Emanuel

Marty, a mirrorless camera is not a cell phone but not vice versa as we all know. Here's why this can be a game changer -- on second 135
Without mention, the BMD App... Apparently, this new tool, worthy of a new capture device by itself, is also able to bypass device's overprocessing because is using Apple Log?

That said, a smartphone doesn't replace a mirrorless, of course, but the fact some optical and computational photography basics can provide the trick when the best camera is the one you can use and not other, at this level of outcome, transcends anything we've seen so far. Really.
It doesn't mean that external SSD and reliability such as overheating issues under control, etc., are beyond any further scrutiny, obviously. But I actually don't know how to call it differently if any.
- EAG

I’ve just ordered 68 units.
And a pig.

I've worked with a film director Chinese-Portuguese from Macau I simply find unique, even though to come to my mind another one from past also 'cause the way they work with female characters:
https://wolffianclassicmoviesdigest.wordpress.com/2019/07/07/george-cukors-way-with-women/
 
I invite everyone of you to pay attention to her career... here is her most recent motion picture released in China these days (September 28, 2023), more specifically Hong Kong production -- where she got her master's degree after graduated from Taiwan:
 
Her debut as director is this one:
https://www.cgiii.com/trailers/item/sisterhood

Seems a game changer in fact : ) Just wondering if LOG gets rid of all that nuisance...

Looks like a S16 GH5 II to me. That is a compliment. Skintones gave away that it is not a highend camera but the current flagship iphone. Seems like that nasty sharpening is absent.

Looks like ready for prime time:
 

Looks like ready for prime time:
 

I've worked with a film director Chinese-Portuguese from Macau I simply find unique, even though to come to my mind another one from past also 'cause the way they work with female characters:
https://wolffianclassicmoviesdigest.wordpress.com/2019/07/07/george-cukors-way-with-women/
 
I invite everyone of you to pay attention to her career... here is her most recent motion picture released in China these days (September 28, 2023), more specifically Hong Kong production -- where she got her master's degree after graduated from Taiwan:
 
Her debut as director is this one:
https://www.cgiii.com/trailers/item/sisterhood

I would probably only use high resolutions (4K and up) for projects with a heavy amount of VFX which is where I would find the ability to scale and reframe useful. Or if I specifically want that super crispy look. In term of visual quality FHD and 2K are more than adequate for narrative films. Most movie theaters are only projecting 2K DCP. 35mm film prints were only about as sharp as 720p. I even kinda prefer a softer look, and I suspect a lot of others do considering how many people use high res raw shooting cinema cameras, and put vintage lenses and diffusion filters on them. Many of my favorite films are shot on 16mm, and I've always loved that soft, grainy look. 
I'm a big fan of/greatly respect David Fincher, who uses the highest resolution cameras he can for more flexibility. I personally don't like shooting this way. I prefer to have less flexibility in post. I get optional paralysis and would be too tempted to keep tinkering and tweaking endlessly when the options are limitless. It's easer to force my choices in production because the options and time are limited enough to allow me to make some snap decisions, or to force other decisions. I'd rather get the look I want in-camera.
I'm more interested in seeing how upscaling software will advance. The martial arts action film The Raid, which was shot on the Panasonic AF100 (remember that camera??) is being upscaled/remastered in 4K and the frame grab samples released by the director look good.
 

Learning to not give a damn... LOL Nice pick! @kye ;- )

Stop giving the world our secrets huh?!
But that’s kind of the sum of it actually…

Nice results
Does anyone know what the right combination of settings are in Resolve to get Dolby Vision HDR 4K footage from the older iPhones from 12 through 14 to display as HLG in Resolve without the Dolby Vision metadata, or tone mapping applied?
Just want to grade the HGL like S-LOG.
Everything I've tried so far doesn't work, including setting custom colour spaces in Resolve set to Rec 2100 and Hybrid Log Gamma.
 

Another one to match the above with a slightly better matching scene (still not hard light though - the pollution in India is no joke!).
Ref:

iPhone grade:

iPhone (ungraded):

Ok, I'll shut up now.

Another one, this time a shot from one of the Jason Bourne films, I think this was the second one, which was shot on Kodak Vision 3 and printed on Kodak 2383.
Reference image:

iPhone grade:

iPhone (ungraded):

I'm not so happy with that one, but the subject matter was a lot more different, with the reference shot being in full sun and the iPhone image being overcast and also containing a lot of different hues.  The road in the reference image is asphalt and is slightly blue in the image, whereas the "road" in the iPhone shot is actually tram tracks and concrete, not asphalt.  Still, there was something in the green/magenta/yellow hues that I couldn't quite nail.
Oh well.
That's those HDR images from the iPhone - you have no creative control over them.  If only Apple had given me a slider for saturation, sharpening, and other controls, those would have matched the look of S35mm film and Cooke lenses perfectly 😉 

Here are a set of four shots from my iPhone 12 Mini that I have graded very quickly in a few different ways to give a sense of what is possible, and what "film looks" might be able to be created.  
The first row has no grading applied, the second has my standard default iPhone input transform, the rest are more creative grades, just pushing it around to create various looks.  All these shots were shot on full-auto with the default iPhone app.
Every shot on the same row has the same grade, including exposure and WB and everything, despite being shot on three different continents.  All these use only effects that are available in Resolve - no third-party plugins or LUTs or other YT influencer bullshit.

