why there aren’t FX6s on the list and believe it has far more to do with how long these films take to make, the FX6 is somehow still too new and hypothesize that we’ll starting seeing FX6s on these types of lists in the coming years.

[@kilikdudley]

Definitely, it's got benefits versus the FX9. I'm finishing my first doc with the FX6, but only half the shots are from the FX6 (the past year since I've owned it)

[@dr.gregoryf.maassen2637]

We will see more C70s as well over the coming years. There is no reason to just use it as a B camera.

[@sammorganmoore]

For sure. I think a secret is a bunch of fs7 owners bought the fx9 and six months later the fx6 dropped. smaller, better at, better for doc but thet meant to sell the 9 at a huge loss!

[@noBfilm]

@@dr.gregoryf.maassen2637 its all about the kind of film / how do you use your cam and the form factor. c70 (fantastic picture quality) will never be a good shoulder cam, no matter what rig you are using. and in most cases, you need to be fast and flexible, you can't operate a franken rig when you need to be fast. then its fine on gimbal - but that's a other style.

[@RobertsIslandLivingAdventures]

True, I wanted to buy the FX6, but wasn’t available for a long time. I got the FX3, and I’m happy with it.

[@BrianElliottFilm]

Form factor and usability is everything. As a wedding and local internet commercial/social media content creator I went from the FX9 - much as I loved it - to the FX3 and FX30 because that's the form factor that works for my projects. Low profile, small, mobile, cheap media - makes sense. But if I was primarily shooting bigger docs, something like the FS7 or FX9 would make so much sense. I actually quite appreciate the Super-35 of the FX30s because of some of the lens options. All to say - knowing how you like to work and what works for what you're shooting is key. Unless you REALLY screw up your images (in which case you have bigger concerns) the end viewer will have no idea what you filmed with and won't care.

[@rakeshdharan1571]

I use Panasonic DVX200 for my documentary projects.

[@Lu-sj6ni]

a person of culture!

[@BarryMaskell]

It’s the camera you have with you

[@Brian-Hansen]

Me too, I pair the DX 200 together with a UX 180 and an S5 and it works awesome.

[@DineshBhadwal]

Panasonic started strong with their proper cine style video cameras like DVX and then something happened. I guess Sony just crushed the market with aggressive pricing.

[@rpace]

Great video! I couldn't agree more. My setup is an FX9 and FX3 and for TV and Doc work the main to cameras that I see requested are still the FX9 and FS7.

[@alejandroramirez_FoodScapes]

Great channel! I've been following it for some time now and will continue to do so. To have more fun I propose to play a game: take a shot every time Luc says, "as a cinematographer with more than 10 years of experience..." SALUD!

[@anirudhtd7193]

I think GH7 has incredible potential to be a great documentary camera

[@marcogava9047]

Agreed. Just coped that.

[@bradylawrence3201]

I would say "Don't chase tech and don't sleep on used gear." pretty much sums up my ethos around cameras.

[@scottievee7467]

I got a C400 coming. This will keep me happy for years.

[@chakk0]

I just updated my 3 year old c300 mark 3 today and thought the same

[@scottievee7467]

@@chakk0 I'm selling a C70 and an R5c to offset the hit. Much better suited for my uses.

[@chakk0]

@@scottievee7467 I have a Gemini and a r3 as well and i love every cam. C400 feels not so right for me tbh

[@CCD-dreamcore]

g.a.s.

[@mauriciolee7349]

Thank Luc for such an INFORMATIVE video. The 3 pieces of information that benefit me the most are: Native time code capability, at least 2 channel XLR audio input, Crop sensor is good enough - Most of the good documentaries are shot with this sensor size.

[@domenicorenzetti]

GREAT video, as always!

[@batesarch]

Great advice, as always. Thank you Luc. 🙏✨

[@david_does]

Absolutely love your content man. As someone just getting into all of this your videos are always super insightful🙂.

[@KBTfilms]

Thoughts on why filmmakers aren't using Blackmagic Cameras? I love my URSA Broadcast G2. It has the reliability of the other big players, all the same professional connections, and excellent color and image quality. Sure its not full frame and sure BMD doesn't have the prestige of the other players but its a great option for a lot of filmmakers. Awesome video!

