There's also the point that Arri was an established film brand, and what studios have had for their rigs and lenses could still be used with new Arri digital cameras. That market is also used to external focus pull (especially for smooth motion), complete with a separate operator.
A good portable setup that can have smooth AF with stabilization could be a good selling point for YouTubers and also production firms (both TV and movies) for shots that have needed large Steadicams. May also open up the capabilities of the shot, as the easy way to operate gimbal is shoot wide and not do any focusing.
In the same vein, I'm watching more TV productions that are filmed with the cinema process in 4K/HDR (and not what had been broadcast TV workflows). I've found it interesting that these new productions can go for the old soft look of anamorphic lenses (and the frame is soft both in the top and bottom areas).
Reference about a smaller IBIS camera (that could meet specs for film making) vs the traditional:
./showthread.php?p=19120570&i=i166421049
forum: Canon Digital Cameras
Yeah, I don't have a steadicam but a cinema-camera-sized medium gimbal with one of those "exo suits"
. I'm having difficulty landing shots with wide aperture lenses in autofocus and I think wireless focus is the only way to go at this point. A longer cable and a dedicated operator tapping the detachable autofocus screen works too, but it's just hella awkward when we try complex long takes.
I think the C70 or R5 with the upcoming Ronin S2 one handed gimbal might be more usable for vacationing (easy to tap the touch screen), but I tried the Ronin S and it's still heavy for one hand continuous use all day, and losing the 4th axis stabilization is kind of awkward too. I must not be holding it right though
(poor taste reference to Steve Jobs and Apple chamfered edge iPhones and antenna-gate) or something.


