Xavier Plagaro Mussard

The basic problems are always the same. Billions of poor people who can't unite to overthrow the handful of riches. Fucking the planet, regret doing it and keep doing it, rinse&repeat. Koyaanisqatsi has 40 years. 
It would be great if we could tackle at least one of those before human extinction. 

I am not going to see this movie.  But if you want to cheer yourself up Andrew, check out Netflix's superhero fare.  Jessica Jones (season 1) is the best written and acted of the lot, but the action is fantastic in Daredevil and the lighting is amazing in Luke Cage (we'll pretend Iron Fist never happened). 
I have often said that people should check out Luke Cage or Daredevil if you want to see how to do dark cinematography the right way.  It is the total opposite of the literally unwatchable Solo: A Star Wars Story.  Night scenes on the Netflix supershows look realistic but everything pops out from the shadows so you get the mood without missing the action.  Sadly, Disney shut down those productions when they bought Marvel, but hopefully the extremely talented production crews will be making beautiful new works soon.

The basic problems are always the same. Billions of poor people who can't unite to overthrow the handful of riches. Fucking the planet, regret doing it and keep doing it, rinse&repeat. Koyaanisqatsi has 40 years. 
It would be great if we could tackle at least one of those before human extinction. 

I do understand the power of standards. From that point of view I get it that TC is necessary. Thanks for explaining it to me!

Netflix's requirements is not only about having a minimum fidelity to the image, or even making it strictly easier in post, but having a standard workflow. They need to be able to send any one of their productions to any one of their post houses and have it be immediately workable, and that if that team gets shifted to a different project midway through, they can send that half done project to another post house and have them pick it up immediately, no questions. They've decided that TC is a mandatory element to their workflow, from capture through post. To be honest, if I were Netflix, I would specify a lot more of the technical and metadata requirements for my productions just to ensure that every piece is compatible across their entire billion dollar post workflow.
On a much smaller scale we do the same thing at my work (outside the film industry). If the designer for one project is out sick and the client needs a change, other people on the team have to be able to open it up and immediately know how to make the change. We adopt standards, some of them because it's the easiest way, some picked randomly just to make sure we're all on the same page.

Have thousands and thousands of clips to sync with tight deadlines and I bet you'll start to think of TC as being "mandatory" too. 

Q: When will digital catch up to film?
A: When you learn to colour grade properly.
With a few notable exceptions (you know who you are), the colour grading skill level of the average film-maker talking about this topic online is terrible.  Worse still, is that people don't even know enough to know that they don't know how little they actually know.
I have been studying colour grading for years at this point, and I will be the first to admit that I know so little about colour grading that I have barely scratched the surface.  
Here's another question - Do you want your footage to look like a Super-8 home video from the 60s?  
I suspect not.  That's not what people are actually looking for.  Most people who want digital to look like film actually don't.  Sure, there are a few people on a few projects where they want to shoot digital and have the results look like it was shot on film in order to emulate old footage, but mostly the question is a proxy for wanting nice images.  Mostly they want to get results like Hollywood does.
Hollywood gets its high production value from spending money on production design.
Production design is about location choice, set design, costume / hair / makeup, lighting design, blocking, haze, camera movement, and other things like that.  If you point a film camera at a crappy looking scene then you will get a crappy looking scene.  There's a reason that student films are mostly so cringe and so cheap-looking.  They spent no money on production design because they had no money. 
Do you think that big budget films would spend so much money if it didn't contribute to the final images?
I suggest this:
Think about how much money you'd be willing to spend on a camera that created gorgeous images for you, and how much you'd spend on re-buying all your lenses, cages, monitors, and all the kit you would need to buy Think about how much time you would be willing to invest on doing all the research to work out what camera that was, how much time you would spend selling your existing equipment, how much time you would spend working out what to buy for the new setup, how much time you would spend learning how to use it, how much time you would spend learning to process the footage Take that money and spend half of it on training courses and take the other half and put it into shooting some test projects that you can learn from, so you can level-up your abilities Take that time you would have spent and do those courses and film those projects People love camera tests, but it's mostly a waste of time.  Stop thinking about camera tests and start thinking about production value tests.  Take a room in your house, get one or two actors, hire them if you have to (you have a budget for this remember) and get them to do a simple scene, perhaps only 3-6 lines of dialog per actor.  It should be super-short because you're going to dissect it dozens of times, maybe hundreds.  Now experiment with lighting design and haze.  Play with set design and set dressing.  Do blocking and camera movement tests.  Do focal length tests (not lens tests).  Now do costume design, hair and makeup tests.  
Take this progression into post and line them up and compare.  See which elements of the above added the most production value.  But you're not done yet - you've created a great looking scene but it is probably still dull.
Now you have to play with the relationship between things like focal length / blocking / camera movement and the dramatic content of the scene.  Most people know that we go closer to show important details, and when the drama is highest, but what about in those moments between those peaks?  Film the whole scene from every angle, every angle you can even think of, essentially getting 100% coverage. 
Now your journey into editing begins.  Start with continuity editing (if you don't know what that is then start by looking it up).  You now have the ability to work with shot selection and you should be using it to emphasise the dramatic content of the scene.  Create at least a dozen edits, trying to make each one as different as possible.  You can play with shot length, everything from the whole scene as one wide shot to a cut every 1s.  You can cut between close-ups for the whole scene, or go between wides and close-ups.  Go from wide to mid to close and go straight from wide to close without the mid shots in between.  What did you learn about the feel of these choices? 
What about choosing between the person talking and the person listening?  What does an edit look like where you only see the person talking, or just the person looking?  Which lines land better when you see the reaction-shot?  Play with L and J cuts.
Now we play with time.  You have every angle, so you can add reverse-angles to extend moments (like reality TV does), you can do L and J cuts and play with cutting to the reaction shot from some other line.  What about changing the sequence of the dialogue?  Can you tell a different story with your existing footage?  How many stories can you tell?  Try and make a film with the least dialogue possible - how much of the dialogue can you remove?  What about no dialogue at all - can you tell a story with just reaction shots?  Can you make a silent film that still tells a story - showing people talking but without being able to hear them?  Play with dialogue screens like the old silent films - now you can have the actors "say" whatever you like - what stories can you tell with your footage?
Then sound design....
Then coaching of actors....
Now you've learned how to shoot a scene.  What about combining two scenes?  Think of how many combinations are now available - you can now combine scenes together where there are different locations, actors, times of day, seasons, scenarios, etc.  Now three scenes.  
Now acts and story structure....
Great, now you're a good film-maker.  You haven't gotten paid yet, so career development, navigating the industry, business decisions and commercial acumen.  Do you know what films are saleable and which aren't?  Have you worked out why Michael Bay is successful despite most film-makers being very critical of him and his film-making approach and style?
There's a saying about continuity - "people only notice continuity errors if you film is crap".  Does it matter?  Sure, but it's not the main critical success factor.  Camera choice is the same.

