I use to compare the video improvements with the automobile history, the car development in early stages is like the video improvement these days. Video tape, analog, black and white, color, digital, standard definition, hd, full hd, 4k, 8k, vhs, shvs, hi8, u-matic, betacam, dv, d1, mpeg1, mpeg2, avchd, h265, and so on... every small improvement and lots of money in new equipment which will survive for short time until it is obsolet... when small production houses invested lots of money in betacam-sp and then hdv showed up and broadcast turned into full hd... ouch, no way to sell the betacam to recover the money...

Of course if you have a hungry amount of clients which needs the up to date quality then you will make enough money to pay the investment, but if you are in a not so high end market then you can survive with average gear.

a7s and gh4 with small improvement in dynamic, range bitrate and codec, raw cameras with headaches workflow, flat images with difficult grading in post... rolling shutter in a 2.5k usd camera!!! fixed pattern noise in cmos sensors... so why not stop buying new cameras and try to extract the best possible from old dslr and mirrorless until a great tool comes to the market? this is what I am trying to do, to hold down my excitment about gear and focus in other things... I believe in a great audiovisual job with humble gear instead of expensive gear and so so results in terms of what is going on in the screen and audio.

there will be the moment when 4k retina displays will be popular, 4k streaming will be spread over the world with fast internet connections for everybody, 4k projectors in all theaters instead of 2k cinemas. 16 fstops dynamic range will be default, so it will be the time to get a powerfull camera with new sensor technology.

the sensor technology we have today cannot deliver so much dynamic range. it is a waste of time to try to get enough DR from silicon cmos without two streams merged or without the promissing quantum dots or organic sensors. in soccer broadcast we can see the stadium with sun and shadow in the grass and the high end cameras cannot show both with enough dynamic range... So the manufacturers try to implement gamma profiles to improve DR but the post grading will not be capable of recover gamma and contrast and keep so much fstops at same time... oh my god, do not ask me to work with raw workflow, it is a headache...

It is time to extract milk from the rocks, to deal with limitations. to put the camera on tripod to avoid aliasing, moire and rollling shutter perceiving, or to use a camera with good enough capability to a handheld job without showing so much artifacts...

I perceived that the old T3i with the vaf filter is good for camera movements because the aliasing in power lines is almost unoticeable, the magic lantern hdr is better dynamic range than all new cameras in the market. it is a matter of how to use it avoiding the motion artifacts and doing a careful sharpening and upscaling in post. the gh2 still rocks for resolution and all you need to do is to add light or reflectors to the shadows, old sony nex are amazing with focal reducers for wide angle and DR is good enough for a low budget camera.

I am addicted to gear, I keep researching about all new camera release, but suddenly I perceived it is a waste of time... Just a new sensor technology will change the game. I think the thing to do now is to do something amazing with old obsolet gear.