Emanuel

Even more amazing they were low budget B-movies with shoot schedules under five weeks !

Not even in 4K!
It's like they've never watched a single YT tutorial on how to make their footage cinematic.

Based on the collaboration between director Anthony Mann and cinematographer John Alton, here are the films they worked on together:
T-Men (1947)
Raw Deal (1948)
He Walked by Night (1948) - Mann directed most of the film but was uncredited
Reign of Terror (also known as The Black Book) (1949)
Border Incident (1949)
Devil's Doorway (1950)
The full movie of "He Walked by Night" is on youtube 
 

Part of the reason they could make these film was the introduction of Kodak Eastmann Super  XX film after WW2.It was rated at around 160-200 ASA which was over 2 stops faster than film of the 1930s.It also was known for its ability to be pushed (underexposing and overdeveloping)It was regularly pushed one stop to 320AS and sometimes two stops to 640ASA like on Citizen Kane. 

Well that was awesome.

I'm not sure what "a modern approach" is, but iMovie and Luma Fusion are both pretty straightforward and unbloated from what I remember - and they both run on Mac.  I'm not sure if either one has a lut editor, but 3d lut editor has been pretty good for a while now, hasn't it?

Shotcut (a free cross-platform NLE) might give some inspiration -- good clean UI which is intuitive to use if you just keep the dockable panels you really need:
https://shotcut.org/
 

I found an interview with the person who shot the under-water sections of a GoPro promo video (IIRC it was for the Hero 3 or 3+), and the level of effort they put into it was simply incredible.  He had a team of about 5, three crew and two cast, and they had a week for production.  He was an independent DOP and had done some pre-production as part of his 'pitch' to GoPro to get the gig, but I think they did detailed pre during the week as well as camera tests and lots and lots of shooting.
This was only for the underwater shots (the bikini girl diving beneath the waves).  If we assume that each of the (maybe half a dozen?) locations each got 5 people for a week, then that's ~7500 hours just to film the 1-2 minute promo video.  The level of cherry-picking is extreme - professional DOPs pitching projects, travel to the most exotic locations, testing of all modes with all manner of equipment, everyone in cast and crew are professionals, long shooting days at the best times (golden hour, etc), dozens of hours of footage just to make a short promo.  Then people set it to auto, hold the tiny camera in their hand and film their family at the beach with whatever lighting and weather happens to be there at the time and then we wonder why it doesn't look like the promo videos...
Having said all that, if GoPro make an interchangeable lens camera with a half-decent bitrate and a colour-managed LOG profile then it might be the tiny camera we've been wanting!

It’s only a matter of time before some big movie is shot exclusively on a Go Pro or DJI…

For sure, and I'd be excited to give it a try!  I was a Kickstarter backer of the Z Cam E1 and I've bought a few Ribcage kits/cameras over the years.  I was disappointed by all of them, but I'm still hoping for that magical/usable tiny sensor camera!  I have a little bag full of D-mount and C-mount lenses just waiting to go on something!
(I still wish there were a way to get a decent/non-laggy video feed from the Insta360 One R/RS series - I have a Ribcage-modded 1" module and the quality is really decent - but focus is hard, given the only options for monitoring are the camera's tiny screen or laggy wifi)

Any takers here?
 

Any takers here?
 

I've been hearing a lot of positive things about the AF on the BMCC with the latest betas.
Given that BMD have said before that they plan to roll it out to all of their newer cameras, my assumption is that Petty will be announcing it for some more cameras at NAB in a month or so.  My selfish hope is that the UC 12K LF is included.  It'd also fix one of the major considerations if people are considering C80 or Pyxis 12K if they roll it out there too.
My other big. hope/assumption is that they'll also finally announce a USB reader for a single UC media module priced under $400.  The MM is fantastic, but it's a pain in the ass to connect the camera to a 10gE network to download it at any reasonable speed (USB and wifi transfers are both slow as hell, not sure why but the virtual network they create on the USB interface is only 100Mb/s) - and the only reader they sell now takes 3 modules which is 2 more than I have and it costs something like $1,000 - and from what I recall, it also needs to be connected to 10gE.
And getting into wild speculation, it would be interesting to see them release a smaller camera using a lower-resolution RGBW sensor.  A $3k or so 6K (or 8K) camera with similar dynamic range to the 12K sensor in the bigger cameras and Canon/Sony-level AF would be really tempting/compelling.

