Emanuel

LOL : ) Jokes aside, I can actually agree with you not exactly as a contradiction but complexity on our "truths" or beliefs as you wish, you see we can agree on anything too (or almost ; ) Ah and being a poet coupled to these tools with "lots of character" (ain't we talk about camera + lens combos?) can make a novice (or not necessarily only just a novice) filmmaker a better one, no matter the rest for the sake of the point now ;- ) So thank you for bringing me to this new thread of you, you should know I am always trying to follow your posts I sincerely appreciate when focused on the same joy we both share topic related :- ) Paul Cezanne, a poet with pictures once said: "Time and reflection change the sight little by little 'til we come to understand."

On the other hand, you've produced some distinguished superior outcome from there, kudos to the shooter as well :- )

8.6K 2.39:1 up to 120fps? It's such a jump! :- )

In the last James Bond, at a certain point of the dialogue, he and M nod to each other: "Just the usual" ; ) LOL :- )

One of the reasons I immediately embraced Jim's vision on his Red endeavour from day one ; ) Blackmagic Design is what RED didn't succeed to be : ) And today, I come here to the pioneering effort put by our webmaster to respond @kye or @mercer when they wonder themselves why I relegate to a second place the traditional manufacturers ;- ) Even though I always salute their progress (half dozen of Canons and more than a dozen of Panasonic cameras over my inventory yet nowadays :- )

I doubt this camera output won't be much superior... : ) I guess you mean high-end and prosumer in general is narrowing, that one I buy : ) Three decades ago when I was still starting my path someone who came later to VP of Sony Europe told me very straightforward: "Don't think you'll ever see the same IQ from one to another end because business will never allow it..." I still believe he was pretty honest in those words addressed to me :- ) BTW, I met him at the Lisbon Sony's showroom then when he came there to take a look on some new slides device from their photography consumer range. He was the responsible for Portuguese Sony Broadcast & Industry division in the beginning of 90s.

I guess so but that's the fact they're only focused on flooding us with paper specs other than real world features instead :- )

What puzzles me is the way a cine specs list could ignore 120fps nowadays... it's beyond me :- )

And here's another James' presentation (in my native country BTW but) where the director simply forgot there is public to assist the show... : X (and all of that) despite the resources! (Let alone when in the previous example up there, Tim Booth at a certain point of his performance orients the cameraman to the main focus of the live concert: the people there! : )

One of my fav performances ever (and can also serve as single homage to our webmaster's town, so special to the creative people and my own native countrymen and women because of the obvious reasons today ; ) ...and this is when they decided to act in a singular location half dozen years ago in the capital of my motherland -- the north of Portugal (where there is today an important Leica factory unit BTW ; ) More clips here, there and else in their Portuguese crowd :- ) With ancient roots in the eldest alliance in the world still up... based on the Anglo-Portuguese friendship since the 14th century at least when the treaty was signed and a marriage planned and blessed in this same town: https://travelsquire.com/porto-sao-bento-railway-station/

Much valuable post, interesting and entertaining informative stuff on topic, thank you for sharing Stefan, cheers to you as usual :- )

Well, thanks for the words of you two : ) To properly answer you Glenn, the same way Canon's C line, Sony, RED, Z Cam cameras are mentioned in this page or the previous one by everyone, OP, me and you included who directly referred 1/2 inch sensor size devices BTW ; ) Is each one of those looking less videoish? LOL ; ) What defines "video look" to you? A cleaner high rezzed output, as for instance? Will my other P4K pop up less "video looking" then? : D What about if we had grain going on post processing, does it prone to end more cine-like fine to you, is it fair to assume so...? :- D Because I guess to evaluate on the current feature's film festivals circuit @ big screen, it should not surely be! ;- ) hey, I am just redeeming myself to those butting head occasions with reps of the brand in these same pages before or later on hahaha :- )

LOL Yeah, suchlike : ) The elitism couples ignorance and is like the fear, just another bitch! : D Why confused @mercer...? Isn't it a serious cinema camera? We've made an entire feature film, among much other cine-like stuff, with: Shot on P6K Make-Believers (2021) - EAG

I guess he wouldn't probably call the Pocket series a serious cinema tool! LOL :- )

Yes, 2K or 1920x1080p 12-bit RGB 444 internally but not sure if 60p, reason why if you don't need higher resolution for anything such as hybrid use to extract grabs from, towards printing or reframing at post, you're better going with the C300 MKII, especially for motion picture.

It depends on your needs or the shot requirements or yet your post processing : ) That is, if resolution plays any role... Otherwise, I'd keep a C300 MKII for motion picture work as preferred option route anyway.