[@LukeChristopherPhoto]

Lack of reliable auto focus.

[@dewbzki]

Supposedly a lot of their cameras aren’t that reliable on the field due according to some people. But it’s whatever, just use what you want

[@tom_cressey_dop]

@@KBTfilms As someone who owned Blackmagic cameras, I think it comes down to durability and lack of features. Blackmagic cameras are really good but they’re not that tough. The FX9 and FS7 are like bricks, the Ursa while heavy just isn’t as sturdy and that giant screen is just waiting to be broken if your working on something like a travel or adventure doc. There’s also little things like the audio controls not having a lot of features broadcast productions need, most sound guys I know hate Blackmagic because getting time code to work is laborious. Lack of an ECS shutter mode, the inability to have two different recording levels for the same audio channel and few customisable controls were often big problems for me.

[@meanmarine24]

I don't have experience with the URSA Broadcast, so i could be speaking wrong here. My take is that the primary feature of BMD cameras is just very high bitrate RAW, but everything else is left behind in terms of ergonomics and usability.

[@brokenorbiter]

One sundance doc is shot with BMPCC4k as a and b cam and looks pretty good (Porcelain War).

[@WhySteve]

The quality of tech is getting so good thesedays. I went to an expo the weekend and put a $4000 cine prime on my Fujifilm X-T3 and of course it looked better than my kit lens, but not $3000 better. Granted, the camera it's matched with will make a big difference, but considering somebody filmed a great looking award winning feature on a Panasonic GH1 a few years back "proving" that it's about the glass and not so much the body, to me, all I'm seeing is that you can do some crazy cool stuff with some crazy cheap gear that is crazy good considering.

[@emre8130]

I try to preach glass is more important but It falls on deaf ears. But what do i know!?

[@WhySteve]

But that's what I'm saying, I've heard it many times but with image quality being so good these days, I don't see the worth in paying thousands of dollars more for a lens that isn't much better in image quality. Maybe my fuji glass is just good 🤷‍♂️ maybe I'm spoilt that way, or maybe, in this day and age, it really doesn't matter all that much anymore.

[@rafaelguetta1139]

Love your channel matey. I travel the world filming short docos and I use FX6 and A7s3.

[@B-Moye]

Great video with a lot of great points

[@graphstyle]

The FS7 is still a very good camera

[@H2o3G2a]

That's why I bought the Zv-e1 and If I had the money I would have gone for an fx9 or even fs7. In my mind, once the tech reaches a certain level, most upgrades are about usability and not the end result, so I never really felt like there is any reason for me to spend a bit more and get an fx3 since it will also need just as much to rig as the ZVE1 to get it to that sweet spot. I want either a heavy, mechanically feature rich camera out of the box or the cheapest version of a good sensor and rig it myself.

[@filmmakerevolution]

Nice I have a top 5 camera! The FX30 does also is a great b cam for my FX3

[@HuFilms]

Super video Luc. I've used mirrorless style Canon cameras for years as it suits my hybrid style work but I think I'll try and get the c400 if I can afford it. I feel it'll be a great doc style cam.

[@storiesbyleah]

I like the breakdown! I’m a canon shooter, still rocking the c70 ❤ I’ve also used the RED Komodo for our feature doc

[@fishbonemultimedia2003]

Interesting analysis! As always, your videos are food for thoughts. (Imho the Best channel about documentary filmmaking) As you expressed your interest about the Fx6, just wanted to let you know that the camera is actually capable of shooting S35.

[@LukeChristopherPhoto]

Really looking forward to the C400, but for now my R3 works wonders. How many of you shoot in Raw vs Log vs custom color profile similar to S-cinetone? I have a Canon profile called Vision Color and it works great, no crushed blacks but not flat either., works great SOTC.

[@scotey]

Love your sensible, real-world takes on gear, Luc. Documentary is as much about logistics as it is image quality. BTW, I wonder if the FX6 didn't show up as much because its release date was only four years ago. When you consider the timeline of pre-production, production, and post, I'd bet some of these projects were hatched when the FX6 was not yet a proven camera. But your points about form factor make a ton of sense. Super interesting topic either way.