You tell me - do I look like I am currently experiencing a complete lack of creative control over my images?  

DNG files from Android RAM footage can be imported directly in Resolve. They also can be labeled in a way that Resolve see them as DNG files coming from a blackmagic camera. You have access to all the settings, like change ISO in post and even Highlight Recovery ! I'll share my workflow with some sample clips in a few days. It is easy if you have the knowledge.
Funny enough but to shoot in 4K ProRes 60p on new iPhone 15 pro Apple forces you to use external storage, while with Android RAW you can get 4K at 60p internally on the latest generation flagships without any problem. External recording to SSD is available to Android RAW too. With Xioami 13 Ultra or Vivo x90 Pro Plus 1Tb internal storage at 1000-1100 E, you may never need external one.
Going back to IPhone 15 Pro, here is one good example that shows that aggressive noise reduction in high ISOs is also gone with new iPhone 15. Flares are still present but much less than in 14 Pro where they are simply ruining the image.
https://www.youtube.com/watch?v=DHT2TEwJJz4
This guy claims that with Blackmagic application you can have Apple Log with HEVC (265) codec. Check the Apple Log part. Hm interesting
https://www.youtube.com/watch?v=BOZUfWcGCxk

A bit more playing around with what is possible from my HDR iPhone 12 images...
Reference image from the move Ava (2020):
iPhone grade:

iPhone (ungraded):

It's not perfect, but without having them next to each other it's not terrible.  I couldn't find what camera Ava was shot on, but I did find that it was shot with Panavision anamorphics.  No doubt that is a contributing factor to why my iPhone shot doesn't match the exact look of the movie lol.

No need to be nervous to read my name and NASA (or cite those two) in the same line, this time you've earned someone to comment anything posted by your Dvarapalaka... LOL ; ) Just be patient for the next round! : D

Thanks for the support!
I did one single test run last night, of trying to get the B roll but also filmed aspect of everything I do in a single nights astrometry planning.
Big notes.
1. Need a smaller tripod. Found a giant tandem leg tripod w a Manfrotto head on it in a closet and it's way too massive for this project. By a factor of like 3. For my budget, Im thinking the iFootage Gazelle to replace the legs and use the fluid head I found.
2. Low light lens. This one is obvious, but also the most difficult. The 17-70 2.8 is great, but a 24-105 F4 equivalent isn't gunna cut it when I'm filming with zero artificial light, often out in fields or at night in the observatory. Also, I believe I have also dashed my own hopes of using a manual focus cinema lens for this. I just can't see myself having a good time doing that. And im doing all of this... for fun.
3. Audio. In running these tests, the Rode Video Mic Pro R set to +20 and the XT4 set to -20dB was extremely clean, and useable for nearly every shot I threw at it. The only time I felt limited was when we had some kids riding down the road at full volume, which it picked up quite clearly as well! May consider a WirelessGOII for more personal VO things and such. Worries have calmed on the audio side.
4. Video Monitor. Here's my major wrestling point! I love the idea and concept of using a monitor. But my main concerns are bulk, balance, and batteries. Is that worth it? I dont think I can answer that yet. My Tamron NAILED focus during the test runs, but framing was a big concern because there were shots that I genuinely couldn't see the screen to ensure good framing. Where I used to work, we used large bright Atomos monitors, and that sadly isn't in the budget. Shinobi sounds fun, but if something is cheaper I will look at it.
 
Any thoughts are welcome!
 
 
 
 

Man, if NASA is paramount (no complaints, how could I? ; )) then, let me show off a little bit now LOL as well disclose only a fraction my NDA : ) and let you all know I have some exclusive NASA's original footage to work in the next months to come! :- )

Right on the spot ; )
 
I guess it should work in every recording mode but we never know if it is actually restricted to internal capture or not... No iPhone user over here yet ; ) Any iPhone 15 early adopters who can confirm it, please?

On the Apple Camera App only ProRes can be recorded on external SSD or CFexpress…. make no sense but is Apple. 
 
Not sure if a third party app eg BlackMagic can record non ProRes to external storage.

People focus in some other directions. So-called professionals because that's for a living : ) This doesn't mean someone outside is not able to show up with more knowledge about ; )
A bit like film critics or a few so-called movie industry experts, the best ones are far to be the most famous ones : )
The same for cell phone cameras, they're the best sellers but this says too little and definitely not prone to offer the best outcome ;- )
Like blockbusters when arthouse is handicraft and is needless to say much more complex to be made as art form, free from formulas in the bag.

Ain't they possible to record them directly via USB-C?