mercer

More examples of bad lighting.
This was a 709 shot from my GF3, which obviously couldn't auto-WB far enough to compensate (yes, this looked white in person):

My best attempt at grading in post also couldn't compensate well enough:

But the real demonstration is on a project.
Here's a camera test I shot.  These are the images after grading:

They all look pretty straight-forward, but it took a lot of work to get to that.  Here are the shots SOOC:

Note that adjacent shots have considerably different looks - SOOC:

After:

Obviously I've let the flaring lower the contrast on the middle images to a certain extent because otherwise it would look too forced, but the tint of the first image and second ones needed to be evened out as one had the sun in it and the other didn't.
I've shot these tests by the beach many times, using many different cameras (OG BMPCC, BMMCC, GH5, GX85, XC10, GF3, iPhone, GoPro, etc), shooting manually and in auto, in RAW / LOG / 709, etc etc.  All required decent amounts of work in post to even them out and look normal.
It's like anything - the natural look takes the most amount of work and is, in reality, the least natural.
You keep saying you want nice looking images without doing any/much work, but I've been working super hard at this for quite some years now and it's just not possible.  You either get nice looking images with work, or you wave the camera around and you get out what you put in - a film that looks like a dad with a handycam.
The myth that you can buy it was created by equipment manufacturers trying to sell you cameras and LUT bros on YT trying to sell their LUT packs.

I like the look of it too.
I think what it is benefitting from greatly, aside from the compositions, image quality and general shooting competency, is what I would call accidental environmental production design.
The uniforms and demeanour of the subjects are consistent and tie together as does the station setting and its train and staff.
When the shots are framed, as many of them are, to only include those elements then it provides the right aesthetic to sell the "cinematic" image.
The proof of that, for me at least, is when other none designed elements stray into the frame and not just the obvious of modern vehicles etc but onlookers with modern clothes (particularly those out of the general colour palette) then the illusion is gone and quite jarring to be taken out of it.
No amount of obsessive grading is going to cure that.
Oh and the use of a tripod does absolutely no harm whatsoever in this as does the flattish light of what I am guessing is the archetypal overcast Bank Holiday day in the UK.
All in all, aside from it being a good advert for a camera from "yesteryear" in modern terms, I also think this is more broadly a very good example of why "cinematic" doesn't just happen when wafting a camera at random scenes no matter what YouTube thumbnails will scream at you.
When it comes to trying to do this in the wild, its definitely a case of granting ourselves the serenity to accept the things we cannot change, the skill and vision to change the things we can, and the wisdom to know the difference.
 

🤷‍♂️ 
It looks great to me. I'm not looking for an image that looks exactly like reality. It's definitely desaturated, but I don't agree that it's low contrast.
No offense to the photographer of that shot, but that looks like it could have been shot with any standard profile from a camcorder in auto mode.
As far as... how can I judge the image... look at the skin tones... the weight of the image. It looks and feels like a real movie.

And I'd be remiss if I didn't post this video from a British filmmaker named Paul Cook. It was the video that made me buy my 5D3 and install ML Raw on it and never look back. After 7 years, I'm still chasing what he was able to capture in an afternoon...
 

🤷‍♂️ 
It looks great to me. I'm not looking for an image that looks exactly like reality. It's definitely desaturated, but I don't agree that it's low contrast.
No offense to the photographer of that shot, but that looks like it could have been shot with any standard profile from a camcorder in auto mode.
As far as... how can I judge the image... look at the skin tones... the weight of the image. It looks and feels like a real movie.

And I'd be remiss if I didn't post this video from a British filmmaker named Paul Cook. It was the video that made me buy my 5D3 and install ML Raw on it and never look back. After 7 years, I'm still chasing what he was able to capture in an afternoon...
 