[@brycheiniogfilms]

Slightly confused. You mostly use the FX9 in Super 35 Crop mode with super 35 lens. Yet use the FX3 as your B camera. Do you use the FX3 in crop mode even though it’s limited to 1080? How do you reconcile the footage? Great interesting video btw.

[@chickenwarrior9991]

Yup. It’s not that the camera doesn’t matter…it’s just that what most people think matters most about a camera doesn’t matter much at all. Been using a Panasonic Eva-1 for the last 5 years and no intentions of switching it up for doc work anytime soon.

[@dlyon9673]

Thank you for this very interesting and informative video.

[@baerichardson]

Pair that FX6 with the Ranger/Ranger Lite 28-75mm.....great Documentary starter as a solo artist, for almost all coverage. Order in, wish me luck! Great channel btw.

[@dgillphotos]

Fight! Fight! Fight! Fight! - I agree - the camera's don't matter as much these days. I'm just starting out but as a photojournalist i was always a step or two behind the camera curve - using a generation or two removed from current. It was always more important for me to be there over be there with the perfect camera (which does not exist). Every camera will always limitations but the biggest limitation is usually the shooter. Shoot more - push the bounds of your craft - light weight gear allows us to be there longer.

[@DroseMr]

Nice🎉Thank You

[@DamienFinn]

Luc, you're the best. Nuff said.

[@FilmRunnerMedia]

I've been following your channel for a few months now and the one thing that stuck out to me the most from watching your b-roll footage has been your choice of cine-zoom lenses, which honestly I know nothing about. I have some Sigma Art's and a few cheap fast cine primes, as well as lots of other photo centric lenses, but I'd definitely like to learn more about your cine-zooms, and what are some good options for a C70 shooter. I don't have experience using Sony but you're completely right that the shape of the C70 makes it extremely awkward to try to rig, while also being extremely useful when trying to pack light. I find it to be pretty economical for a cine cam, though, because it uses SD cards and has great image quality but relatively small file sizes. I love how your videos are just chock full of practical advice. Thanks, Luc.

[@walkingmanvideo9455]

I am still shooting interviews with my FS7 1st Gen. It works and travels well.

[@nickxc]

I shoot with an amira and though it is a great solo operator camera, it is stupid heavy. Once you add a lens and battery it's more like 15-20lbs. I just had a week long run and gun shoot just running the camera on my shoulder and handheld and it just wrecks your body. That said for this project i thought it was worth it. The next camera i use the most often is the c300 mkii and it is depressingly true that 95% of people neither notice or care what camera or really what lens youre using.

[@anirudhtd7193]

What do you think of the new GH7? It can do some great stuff!!!

[@mickandtrudie]

Can’t believe no one‘s mentioned the Panasonic S5iix I shoot all my documentary films with it and an old Gh5 for b-roll

[@marcogava9047]

cool to read this! I'm a Panasonic user as well. What do you think about the new GH7?

[@mickandtrudie]

@@marcogava9047 i’m going to buy it. I’ve got a lot of lenses for the GH5

[@erichroepke502]

Sweet video! How do you think the C400 will fit in this mix? Closer to the C300 or FX6?

[@LoungearoundTV]

The creator film was shot in prores raw externally. So yes, for great image quality, u will need Raw. Burano is amazing for internal Raw - not comparable to the fx series. Shooting a whole doco in Raw

[@DavidHaverty]

what is the name of that high pitched sharp sound effect at 0:06 I have been searching for a clean version of that for months but don't know the keyword to find it. Reverse glass break?

[@jasonayers7458]

In regards to your one on one calls, if I had two 15 minute films I would like you to watch and review with me, would that count as 30 minutes towards my call or would we still have the hour in full?

[@RobertsIslandLivingAdventures]

A lot of concerns for time code, but my Davinci editing software matches up the clips beautifully.