PS: Just to avoid any misreading of my quoting and again because 5 minutes is still short to edit it : ) I think you @Mark Romero 2 fairly summed it up on the leftover of your post above-mentioned from your own experience, which should always rule what fits best our needs :- )

I think you summed it up when progress means anything you can take advantage from, without losing the "north". : ) Variable ND you'll find several options Internet is plenty of reviews such as those from Tom Antos on IR pollution with Tiffen or Cavision filters. When OLP filter is not in-camera as it is not non-rarely adopted by BMD for their acquisition devices. That is, a non-variable solution, in this case just for the sake of it. Or on the other hand, here's some other Tiffen on a variable option if you want to run away from the square route, usually recommended by Shane Hurlbut and by myself too BTW. - EAG

No worries, whereas people cannot agree about everything, things are a bit complicated when there's a balance we all pursue, but it's not B&W. Certain stuff from film world is mandatory like easiness, simplicity based on the control/focus over the triad aperture-shutter-sensitivity rather than anything which can distract the operator from basics such as lighting, framing and perspective, which means angle/POV. If we are distracted with multiple menus, something will lose the attention of the operator. On the other hand, the gradual automation and miniaturization each day more affordable (let alone the progress to embrace IQ, higher resolution, wider latitude with a softer highlight roll-off as for instance and an obvious impact on the properties of a picture becoming it more prone to be called "cinematic") have gathered a natural resistence from film world, especially when there is a whole work organisation to turn out obsolete in growingly steps towards the simplification of the process. - EAG

I am not them as you know well haha (sorry, couldn't resist! : ) but I think you summed it up rather fine. You see? We have more to unite us than the opposite. Phew :- ) Well. Filmmaking didn't change in any way other than as for experimental stuff, documentary and narrative included and new ways of multi windows for international release and exploitation, not available before. Without mention the 100,000 bucks mark as starting point, where you had to be in the past to take off from, going with film processing and lab bills, as average for a feature film. You can begin now already from that basis, with no-budget mantra in mind nowadays. Likely you reached that milestone per se : ) The matter is that we're hardly able to set it up below than a low budget, feasible today for a portion of the seven digits, at least, you had the need onetime. Much less, actually. With the same equipment both professional and amateur use or alike. Drone shots, as for instance, when wisely and creatively used, bring a production value formerly only watched in mere hollywood standards. - EAG

No pal, I don't even feel any lack of sympathy for you. Believe it or not. Especially when you use exactly the same words to send them back, go figure! LOL I just find rather silly these butting heads between both us for our own sake. Let's also not underestimate who he's coming here to read anything more valuable written in these pages. Hope both may show some worthy point to extract from, anyway : D You and me deserve more, man, no extra credibility is necessary when there's a line of reasoning I am sure we both have to offer to each other. Sometimes, they're closer than you'd like to. In some other occasions, not so much. Nothing wrong about that. Just when becomes something personal. Not nice to see then, brother. Fortunately, it is not going to happen 100% the way this seems to be. Peace, - EAG :- )

LOL Yeah, I believe Andrew doesn't have the full portrait how much love this community has for his legacy! : ) My fav Internet location BTW... and 1st place I visit as soon as I come online : )) This is a family ;- )

Yes, we all miss this place and your unique valuable input, Andrew : ) A couple of days for the update only confirmed such feeling, greetings to you mate :- )

( Five minutes is too short for editing the post, so in one line: ) Both cine-like and video devices can facilitate more or less the process to some extent. Got my endless (as you call it) point now?

I didn't write I disagree with all of your convictons : ) One of my disagreements is exactly on such patronize tone about B&W perspective. If you don't buy one of my fav quotes to date and endlessly (The opposite of a correct statement is a false statement. But the opposite of a profound truth may well be another profound truth. ~ Niels Bohr) it is up to you : ) I just think it's not fair to dictate they're not useful to those rookies you mentioned. Even because you're telling this to someone with lecturing experience at the University and Polytechnic level which professional career began more than two decades ago. And, worse than a wider POV you identify as "dramatic contradictions" is the denial frequently based in misconception when not prejudice or our own beliefs. It happens to be a "messenger" when for the same line of reasoning you bring up, people like you produce bold statements inducing people to infer all BM cameras are less user-friendly cameras than those you love, have or know. (And as you can check I do more than you now: I didn't add italic to that verb... LOL ; ) BTW your last paragraph is even funny when it's not the first time I ask you to elaborate something and becomes useful precisely to those you direct address there, beyond your earlier assertion. So, "don't pay attention to what I'm doing, only to what I'm saying!" Hilarious :- ) Yet on cameras, it's nothing about manuals or friends to assist you : D The way people see a very competitive world outside is... well, I abstain to write it. It is the way those menus distract the operator from the main goal and his/her craft. What do they serve after all? Filmmaking or geeks? KISS concept. If this is empty philosophy, I don't know what it is then anymore :- D Peace mate, don't take it as personal because it is not : ) I do still appreciate to read you and I'm pretty sure I am one of your best readers, I am just not intending to show off anything other than the points I see with merit. Great we can't think everyone for the same head, isn't it? ;- )