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No offense but I feel much better having not watched this.

I don't read or post in the political threads, mostly because things just make me unhappy. I think that politics is one of those things that can make you go from liking someone to not liking them if you discover they have different priorities to you, so I don't think it really adds to the overall sense of community.

As mentioned in the other 4K Pocket 2 thread... In episodic TV, where I spend a lot of my time, we shoot three cameras almost all the time. The show I'm on now shoots 8+1, meaning 8 days of main unit and a day of second unit (while making unit starts the next episode). We tend to shoot about 2 hours per camera per day. So that's 6 hours by 8 days of footage. On second unit they shoot with at least two more cameras, if not three. So that means on some days the data wrangler has 12 hours of dailies to process from set from two units. The footage is backed up on set, then shuttled to the post house offsite. They backup twice again and then transcode the footage for editorial. We shoot in Atlanta but editorial are in LA cutting on AVID. So they grade (time) the dailies, for editorial and render DNX files and send them over a very secure connection to LA. All done Overnight ? Editorial then sound sync the dailies, first thing, compare the shots logged vs what they've received and sign off that they have everything that we say we shot (down to the shot). After the emails I see from editorial are notes querying the wrong slate number just so that they can verify this. As well as doing all that they produce the pulled or select dailies and generate 264's of just those circled / printed takes and they get assembled into a H264 file that gets uploaded to DAX for about 200 studio execs and production people to watch / refer to. There are also some secured rotating ipads that get the same 264 files updated to them for those of us that hate trying to scrub 264 files over the internet. I get those myself, and the director of the episode gets one as does the writer. Right now the show I'm shooting is on air 9 weeks after we started shooting. That's a clock winding down, because it airs every 7 and we take at least 9 days to shoot each episode ? You can see how it escalates. There's no safety net for time at all. An episodic TV series will generate a LOT of footage that can quickly overwhelm a production and there's very little room for a slow down at any point. The studio I'm shooting for now is Fox. They still only air in 720 so they only master in 1920. Despite the rhetoric about 4K, the reality is that MOST TV DRAMA production isn't shot 4K. We shoot 1920 ProRes and I always make ProRes 444 the minimum because it's 12 bit. That's all I really need from a grading point of view and RAW workflows offer very few genuine advantages. Try designing a test to show that it does and I'll show you a TV network that shoots 4K. (None of them do) They're not even interested in mastering 4K for a future proofing scenario. 4K also quickly kills workflow because everything is that much harder with all the above numbers. I think ProRes RAW is an interesting option, but honestly, over 12 bit ProRes, I don't see much need to shoot ProRes RAW. I have some friends on Stranger Things at the moment. They do 12 to 14 days per episode. We have 8. That's nearly double the amount of time to shoot the same screen time. They tend to shoot single camera too, because that's the style of the show. But that's a large part of why they need so much more time. I guess you can argue it's success makes the investment worthwhile, but days shooting is the most expensive part of TV production. Because of the cast generally and their availability. A show that shoots for longer tends to find it much harder to hang on to good actors. JB

ProRes 4444 is the post version of the format (has the alpha channel) and in camera it's called 444. On the Micro cameras when I use them I only use the VA as a small lightweight monitor. I record internally to 1920 ProRes HQ. Resolution and dynamic range / bit depth aren't related at all really. You could maybe make an argument that extra resolution helps with surprising noise, but it's only those that want to make a petty technical point that would say so because it's a small advantage. I doubt the difference between 720 and 1080 would make any difference at all. If the costs come down, I can see Networks going to 4K because they DO want to future-proof themselves, they just don't want to PAY what it costs to process and store all those 4k files. To me as a cinematographer I care a LOT LESS about resolution and a LOT MORE about bit depth. I'd rather have 1920 12 bit files than 8k 8 bit files. JB

I have to laugh when I see the lowlight of these cameras. For years I have been using cameras that start being pretty shameful, even for home videos, at ISO 3200 or 6400. Nit-picking these cameras at ISOs this high feels like being judgemental of someone that won bronze in the olympics!!

It depends on how it's used, and who is using it.

It's not RAW the way photo cameras use the term: lossless linear camera data. It's the same story with Redcode Raw, Canon RawLite, and Blackmagic's compressed Raw. They realized that compressing before debayering allows them to pack more meaningful data in smaller files, with the caveat that the user is required to debayer the files later. And, naturally, they call it raw because they want people to confuse it with actual RAW camera data.

I’m sure it can look great, but that example looked really bad, every characteristic of why I hated the fs700 image. Sense 8 was shot with the F55, not FS5. Id like to John still shoot a series as beautiful with the FS5 ”Camera: Sony F-55 Lens: Zeiss Ultra Prime lenses, and Fujinon 19-90 zoom lenses” https://www.google.com/amp/s/www.indiewire.com/2017/08/emmy-2017-camera-nominated-cinematographers-1201868305/amp/

For sure.. also having several bodies allowed them to shoot in multi-cam and save time on set & in post by minimzing takes. unfortunately can't really talk much about this project as it's yet TBA but it's been really inspiring to hear about such usage from an award winning director of what is commonly considered prosumer gear in a full feature release.. again the process wasn't without complications especially considering weather sealing, and this is another area where Canikon could certainly make a difference.