[@billmakesmovies]

I have an FX6 and love it more every time I use it. FX6 stripped down with the BP-U70 is actually really comfortable to use, but then again it’s great built up too. I tend to keep it built with rods, cage, and V mount plate the most. I keep the 24-105 kit lens on it. The 28-135 PZ ruins the economics. Hoping we see a 24-105 F2.8 PZ lens some day. I also have the FX3, and would rather grab the FX6 most of the time. FX3 stripped down with the 16-35PZ is actually really fun though. It just works where speed and weight matter most. Use it a lot for KZbin stuff. Build it up for B cam work. Still after that I have an XF605, which is its own special thing. I’ve been enjoying the days that I grab that just as much as the FX6. Interesting times for camera ownership and options! I have all of the camera I could possibly need for many years to come I think, so I’m prioritizing buying glass and lighting now. I have been considering buying an older FS5II and maybe an FS7II, because let’s face it I’m a gear junkie, but I don’t know. Maybe. I also wouldn’t mind being a day one FX9II owner. I think there is something to owning a camera like the FS7/FX9 that you don’t get from having the smaller cameras. I’m thinking we’ll see an FX9 in a year or two, which would be perfect for me. I don’t think they will ditch the FS7/FX9 slot in favor of forcing people up to the Burano, which I personally think is a bit of a miss.

[@AndreCostaco]

The fx6 is a perfectly convertible shoulder camera. I would agree with super 35 tho, but plenty of beautiful glass that is full frame out there. Its still small enough to put on a gimbal, and still big enough to shoulder mount. I dont think that ergonomics are the reason for the camera not being seen on the list.

[@cormacwdoherty01]

Just realised your desk seems somewhat uncomfortably high

[@ErikLysak]

Hey Luc, been watching your videos for a while. I have a question about how you would go about renting out your camera, I own a FX6 that I got as part of my tuition. I understand you would rent it to the person that is hiring you, but I am a solo operator and am expected to bring my own gear to get the project done. Is there another area/field where I could rent my gear out when not working on a project?

[@vidfolio]

@Luc Forsyth I see a lot of shots where you have sunglasses on, how does that work for you?

[@KDBroadCastings]

I own a Z Cam E2-M4 fully rig’d up (over $18k) Best camera that I have ever used (iso range is insane)

[@AnotherOtherMan-alive]

I'm kinda surprised in a way that no M4/3 cameras showed up (I'm also not due to the standard being S35), I've been toying with getting an OM system camera as a b-cam due to the IP rating for more dusty/adverse conditions that can happen. Granted I'd be trading phase-detect auto focus (easier shot setup before turning it off) for that resilience but I think it'd be worth it.

[@terryhope2074]

Not looking at trading in my FS7 2 anytime soon, with the MK 18-55 it is the perfect doco and corporate setup. I even reach for my EX3 when I only need to supply HD. They were built to be used, not revered. Have poured water and dust off them, used them in high and low temps without a glitch (plenty of that here in Australia) and they have not skipped a beat. OK propriety media is not great, but have invested and now they are a little long in the tooth, loads of 3rd party gear available to make them more operable. Not about to join the mad resolution wars. Thanks Luc - keep the sanity alive.

[@Filmmaker809]

I use x2 mirrorless cameras for shooting my own docs and when cinematographers see my work they think I am using a cinema camera! But Luc I do agree with you, you don't necessary need a cinema camera to make a doc.

[@clintonhaby]

The FX9 is amazingly versatile. The only knock on the FX9 for me is the lack of IBIS. The Burano solves that and makes it even easier for me to get keeper content quickly and reliably.

[@drakewhitebalance]

Hey Luc Forsyth fans, I'm in pre-production for a personal passion project docu-series and I currently shoot on a Sony A7SIII. Should I get an Atomos Ninja 5 so I can shoot RAW? Will that help with having my docu-series meet network/streaming platform parameters? I'd rather not buy an FX3

[@_FrontFootFilms_]

this video could have been a list :)

[@MitchellMillennial]

I love your content but as someone who has been shooting a doc for the last 5 years there's a real issue to your analysis. Many docs can take 3-4 years to finish and post is often at the end. That means many of these docs could have been started before a lot of the "newer" cameras were ever released. Tiger king for example took almost 20 years to finish

[@ericmarroquinlucha882]

That was a slick transition …

[@alexanderdavidyuk5027]

