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Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket... 1 2 3
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This video from @Tito Ferradans has some info on it, but he doesn't show everything needed so you might need to watch a bunch of YT videos and search to see if other people have shared how they do it. -
Yes, my OCD would not be able to cope with that. I don't like even having 2 different cameras within the same brand, never mind other brands... I can just about get my head around having and mixing in drone footage, but that is because the alternative is not realistic and as a fan of minimalism (well, as minimalist as I can be without compromising any major element), I'm all in on one system now. -
That is the sum of it. Enthusiast weighing up A vs B vs C vs what they already have, yes, even 500 is a BIG difference. Business user however, turning over 50k+ PA, it's still 500, but 1% of gross turnover and 50k is a very small business. And that is based on 1 year so if you can use something for 3+ years on say a 100k turnover, it's a difference of near zero consequence. 3k camera on 3 years at 100k = 1%. The difference being if it's a tool that makes you money and if that tool can also save you time, or improve your output in some way such as maybe it's more flexible such as open gate, or any other factor that works for you, then it becomes an asset. A depreciating asset (as all this stuff is), but the cost is not that big a consideration. Maybe but maybe not because it would need to have 'more' really (as you suggested), so it would have been wrong to badge it IMO as an S2H, even though, based on current evidence at least, it may very well be the replacement for the S1H that we have got. I always thought they would go a 2 model route and said so on this forum, but I thought they were going to make the S1RII (should have been badged S2R) and an S2H, the S2R with the Leica SL3/Sony A7RV sensor and then the more video-centric S2H. Instead we got what we got and for me, the pick of them is the S2R S1RII, and though it's a good body, would rather have seen something more innovative such as the ZR style body with 4" screen but articulating like that of the S2R S1RII. If...and it's a massive if, they do come out with a replacement for the S1H, I think if they go for this body style with that kind of rear screen, it would be a monster hit for Lumix.
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IMHO the biggest issues with the S1ii is that it wasn't badged as an S1Hii, with Netflix Approval, an added top control panel, and more unique design features (moving or multi angle EVF, 4inch LCD etc). It seems everything about it is superior to the S1H, including dynamic range, exposure latitude (?), rolling shutter, weight etc. -
I sympathise deeply - well done for getting through it. I shot a number of trips with a nice camera + smartphone + action camera, and only in the last few months did I shoot my first trip where every camera had colour management support. Matching footage from multiple older/budget cameras that don't have log profiles and colour management support is perhaps one of the hardest challenges in colour grading. Not only are the colours and gammas a challenge, but matching sharpness and NR and compression artefacts are also things that can make clips stand-out from each other. I've lost count of the number of times I spot a 1-2s clip from an action camera spliced into a high-end production based solely on how much sharper it is than the rest of the footage, which could all be avoided with a simple low-strength small-radius blur to take the edge off. Obviously ultra-low-budget docos are often subject to using whatever cameras are available at the time, and docos often need to use more rugged cameras like action cameras etc to survive different conditions, not to mention dealing with footage from other sources. To me, a camera has to be pretty bad or pretty ill-suited to make it worthwhile to break consistency with the other material already shot. As much as you can, pick a camera, pick a few lenses (or just one lens), do your due diligence to get familiar with them, and then just get on with it. It's only when you can see past the camera and the lens and the filters that you'll be able to see what you're pointing the camera at.
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