exactly. Planning out a mix of handheld, gimbal , steady cam, tripods all with both wide and telephoto to give it a mixed flow makes such a difference than just then same movements the whole time. i also hate it when i see drone or gimbal shots that keep to long and show the camera move in adjustments. it messes up the grove a lot.

That would pretty much be the only reason i would buy an fs7.

simon cade ?

meanwhile in san antonio i look at GIANT RED traffic on google and apple maps for austin and say NOPE

I'm tired of fighting gear in low light situations. so tired.

or i could buy a a7s and actually film bands in austin that are playing in venues with the worst lighting ever known to man, or no lighting at all just light from a bar window. (I've rented and borrowed and saw the difference) Not having to deal with nasty gross iso noise like at 3200 or worse 6400 like on my canon 60d is amazing. He is right though, its how you use it and what you use it on. we can do a lot with just an iPhone to a old mini dv camera to whatever is in your bag right now. People do need to work more on telling a story than on what they are using. both are just as important. But if he got hired to go film a band at some venue with like 4 lights that are red and blue and dimly lit and pulls it off with a t2i. then i really don't know what I'm doing anymore.