I'm sorry for long comment. Agree with most of your thoughts, Luc! I've shot with many cams from Sony, Canon (C200 to C500mk2, to C70) etc. Personally I've choosed FX6 over FX9. I use it mostly for documentary and reality show works. Main reason - size and weight. When I fly (i do from 1 to 3 trips every month) I need to put all my cam gear in 10 kg (22 pounds) of cabin laggage and 1 kg difference in body weight plus more V-mounts for FX9 is huge differencies. Sometimes I fly to really remote places and planes used in that areas have limit 5 kg (11 pounds) for cabin laggage and very tiny size to place it. It that case I put my fx6 kit in my old trusty Kata Reporter soft bag with very limited protection for equipment. So, size and weight is critical for me. You may ask why not to use FX3? Well, I rent it regular as B/C cam but if I can don't use it - I don't. I don't like it because I can't trust this cam. It's overheated(!) so many times (even during long interview in HD!!!), and this bad lcd and not cinema line menu system, floating time code even if tentacle connected (my sound guy hates FX3), audio level problems, etc... It's not pro cam. I missed just one feature from FX3 - ibis. In my area FX3 prices almost the same as C70. I can't imagine how somebody buy FX3 over C70. While I'm not a fan of C70, it's proper "cinema" camera which you can trust. Well, most of production companies in my area use Sony and they like FX3 a lot mainly because FX3 rent price two times lower than FX6/9 with similar picture quality, so I forced to use it. Luc, our types of works seem similar, how do you transport your FX9 when you fly (especially with something like Angineux zoom, which I like a lot)?

[@stephenhopes634]

I think you must have had a faulty FX3 because none of what you experienced has happened with the three FX3's that we use ... timecode with tentacle never overheated in HD or 4K and NO audio issues with one man operators or sound recordists...

[@nagaviewpoint5750]

Good video

[@heartshapedfilms]

For my weddings I bought a c200, coming from xt4, while the smaller camera was nice it was limiting in the 30 minute recording and very slow to change the FPS. Though the options to upgrade or side grade cost the same as a used c200 so I just went with that and have a big battery. Now I have NDs XLRs phantom power and a solid raw codec. I am in need of a few more Cfast cards though I still feel 8 bit for weddings is still good enough even if it leaves me a bit wanting. The body layout and controls also make a huge difference!

[@noBfilm]

c200 is nice - don't shoot RAW for your weddings, are you crazy? c200 outputs a nice 8bit picture, just be sure you put in the right settings.

[@peterbrown818]

Check out the CFast to SSD adapter. It’ll allow you to show raw to 1TB M.2 SSD’s and save you a fortune. It’s what I’ve done with my C200

[@heartshapedfilms]

@@noBfilm I probably am crazy. The idea is to leave ceremonies and speeches in 8 bit and the broll in raw - though that comes with it's own challenges and honestly my computer can easily handle CRL. though storage is a bugger!

[@heartshapedfilms]

@@peterbrown818 that's cool I have seen these like the solid pod and what have you. I would just prefer the cleaner look and not have additional points of failure. That being said is 1TB the largest you've done or could you use a 2TB SSD? Though when I was looking into this I found I could pick up a few 512 cards which is all I need for now.

[@peterbrown818]

@@heartshapedfilmsYou can get up to 2TB SSD’s in the adapters. Save as fortune

[@cinema8564]

Love the chromatic aberration effect you use throughout in your graphics; but if one notices it--and one does notice it immediately--it might be just a tad too much. Great idea, though. Sort of a halation effect on text and on images that are too clinical, too clean. Love your videos.

[@RobertsIslandLivingAdventures]

My FX3 has a super 35 setting, and I’ve used it with super 35 lens with great results. Does the FX6 have this setting?

[@daletidy.]

That’s only 1080p tho

[@RobertsIslandLivingAdventures]

@@daletidy. yeah, it crops in. 👍

[@obiwanmartyn]

Not sure why you push Sundance for docs cause it isn't near the top festivals for documentaries you'd be looking at the likes of IDFA in Amsterdam, Sheffield dockfest, among others Sundance is a great festival for sure and is prestigious on the world stage cause every filmmaker knows Sundance, , but it doesn't crack the top 20 festivals for documentaries and in a lot of cases not even the top 40

[@Webrisernl]

Nothing beats true film... I miss the film days

[@RollingShutter]

Alright grandpa

[@f0t0b0y]

Shooting multiple projects with the FS7. 😎 I came across a yt video asking if the FX6 is still a good buy in 2024. 🤣 Kids these days.