Good points. I guess it depends on what you're planning on shooting, or do shoot? I am only interested in narrative filmmaking, so I have a specific look I like. It's definitely a filmic look. I've always said that most cameras from 10 years ago could "essentially" and convincingly achieve a 70s film look.
But the look of modern cinema isn't really close to a film look. It looks nice but it doesn't seem like they're trying to emulate that like the original Alexa attempted.
Even on this forum, you'll get dozens of opinions about it. Many want the most resolution they can get. I'm still happy with the 1080p magic lantern raw from my 5D3.
But I'm probably a weirdo, I'm seriously considering buying an old camcorder to get a specific "cinema" color filter that Canon had on their older models.
Back in the day, Canon was known to have the "best" color. The original Panasonic mirrorless cameras also had very nice color. Sony was considered the worst. Now with the different log profiles and color space transforms, any camera can be made to look good. But if you can find a camera with a good rec709 profile, that you like, why not? Log and CSTs and LUTs are great and some will help to eek out an extra stop or two of dynamic range, but in a lot of cases, you can get by with the 8-10 stops that rec709 offers.
Here's another film that I was highly impressed by shot on the OG BMPCC by a British brother team called Cosmos. What's interesting about this is that they were able to make a Hollywood looking film that was released in theaters. They also decided to shoot in ProRes LT to save storage space using only one lens for 90% of the film. It's amazing what you can accomplish if you try. It's not the tool, but the craftsman using it.
 

Both of those cameras are great, you should get one. What are you shooting with now?

Both of those cameras are great, you should get one. What are you shooting with now?

I'm sure I posted it back then too. ML Raw is easy on the 5D3 due to dual card slots and its stability.
I'm sure the FX3 and R5C could get close... minus the 14bit color... but they're $3500 cameras and I already own the 5D3. 

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

I remember this ! it was posted here years ago! I remember trying ML and was blown away how good it looked but how hard it was to use. I think the fx3/r5c can give those looks now. 

And I'd be remiss if I didn't post this video from a British filmmaker named Paul Cook. It was the video that made me buy my 5D3 and install ML Raw on it and never look back. After 7 years, I'm still chasing what he was able to capture in an afternoon...
 

I agree. His Sony work does not respond to me, neither in the edit, premise, lengthyness, choice of focal lengths, camera movement nor framing nor color palette and contrast. @mercer That Sigma 30mm is a thing I had been keeping in my mind. I am a sucker for 28mm on S35. Kendys Canon work was magic, his Sony uploads on his channel are video imo. Besides colour, movement, framing and lensing are not in the same league as his Canon library imho. I can relate to the impact of a camera on freewheeling video essay work. I still hold a G70 in high regard for the mojo it has in HD 24p. The only two pieces I shot with it are still oozing color magic and forced me to design my shots and movements instead of gimbleing through the world rather effortlessly. No effort means no magic in most of the instances.

The first few scenes on the train felt like a movie. Loved it! In another thread I bumped from 2015 where folks discussed cameras and color, as is my goal, some commented that as brands have moved to mirrorless they’re chasing resolution and in doing so neglecting color and overall image. Something to the effect that chasing greens versus other colors, has had a negative impact on the way color is rendered and that’s 9 years ago. Worth a review that thread. 
 
I originally curious about modern cameras that produce that movie look in the first video without lighting makeup etc. the skin tones and overall look felt less digital and more movie like. That’s what I was getting at with what brands are trying to achieve that ? What models most of us can purchase today gets us to that. 

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

It’s also an ‘updated’ film noire approach for the 2020’s.
There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art.
The locations, the lighting, the framing, how one frame leads in to another…
My kind of filmmaking.

Making a film is one of the hardest things I've ever attempted... especially in a DIY, low/no budget space... but it's also one of the most exhilarating experiences I've ever had... even if ai haven't been successful with finishing the film...
Yet. 

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

To be fair, I vaguely remember the OP stating at some point that he/she likes to have discussions about gear. And let's be honest, this forum is primarily a gear forum. Perhaps the OP should mention that this discussion isn't necessarily about a decision he's currently planning on making and instead it's about learning and gathering information.
With that said, @kye has a fair point. These cameras are only tools for creative endeavors. These cameras will not make the film or  color grade your film or make your film good. At the end of the day, story is king.
I would suggest to the OP that they take some time and go back and look what people were creating when the DSLR revolution began. Look at t2i and GH2 videos to see what was possible with limited resolution, DR and resources.

Making a film is one of the hardest things I've ever attempted... especially in a DIY, low/no budget space... but it's also one of the most exhilarating experiences I've ever had... even if ai haven't been successful with finishing the film...
Yet. 

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

Didn't know that was in B&W. Thanks for the heads up. I adore B&W, so much so that I've been testing my FP in 4K 8bit mode for the sole purpose of having a smaller set up for a B&W film. 

And the utter lack of it has me admiring Ripley on Netflix right now.
I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production.
Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great.
Sorry it’s not a Joker II comment 😛