Actually, @Oliver Daniel reminded me that often on other forums they have an "anything goes" type of sub-forum which is for the hot topics. In audio there are lots more hot topics than in cameras.. things like cables, ABX testing, etc. At least here we all agree that Mojo and Motion Cadence are real things, despite there being a complete lack of technical explanation ???

I think the 'zoom camera' will have some 'auto modes' that will be pretty fancy and appeal to people who dont want to do a lot of editing. For instance, they mention 'dolly zoom' in the specs which is pretty fancy on the basis that you have to move the drone while zooming. Still I would think the 1 inch is the one to go for. Based on the shape of the lens, I am guessing that the 'zoom' doesnt have aperture control while the 'pro' does.

I voted move to a sub forum, despite the obvious bias presented in the poll options. Lots of forums have places for political discussions since they always tend to get heated. The arguments always go in circles since an internet argument isn't going to change anyone's opinion. Its also clear from reading through some of the recent threads here and elsewhere, some people really don't know or understand American politics (especially on a state/local level which had a huge impact on recent elections), our economy and our history. As an American I fully support free speech. But I don't go to camera, Jeep, mountain bike, guitar and travel forums to read ill-informed political discussions. Chris

As long as the different point of view isn't an obvious conspiracy, unethical, racist or just a blatant lie, there's no need to insult. Unfortunately... A lot of people's politics revolve around all 4 of the latter!

It's fine, as long as people can accept that others won't have the same opinion as themselves & that discussions don't descend into hurling insults! Yes, I just wrote that & understand we're on the internet. Just leave your Twitter brain at home, don't get offended so easily & accept different points of view. No Racism, Sexism etc... Oh! And instead of just continuing to bang the same drum, perhaps engage people about why they hold a certain position? Yeah, I just wrote that & I still know we're on the internet.

Sony went through the same thing. Before the A7 they only had the NEX 7, etc.... with APS-C lenses. If Sony had stuck to the smaller sensor and not created the A7 series, where would they be now? Especially as the Canon and Nikon competition is about to hot up big time... You need to compete like-for-like. Panasonic, Olympus and even Fujifilm must do it...

It's a mixture of everything bad and good. Overall, it's a good thing but with a lot of issues and complexities. There are some great YouTubers I follow and some wonderful talent on it, but every one of those 3 poll options describe something about the site, so you can't sum it up by choosing just one.

What??? Let me check that... I've been doing it wrong all my life!! Those things are nasty! Better go the old fashion way with fingers!

@jonpais the full announcement will be made next month with an expected release shortly after: https://www.nikonusa.com/en/nikon-products/mirrorless-is-coming.page as for pricing, rumors indicate 2 models: a 45MP at $4000 & a 24MP under $3000 including the kit 24-70mm lens. although video specs is yet uknown, i kinda doubt Canikon will miss this opportunity to go head to head with Sony. regardless competition is good for consumers, including Sony users.. and they still have their A7S3 wild card.. It's going to be an interesting Photokina year for mirrorless that's for sure.

Glad to hear that. Was the first time seeing this dude's video. Was a pretty big claim.

Yeah it is way more a negative experience than anything positive coming from it. But that is sort of what younger people do to learn and experience things, and to discover that it is more harmful than useful in the long run. The trouble is that no one really changes their mind on a subject, you just dig in your heels further. Oh well.

I must admit that is the temptation of Christ thingy. ?

Thought I’d share a fun project I did for Sandy Devastation. We had 2 days och shooting and edit/color another 5. I shoot it with Bmpcc, metabones, Sigma 18-35 and Samyang 10mm cine ds. ”Zero dollar budget” Enjoy!

1"!! I am so getting one!

As matter of fact, no idea how it is in your countries... But, here in Europe there's no sense to buy a new TV set unless UHD. It is the market to determinate that. Full HD display technology is just outdated. You can buy a 40-55" TV set (UHD) for 400 euros, so... People should stop to worry about resolution or even refrain to discuss such topic. 4K came to stay. There's nothing strange about that. As much natural as digital or when DVD replaced VHS. Wonder why or trying to praise the old technology doesn't make any sense, because lower resolution is merely old. Nothing against that. Horses for courses, though. We are not comparing apples to oranges. It is not 35mm film versus UHD. I much prefer to watch an old movie in a remastered copy on my 4K display from a new 4K source than a lower resolution copy. 4K is here to help you out, not to make lower acquisition look like bad. That's the whole point : ) This is not a competition. Technology is here to offer a better outcome. Only that : -)