[@fsb6724]

I was talking to a young college student, and he said the FX30 was an entry-level camera. I told him it was no such thing as entry-level. Entry-level is a marketing term. Top 5 cameras? Blah. It's about who likes one brand, not the performance. I can a Canon guy and there I was guiding the young student to Sony. I was looking at his budget and goals and reflected on the practical use of things.

[@PHUKU]

Another KZbinr trying to make his choice of camera investment superior to others. Your camera will not get you to sundance your writing / idea and editing will

[@furynotes]

That one dude prizes his 5d mark ii. Full frame is the only way I shoot. I can’t go back. But that is just that one dude.

[@LukeChristopherPhoto]

I did a 45 min doc of nine different monasteries with that camera. Compared to the R3 it's a nightmare. 12-min clips being the main drawback. But there are a few of us who think Canon's pre mirroless colors are better.

[@williamsitton]

as soon as you put that sound effect at the beginning of the video I frowned. at the beginning of your youtube path you were very original with your ideas and this is what made me subbbed. now youre just following along with what everyone else is doing on social platforms. theres a few other things Ive noticed youve changed overtime and you are meshing in with the rest by doing this.

[@checkeredflagfilms]

it's Airy!

[@thedp]

well some of those older Sony cameras have pretty rough color rendering. its not a bargin if you have to waste tons of time grading the images to look good when so many other cameras like even the FX9 make better color. not all old cameras are woirth messing with.

[@ericsbriggs]

I’m confused why the fx9 is easier to shoulder rig than the fx6. I’m needing to choose between these two for an upcoming ‘reality doc web series’ I’m shooting.

[@IanSnape]

Heavier and bigger body designed for shoulder rigging. The fx6 is wayyyy smaller and weight distribution is not great for shoulder mounting

[@JJKoester]

How much gum do you reckon you chew on shoots?

[@StoryDrivenThomas]

💯

[@andresjaime9634]

Question is and probably next video. Are these good docs ? So glad ONE is shotting with my favourite camera, BMPCC OG

[@STGFilmmakers]

FS5 ii any thoughts? (yes I realize its just an FS5 with all the upgrades)

[@billmakesmovies]

People are still making plenty of money with that camera! I own an FX6 and FX3 and have been considering getting an FS5II to have as an option. Same goes for FS7II. Granted I also shoot way more 1080 than anything, so an older camera would be perfect for that.

[@UndertakingCinema]

Wait... Where did put my Eclair NPR and my roll of Kodak 7247?

[@inframe-brooklyn993]

I'm still shooting with my rigged out R6 and Ninja V set up, which i have had for 4 years and this is my second doc using it. Why., because its what i can afford. I'm a one mans band, and It shoots amazing 4K and my current doc is being looked at by PBS so they are happy with the quality. . I thought about investing in a used C200 MII or a C70 but it didn't make any sense when the cost of either those with the necessary build outs is the cost the travel budget for this doc ( a number of driving trips up and down the East Coast). Sure would i love a dedicated cine camera? Of course. Does my R6 occasionally start to overheat outside in 90 degree weather after shooting for 45 minutes straight? Occasionally, But who cares. It's about the story your telling and capturing . Maybe at some point I will be able to afford the C400. But for now i just keep plugging away with what i have. Another Great Video Luc!!!

[@lukeconnor421]

you in Vic!?

[@TheRegularPodcastKilo]

I'll be making Nikon a documentary camera. Lol so people, be ready.

[@pedro-roman]

Like Honeyland. Amazing doc with beautiful natural light, even at night lit with just candles. They used Nikon DSLRs

[@TheRegularPodcastKilo]

@@pedro-roman very nice. I just love Nikon products

[@Chrstphr03]

Is there really no one shooting on Kinefinity? It's one I'd love to try but don't see anything shot other than for reviews.

[@Edwin--]

I think that does not have to do with image quality, but maybe with availability of rental houses, dealers and repair centers. If you break a camera on a shoot, you need to go on. A Sony or Canon you're likely to get replaced (rent one), or can have repaired around the world, for Kinefinity I doubt it is that easy. For the pro's different considerations than only image quality come into play, and local service around Kinefinity is likely to be an issue.