«As a Fuji user, that smooth autofocus on the BM6k makes me cry.»
«I sold my X-H2s and all the lenses a few months ago to get BMD Cinema 6K, and I never looked back since.»
source
«The most significant thing about all this, as you pointed out in the video, is that Blackmagic is essentially giving autofocus to all of us who already bought their camera, instead of releasing a Blackmagic 6K Full Frame Pro with autofocus just to make us open our wallets again. They may be losing money in the short term, but in my view they are gaining in the long term, because the trust the brand inspires is truly remarkable.»
source
 
Disclaimer:
Happy camper as Blackmagic shooter over here!
Looks like I am not alone...
 
- EAG :- )

That tracks.

Well, there's one hell of a metaphor in the "context" of this.

Panasonic just released a new on-camera mic.  Looks like an excellent option for events etc where you want something small or something really flexible.

I've watched a few YT showcases and for me, the best features are:
It gives you 32-bit without having to have the external mic preamp box (and then adding microphones to that, making it larger again) It's small, much smaller than an on-camera shotgun mic You can quickly swap between modes (I assume?) it's powered by the camera It unlocks the ability to record >2 channels of audio into the files (one person said you can record left/right/mono/mono-20dB as a combo, and left/right/left-20dB/right-20dB as a different combo) It's definitely not magic and the laws of physics still apply.
There don't seem to be any really good on-location stress tests posted yet, but there's a few examples.
Media Division did an in-kitchen test to compare it to in-camera mics and lav and a DJI clip-on, and also applied a bit of AI voice isolation too to see how far you can push it:
Dustin did some good tests including walking a 360 around the camera in each mode, which showed how directional it is, which seems pretty impressive.  He also compared it to the Sennheiser MKE440.
This shows the different modes out in nature:
This is probably a complete revolution for a number of niche uses.  Content creators would be one, where they're recording in noisy environments but still staying relatively close to the camera where physics will be helping them.  Another is where the flexibility really helps, like shooting events where getting pristine audio isn't an absolute must but working super-quickly is more important and perhaps the 32-bit would really come into its own.
This reminds me of how people used to talk about Panasonic when the GH4 and GH5 were around and people were saying that Panasonic just listened to people and then implemented the features that people would use rather than trying to be flashy and grab headlines.  This will be an invisible workhorse for lots and lots of people.

Regarding voice AI.  Hoo boy.  As a documentarian, this one can affect me a lot.  A lot of ills can be smoothed over with AI audio.  But ... at the end of the day it's an ethical choice how it's employed. 
I've decided to ONLY use it to salvage VERBATIM lines from interviews and field audio that is distorted beyond comfort.  Like, wind noise, clothes rustling.  And then it's a last ditch option after audio EQ/Rx tweaking.  Best thing to do is just not 'f up the field production to begin with.
Beyond that, if AI is used as a production short cut to solve a storytelling/crafting failure as a filmmaker -- I now consider AI use untenable for me.  It's simply on the wrong side of things morally when it comes to making honest doc films. 
Sadly, I fear that's now a contrarian opinion; an "old-fart" opinion.  No one probably really gives a shit anymore about these sorts of "cheats" 'cept me.

https://www.indiewire.com/news/obituary/robert-duvall-dead-1235141818/
The world will be much emptier without him. He was one of my favourites—and, for sure, one of many others here too. RIP, you’ll be truly missed, not just on screen.

 

https://www.indiewire.com/news/obituary/robert-duvall-dead-1235141818/
The world will be much emptier without him. He was one of my favourites—and, for sure, one of many others here too. RIP, you’ll be truly missed, not just on screen.

 

I saw this one the other day and it didn't tell me anything I did not already believe which was/is: Nikon wins on body & screen (albeit, I wish it tilted!) but the LUMIX on real world use. 
For my specific needs anyway.
Based on his footage, the LUMIX footage looked better than the Nikon which looked a bit yellow/green (like older Sony stuff from a few gens back!) and side by side, a magenta tint was (only) then noticeable with the LUMIX, but the Nikon turned horrendous.
YouTube compression and all that...
Nikon wins (easily) on lenses taking into consideration adapted E Mount glass, but there is just enough in L Mount for my needs in 2026...which was not the case in 2024.
The Nikon is very competitively priced.
Bottom line for me is I would not trade my S1RII/S5II/S9 combo for any other currently available option as things stand.