ntblowz

This is the internet...  such things are irrelevant when arguing about technical matters!

Are you referring to Jedi Master's thread? 
He doesn't need any of the professional features required by productions. 
Just needs a sensor to capture pretty landscapes in a slow paced chill manner on the weekends. 
That's like expecting someone to read an article before commenting on it on Facebook! Totally unrealistic expectations. 
 

I saw it almost twice because I have a friend who works at a theater where they were showing it and I went to catch it. The script is nothing much and it gets lost in the end. Just another movie.
Let's face it: it was discussed so much for a very simple reason: all independent filmmakers and the kids (including white-haired ones like me) je***ng off with their little cameras in the backyard thought: if he made a blockbuster with my own little camera, so can I.
But picking up on the thread title "Will The Creator change how blockbusters get filmed?" I venture to say that This was a whim of a very particular director (his resume proves it) but the film industry doesn't give a shit about the camera used for the film and nothing will change.
As I said 8 pages ago, if there is one reason the film will be remembered and may change the way these blockbusters are shot, it is the visuals.
The film is a visual treat. But not because of the camera or the lenses used but because unlike 99% of other similar films they chose not to create everything by computer but to use real locations as much as possible to which, in post production, the necessary modifications were applied (mainly for budget reasons i suppose). There are scenes shot in real Buddhist temples in Nepal, ruins in Cambodia, hotel, train station, and Bangkok airport, to which they added futuristic details. The futuristic lab you see in the trailers is a real nuclear accelerator in Thailand. the result is mind-blowing. The locations are real and fuck if you can see it.
The visuals have a great scope that the Star Wars productions look like South American soap operas in comparison.
In short seeing the total CGI reconstructions of entire landscapes in other much more expensive and famous films you get the impression that perfection has been achieved. Then you see this film and knowing the technique used (I would almost call it augmented reality) you realize that there is still a long way to go.

Here, in my opinion, this will be something that will change the approach of other productions.
 
 

I've said it before.
The camera was chosen because it was part of the directors on-set process.  You're all trying to say how you would have done it with an Alexa.  But you didn't.
It couldn't have been done.  Not with the lenses they chose, the way they wanted to light, and the METHODOLOGY they wanted to shoot with using a hybrid gimbal handheld rig.  No way are you hand holding an Alexa mini LF on a gimbal for 30 mins.  Maybe with a rig sure I hear you say, but then it's DIFFERENT because the camera is a different height, it's not going into the same positions you can go with a hand held should rig.
I'm surprised that creatives like you all don't understand this simple idea...
The Director chose a certain way to work.  This was the only tool that could work the way the director wanted.  You keep saying a different camera could be used when it was not really as feasible.
"The FX3 was chosen as an extension of the methodology director Gareth Edwards was interested in fostering on the film. In an effort to embrace an immersive, authentic filmmaking approach, and inspired by Gareth's approach in making his first feature film Monsters, we sought out a very small and lightweight camera that still provided a robust image for post-production and visual effects purposes, and that could be paired with a Ronin RS2 gimbal to be operated for extended takes and with massive flexibility and freedom to move around a location and react spontaneously to what the actors were doing, or to something happening just outside of frame Gareth would catch out of the corner of his eye.
One of the unique things about this film is that Gareth operated the camera himself in order to be able to react in real time to spontaneous occurrences on set and would often shoot 30-minute extended takes with the actors, going over actions a few times and discovering different angles and approaches to playing and covering a scene in the moment with them, like a kind of dance."
 
 

I dunno why on this thread you keep pushing for FX3 and on my thread with FX3 you keep pushing not using FX3 😂
 
As I said i have colab with company/ppl that use Canon so I have to use Canon cameras if I shoot with them.

My other alternatives will be Panasonic if I didn't try Sony, I was this close getting S5II but the no pdaf on 1080p kinda kill it me for me.
 
Maybe I will get back to Pana MFT in the future who knows.

You mean a bunch of them lol 😆 
Usually it's the colorist who fix the colour if they have budget for that.
Otherwise it will be up to the editor themselves for colour grading, and unfortunately not all editor are good at colour grading.. 

I just got my G9II today.
So far, the AF is very good, I only tested the camera with two lenses, but the issues I had on the GH6 (pulsing, and out of focus bug) seem solved. The camera shows 1.0 firwmare, so maybe Panasonic has improved the focus since the beta firmware.

I dunno why on this thread you keep pushing for FX3 and on my thread with FX3 you keep pushing not using FX3 😂
 
As I said i have colab with company/ppl that use Canon so I have to use Canon cameras if I shoot with them.