[@Chrstphr03]

@@Edwin-- Great answer. Thank you.

[@Edwin--]

@@Chrstphr03 You're welcome. Philip Bloom has one, maybe he has some videos about them too. I was just checking out of curiosity, for Europe Kinefinity has one service center in Amsterdam (Gafpa Gear), and none in the other 26 EU countries. This is also not a well-known service center in the Netherlands. The best one is Vocas in Hilversum, where all Dutch TV studios are based. They service all the big brands and have real repair team with in-house specialists in both cameras and lenses.They don't just send it back to the manufacturer, but do actual in-house repairs and keep parts in stock. There is no rental house in the Netherlands which has Kinefinity. If a camera breaks, you'd certainly have some downtime. So the easy solution for the pro's shooting Kinefinity is; get 2 cameras!

[@BCMedia-lb8hv]

Anyone use Audiio his sponsor, and have an honest review of it?

[@Edensghost]

FX6 bros…

[@joshuaweaver5284]

“Cameras don’t matter.” Welcome to Thunder Dome….

[@TackJorrance]

Internal NDs and awesome auto focus. Sony wins with their FX cameras that have internal NDs. IMO,

[@juliusherth]

Sundance 2024: The Cameras and Lenses Behind 20 Documentaries: Each line represents one documentary: C300mk2 Fx9 Venice 16mm FS7 Fx3 Canon c300, Sony Fs5, Sony A7r III, iPhone, GoPro Canon C500 MKII and Sony FX9 as A-cameras and C70/ FX3 when small needed RED Raptor, RED Komodo, Phantom Flex 4K Canon C500 Mark II Canon C300ii, Canon C200, Sony FX6, Arri Amira, Sony FS7, Sony A7iii Sony FS7 and Fx6 ARRI Alexa ALEXA LF & ALEXA SXT ALEXA Mini Sony FX6 Primarily Sony PXW-FX9 Blackmagic Pocket Cinema Camera 4K, Sony FX-30, GoPro Hero 11 Black, DJI Mavic Sony FX9 as primary A and B cameras, Sony FX6 and Sony A7smkiii as C and D cameras Canon C300, Canon C70 Sony FX9 Canon C500 Mark 2 AMIRA, Canon C300, RED Komodo

[@alexced3923]

No Panasonic lumix camera!

[@brokenorbiter]

@@alexced3923 thats an interesting observation.

[@MattNormanFilms]

Great advice. I use c500mk2 and love it to death.

[@KabukiStarship]

You can use APS-C lenses on FX6 no problem. FX6 works best when center cropped by clear image zooming in. A software image with better pixels and low light are preferred for that soft "cinematic" look. You just have to record RAW to avoid the H.265 de-noise filter.

[@BarryMaskell]

Discounted GH6 bang for buck brand new - that lumix colour - leica 10-25 1.7 - an FX or a C would be great but it’s $$$$$ 1.5 kg

[@OhanaFilms]

Some (most) of my favorite docs look like garbage.

[@Borodin410]

ARRI and RED are dying. Priced themselves out of the market.

[@furynotes]

Maybe ARRI. RED not so much.

[@Borodin410]

@@furynotes RED is on its way out, too, as we currently know it.

[@tom_cressey_dop]

Arri are not dying. They just don’t care about the doc world or anything for that matter so almost never react to the changes in the industry. They weren’t interested in making a digital camera until Sony started edging their way into narrative film. Arri know that top DPs are always going to pick their cameras so they don’t need to do anything. It’s an arrogant viewpoint but they’ve been going for 100 years and been proved right so far.

[@Lu-sj6ni]

dying is crazy. Nikon just bought RED and ARRI just integrated themselves into Panasonic, so we'll see what happens with that.

[@LoungearoundTV]

I would love to see an 8k Arri, seems like sony have got the right idea with reliability and 16bit Raw.

[@lewisheart]

Makes me sad that sony dominate this space, just purely because their color science is garbage. But I guess 95% of people who watch a doc dont really care about how it looks, it's about the story behind it.

[@YouTube_can_ESAD]

lol, can’t stand Sony/Canon color science, will keep using my RED Gemini and yes the negative matters. Wow.