That's wild generalizing. You can't narrow a whole field down to one piece of software.

Well they had it coming... WB did not kill anything... Nolan did. as well all the top actors and top director...Movie budget are getting completely out of hand.. Nolan took 20 million salary for tenet. How can that be justified? Top actor are paid tens of millions. Now, the last time I wanted to go to the cinema, probably 18 months ago, the tickets were £15.50 for their so called Imax experience... So 31 quid for my wife and me. imagine if we had the kids!! Well enough said... We simply didn't go. not because we can't afford it but because it's insane to spend such an amount to pay for a below par experience. the last few times I have been to the cinema in the last 5 years they were 10 to 15 people max in a 300 seat cinema... What experience is that? my suggestion... Bring actors and directors back down to earth, pay them decently.. make good film with good script and story for 25 million max, put the cinema ticket around £6-8, and I bet you that they will fill up again... or go on spending 200millions on some crap with high price ticket and the 20th century fox and the others will follow in the footstep of WB...

Here's how the music industry is...
https://news.sky.com/story/nile-rodgers-calls-on-mps-to-tackle-unfair-streaming-system-12155250
Big profits for Spotify but talent kept completely in the dark.
We cannot have our culture controlled in this way and pimped out over the internet whilst live audiences become obsolete.

And here is the best basis for selecting a computer, the operating system you are happiest with.  Most important I think.
Mac users have traditionally paid more for Apple hardware than PC users paid for Windows hardware, precisely for the same reason, that they prefer the OS. (I am one of those.)
But now for the first time (?) Mac users can pay a little less.
 

It is incredible that in this age of big data and micro-analysis, the people who make more money in any big firm are those more likely to make it loose money and in the end fail. 

DaVinci is fully M1 optimized. You can choose. 

Lol very similar to this graph just down below on that article 
 

If its based on the ARM design (most likely the Cortex X1, with another lower re-deisgned core), theoretically Snapdragon and Exynos should be able to pull off high end laptop processors too (if they can record 8k, in compressed H.264/H.265) on smartphones, their processors already seem capable enough). Nice that processors are getting smaller and a lot kroe efficient. Also, the monopoly of over pricing processors is wearing off. Hopefully Snapdragon and Exynos join the race, sooner than later. 

I think the final sentence is the best piece of advice you can give. Seriously, at this point is there a worse investment than a new camera if you don't have a job that specifically requires it?
YouTube channels or blogs promoting new gear and tech during this pandemic is not just irresponsible it's almost a little sinister. 

https://petapixel.com/2020/10/15/next-fuji-x-t3-firmware-update-will-more-than-double-autofocus-speed/
A little bit of love still for the XT3, AF improvements 

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday.
I'm absolutely not going to give the game away before then and say that it also supports manual lenses.
Absolutely not going to spoil that surprise.

With all that being said, a speedbooster takes care of the issue on the C70, because now you can use EF full-frame lenses, either the 24-105mm lenses that have great IS and still get you f2.8 or snag a 24-70mm and have an f2. Pretty great. 

This might be a little off topic and it may or may not help others using FCPX.   Never transcode your H265 files to Proress 422 before importing into FCPX.  Allow, FCPX to generate optimized files upon importing.  The optimized files are ProRes 422.  Do your editing.  Once you have completed your project, delete the optimized media and you will be left with a smaller project file that only has the H265 media.  If you ever need to edit your project, allow FCPX to again generate the optimized media.
Hope this might be of help to others.
Don

That comment aged badly!
 

We're talking two unreleased cameras, but the internal NDs, mini XLRs, higher framerate 4K, and superior autofocus would make the Canon a clear winner over the S5 for docs.
Unless you literally have to have two cameras for $4000, in which case there's no point comparing them.

No SDI. What a shame. Some directors like to see an image on their monitors, right! For image quality only I wouldnt buy it. For that price it needs to have SDI.
I second that, 2x S5 plus one Mamiya 645 speedbooster and two middle format lenses- Hallo IMAX! :),  plus a dummy FD adapter and two Canon FD lenses instead.
How about a YAWG thing with battery for the S5, Panasonic?

For those who talk about this camera for doc work, it wouldn't be better to buy 2x Panasonic S5?? Unless of course if you are full of Canon lenses.