Sounds like he needs to learn about colour management.
The more I learn, the more I realise "I can get better colour with X" really just means "I don't use colour management and I prefer the LUT I happen to use for X over the LUT I happen to use for Y".
In my recent attempt to match GH5 to OG BMPCC, I was surprised at how easy it was, and how difficult I found it in previous attempts.  It's taken me a long time to get here, but now I'm here I look at cameras fundamentally differently - they are just devices that capture an image (with whatever DR / noise they have), process and compress that image (NR, sharpening, compression) and then I pull it into Resolve and (assuming they have a documented colour space) I can do whatever I like, applying whatever colour science I like.
The thing that matters most is the usability of the camera to capture things and work reliably etc.
Half the amateur camera / colour grading videos are "how do I grade Sony" "how do get the best from Fuji", but the colourist videos talk about colour management, and then talk about technique and workflow.  There's a reason for that.

I definitely enjoy the lighter lens after trying out Sony this year, but unfortunately the people I colab with definitely prefer the Canon colour 100% of the time.. the most recent one was shooting for this DJ from Canada where he used Komodo for Spain shoot and Sony for Oz shoots, and we shoot C70 RAW for him here in NZ, he said the Sony was really hard to get nicer colour vs Red or the Canon after he did some quick edit afterwards.
So might stick back to Canon.
And my friend who shoot with Panasonic does have people laugh at him for using old piece of gear (the EVA1), on this one job after seeing the result (it's a livestream job and they have a dedicated people that does lut and facial beauty thing done in real time as well) they said Panasonic looks nicer than the Sony's they used and need much less time on tweaking.

I definitely enjoy the lighter lens after trying out Sony this year, but unfortunately the people I colab with definitely prefer the Canon colour 100% of the time.. the most recent one was shooting for this DJ from Canada where he used Komodo for Spain shoot and Sony for Oz shoots, and we shoot C70 RAW for him here in NZ, he said the Sony was really hard to get nicer colour vs Red or the Canon after he did some quick edit afterwards.
So might stick back to Canon.
And my friend who shoot with Panasonic does have people laugh at him for using old piece of gear (the EVA1), on this one job after seeing the result (it's a livestream job and they have a dedicated people that does lut and facial beauty thing done in real time as well) they said Panasonic looks nicer than the Sony's they used and need much less time on tweaking.

Overheating tests chart with and without the battery handle:

source

Ambient temperature was 30C/86F which isn't a real stress-test but is better than the stupid people that test these things practically in the freezer, either to game the results because they're dishonest or because they're too stupid to realise that there are warm countries on earth too.

It would be useful if you wrote why you were sharing each video.  I'm assuming you're watching more videos than you decide to share.
That way, if you post a video that talks about things I know about I can skip it, but if you post one that mentions something new that I don't know about then I can watch.
TBH I'm just looking at you post video after video and thinking "I can just search in YT and see random videos too".

Oh dear.
Not US and was waiting until the Spring of ‘24 to replace my original set but maybe I should get it sooner rather than later just in case…
There are alternatives, but the Rode WG just worked for me.
When I remembered to switch both units on anyway…
I hate that long hold on, long hold off system. I’d rather just a flick switch and a lock.
Ditto for my little Sony pocket recorders. Forever switching recording on just touching my bag sometimes. Then trawling through 10 hours of recording the interior sounds of my camera bag before eventually finding 2 minutes of Captain Correllis facking Violin being read by cousin Karen 🤪

Interested to see more on this subject. Let's see how far Sony has come from the early global shutter sensor Blackmagic Production Cam 4K which couldn't do ISO 800!
Here's my findings so far:
https://www.eoshd.com/news/sony-a9-iii-high-iso-raw-test-a-noisier-6k-sensor-than-predecessor/

2/3 right here:

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues.
Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

The current CPU used since A7RV is quite hot (literally), look at overheating E1/A6700/A7CII..
It definitely need to wait for the next gen cpu to catchup in terms of performance and thermal issue.
But A1 and A7SIII finally getting firmware update, SIII finally get 24p and breathing compensation.
 

Exciting! Been waiting for a global shutter hybrid for years. Would love to have no rolling shutter and an unlimited flash sync speed. Now I just have to wait about five more years until it's available at a price point I can afford, and from Panasonic 😄

This is what happened and they asked for the Nisi ND’s because they’d seen a video on YouTube, but the guy in the store (shoots weddings on Saturday’s) reckoned the Urth’s were just as good and anyway, in Adobe Premiere, you can easily remove the color cast.
Pretty sure that’s how they rolled on this.
It was also the camera store guys tip re. saving money and spending that on donuts.

I also need a day rest to fully recover from previous day, if I did back to back shoot I will be very tired on 3rd day.
The days of flying C70 with 18-35mm 1.8 on Ronin all day is definitely past my time.
So this year I downsize my setup to rs3 mini and ZV-E1 with <500g lens (or R8 with 600g lens) instead of the hefty 24-70 2.8 on R5 on Ronin rs2 pro, that is over 1/2 the weight saved, with this new setup I m not as over tiring as before which is good for me.

Helped keep the budget down by around $50.
More money for donuts.