andrgl

Those ones are rare for us too, but i know agencies have plenty of those jobs, and paying contractor peanuts. Those creative director/producer getting big chunks of shares.
 
https://drive.google.com/drive/folders/1dA1Em-D2ioEJU5jInk_JT_EsQGVIprCZ

You can easily soften them up in post.
I quite often decrease Midtone Details (subbed as MD in Resolve) and add a tiny bit of blur to take the digital edge of my footage.
Truly works wonders.
Our fellow member, @Ryley K , posted an impressive tutorial on how to emulate film. One of the steps there includes adding a faux OLPF effect.
I highly recommend taking a look at it.
 

I've been watching a bit of his stuff lately myself and I really enjoy the fact that although he has a ton of gear he also has a fun DIY sensibility.
HIs contraption for vlog lighting (complete with forward facing camera and monitor so he can do walk and talks with it !) was a typical example and actually yielded some impressive, if slightly impractical, results.

And his "My Camera Gear For Travelling Europe" video is an essential reference to be used in mitigation when your other half says you're packing too many lenses on your holiday !

How did I get a downvote for calling out magenta cast from the BM12K sensor?  

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

At 01:24s his hair does not have a magenta color to it.  In the video it has a light cast.  The same with the first scene, girl with the black top and at 01:42s, her hair is a dark brown. The next scene at 01:44 you don't see magenta cast in her hair.  It's there when you know black should not have a magenta tone at all. 
 

😁 I agree, people don't vote in points made, but their ego comes along without fail 😂

I love MarkusPix and his channel. IMO, one of the best. He gives away a ton of gear too! Here's the latest where he tested a bunch of cameras he owns. Overheating seems to be a hot topic these days.
 

No need to downvote and paint the forums from a negative perspective, just take a look on the versatility of this.

RED users are the missing zomies from the remote Islands of Haiti. I guess not much else needs to be said about them.

Ok, whatever you want. Keep evaluating camera bodies by how they place the buttons and thinking that all magnesium alloy bodies are the same 🤷.
Anyways. BM needs a proper high quality metal body like RED and ARRI. That's one of several steps to get into the major leagues.

Dude, I'm sorry, but if you take a RED in one hand and a URSA in the other hand you will notice immediately which camera is a toy and which one is not. That's a fact. If you don't want to see it it's your problem.
The 7D it's also magnesium alloy. That's not an argument if we are gonna talk about reliability in different environments and extreme usage. That's where Blackmagic fails.

It's not about how they "look", come on are you serious? A plastic body against a metal/magnesium body it's night and day in terms of reliability. It's night and day if you work on set with the camera powered on all day and it's a huge difference if you work on harsh conditions like extreme cold and heat. It's not about "button accessibility". Please be serious.

Just get a digital bolex. You don't need this for s16. 

Again, magenta cast in the black shirt, black hair areas. Look at 00:59sec.  What is that secondary shadow in under her nose?  At 01:06s I don't see any magenta cast.  At 01:27s the shot is horrible.  Good skin tone but at the cost of color balance.

PRICE
RED Helium Ranger + Monitor:
$31,400 
URSA Pro 12K + Accessories:
$11,500
The new URSA Pro is 37% of the price of RED's comparable offering. SPECS
RED Helium Ranger:
8K @ 60p (12:1 Compression)
4K @ 120p (Cropped Sensor)
URSA Pro 12K:
12K @ 60p (5:1 Compression)
8K @ 110p (No Crop)
 
ANALYSIS
The new sensor technology that allows you to shoot at lower resolutions for higher framerates is arguably the most important aspect of this camera. That and...price. There's really no reason to be in a RED at this point in time. I guess if you hated money you would stick with them? I'm scrambling to find one area that RED would beat BM in and I can't think of one. It was always codec but we might just be there with the release of this new version of Blackmagics Color. Add in the full ecosystem compatibility with Resolve and the fact that it's almost 3x the price. Seriously, if Blackmagic wanted to make a dent on the high end I think they just blew it up. RED is going to have to innovate AND lower their prices (drastically) just to be competitive again. You will have outliers and people that stay loyal to the brand for whatever reason...but if you're unbiased and just looking to make the right purchase, I don't see how RED makes any sense. As of today at least.
Seriously a crazy release and few days here. I don't know if I have ever pre-ordered>cancelled pre-order>pre-ordered new camera in a 48 hour window before. 

RED color and footage holds up.  RED blows away BM across the board. 
Black Magic footage is always graded away from natural color.  Always.  The same with the GH5.  Give me one color grade that has a natural look and let's see how these cameras hold up. 
 
 
 

In raw?  how do you shoot lower resolution raw format. I saw same thing with Nikon Z6 raw output from a 6k sensor to a 4k one. They had to line skip and it introduced moire and aliasing. This was from 6 to 4k, now imagine from 12k to 4k?

I seriously doubt anybody buying a 12K camera is buying it because they can now show audiences a 12K feature film. 12K opens up other possibilities.
I’m getting pretty sick and tired of the pervasive Luddite mentality being displayed on this forum.
There is always going to be compromises with gear. It will either work for you or it doesn’t. You give feedback. You move on. 

That's a joke, what pro's will burden themselves on 12k.

WOW I would like to see that, I have a Rizen 7 3800 8 core 16 thread processor with a Radeon V (the second fastest GPU after Nvidia 2080TI) and .265 fuji XT3 with around 4 to six node on a 1080 timeline shutters. Did you do it typical style with many tracks etc like normal editing.

Does it if you have like 6 nodes with some power windows etc... H2.65 plays smoothly on my set up, start to add some nodes and you have to revert to proxy files. Now imagine the typical TV shows I have been working on with two 2.8k arri Alexa's, transitioning to that. So 2 12k camera with at least 3 backup. It would be like 3 to 4x what they already have even with the best estimates. I don't see this camera going to get any traction in film and TV shows. And I guess that most of that super color info BMD is talking about is going be loss with these compression anyway.

It was shot from our own @John Brawley, if people come back to treat him well here he could give some useful insights.

Maybe even for the troll of the other thread which says that a camera without IBIS or PDAF is not useful...

On all non theatrical release I have been on it was all about Alexa's. They will just upscale it. Do you think netflix will refuse a very good story with good actors etc because it was shot in 2.8 k and now every camera shoots in 4k. 12k is another ball mark, even 8k is a waste, because as I said before, bigger the screen, the further people will watch it, unless they want to watch a film like watching a tennis match.
 

I
You mean the one where everyone is in the shadows under a winter sun, yes we are in winter here in the southern hemisphere. Aslo that is super dark in the night seen. Yes I have seen those.