IronFilm

Sorry to hear about your medical issues and great to hear you are on the road to recovery.
I echo your thoughts about this place.
My last few weeks have been spent at my Mother’s bedside as she drifted away to her passing.
In times like that of huge change and trauma we look for constants to keep us connected to “normal” life.
In that respect, checking into here every now and again to find everyone having the same circular arguments was oddly comforting.
And I honestly mean that with love.

Absolutely, but when will it be here? I mostly have EF lenses, though I may consider the Sony FX9 II if that comes along sooner and has the better features/price. The FX9 already looks great with the in-camera 10 bit:
And, with the RAW expander, it reproduces some beautiful colors:
Sony's advantage is that they don't need to introduce a new mount at this stage and have a better native and 3rd-party lens selection.

^ in that case i can still safely recommend a pocket 4k 

Is my memory wrong, but can't you have two external sources plus two internal scratch mics? That's a good enough compromise in my opinion 

im not yelling? i could make the argument that this consumerist driven attitude is more toxic? 

i think the 50/100k arri/venice setups are actually necessary for the context theyre made for, and i think there’s a decent argument to be made in regards to getting those and making a profit from renting those out.
Almost every camera now performs almost exactly the same. this means that theres no little to no difference in image quality between the lower budget options (pockets, fx30s) and the mid tier (canon c-whatever, fx9, red). you’re not going to see that price difference in the end result.
if you’re going to be shooting basic stuff in nature where you dont need a bunch of bells and whistles, you might as well get the lower cost options that let you record in a good or decent codec, which also happen to be light. your back will be much happier afterwards. you can save some money with which you could buy a decent set of lenses, nds and a great tripod.

I too was tempted to go give a lol reaction instead a like
But I support @QuickHitRecord on their impossible mission!

I saw it almost twice because I have a friend who works at a theater where they were showing it and I went to catch it. The script is nothing much and it gets lost in the end. Just another movie.
Let's face it: it was discussed so much for a very simple reason: all independent filmmakers and the kids (including white-haired ones like me) je***ng off with their little cameras in the backyard thought: if he made a blockbuster with my own little camera, so can I.
But picking up on the thread title "Will The Creator change how blockbusters get filmed?" I venture to say that This was a whim of a very particular director (his resume proves it) but the film industry doesn't give a shit about the camera used for the film and nothing will change.
As I said 8 pages ago, if there is one reason the film will be remembered and may change the way these blockbusters are shot, it is the visuals.
The film is a visual treat. But not because of the camera or the lenses used but because unlike 99% of other similar films they chose not to create everything by computer but to use real locations as much as possible to which, in post production, the necessary modifications were applied (mainly for budget reasons i suppose). There are scenes shot in real Buddhist temples in Nepal, ruins in Cambodia, hotel, train station, and Bangkok airport, to which they added futuristic details. The futuristic lab you see in the trailers is a real nuclear accelerator in Thailand. the result is mind-blowing. The locations are real and fuck if you can see it.
The visuals have a great scope that the Star Wars productions look like South American soap operas in comparison.
In short seeing the total CGI reconstructions of entire landscapes in other much more expensive and famous films you get the impression that perfection has been achieved. Then you see this film and knowing the technique used (I would almost call it augmented reality) you realize that there is still a long way to go.

Here, in my opinion, this will be something that will change the approach of other productions.
 
 

1) there is no "settling", the 4/3 sensor (especially a bit larger than average 4/3 sensor, such as in the P4K and GH5S) is quite close to the industry standard S35 
2) the MFT mount is not dead. Both Blackmagic and Panasonic just released this year a couple of fantastic cameras for MFT mount. And of course there are all the other camera companies which have supported MFT mount, such as: OM, Z Cam, DJI, Kinefinity, Chronos, Insta360, Kandao , and more.  And many many more lens manufacturers which have supported the MFT mount! (more so than any other mount)
Really good DR you meant to say
Definitely not what I'd describe the P4K as! The original one?? Yeah sure, ok. But still, not even for the OG BMPCC do I think it was the deal breaker people thought it was. As I'd just slap a BP-U30 battery mounted to the top of my BMPCC and I'd be able to shoot for ages and ages. So just do that, and treat the BP-U30 (or NP-F970, or a mini V-lock, or whatever else you prefer) as your "main battery". 
Ditto for the P4K, just think of the internal battery as an awesome feature that allows you to always hot swap the main battery! Nice! 
Or you could get the battery grip and be able to shoot for two hours with that. 
https://www.bhphotovideo.com/c/product/1472973-REG/blackmagic_design_grip_ccpoc4k_pg_pocket_cinema_camera_4k.html
(the battery grip for the Pocket 6K Pro allows three hours of shooting: https://www.bhphotovideo.com/c/product/1625668-REG/blackmagic_design_pocket_cinema_camera_battery.html )
 
So? Lots of other cameras have been discussed as possibilities in this thread which also don't have an internal ND, such as the RED Dragon X, or Panasonic BS1H. 
 
 
1) basically any cine lens on the planet can be adapted to MFT (well, except maybe a few B4 mount cine lenses which are tricky for that. But it's a far better idea to use B4 cine lenses on a MFT camera than another other modern cine camera!!)
2) there are plenty of great cine lenses purely designed for the MFT mount, such as from DZOFilm, SLR Magic, Kowa, and Meike
 As even you yourself say, the P4K is sufficient. Arguably even more than sufficient. Would a 20 stops of dynamic range 20K resolution camera that has 1 million ISO low light with 18bit raw files truly make a major difference to the images produced? Nope. 
It really puts into perspective that debating over if this camera with 1/2 stop more DR or slightly cleaner shadows is basically a bunch of navel gazing. 
But still, there are lots of different cameras here that are "the right answer" for @Jedi Master, I've myself in this thread advocated for top end premium cameras such as the ARRI ALEXA Classic or Panasonic Varicam LT, and even mildly advocated for the likes of the RED Komodo (although, I don't think it's a great choice, just the best out of the pick at that price point if buying a new RED).
But yet, even the humble BMD P4K (or 6K Pro, or the new Cinema 6K camera with the L Mount, or a Z Cam E2 series camera, or the Panasonic BS1H / S1H) could be a great pick! The ease of use and portability will be benefits when getting the shot. 
And the lower costs shouldn't be overlooked either, that can be put into getting perhaps a bit better lenses than was otherwise planned (I feel this hasn't really been discussed enough, which lenses did you in particular have in mind @Jedi Master? Or at least a lens budget?), or experimenting a bit more with accessories and extras. Perhaps buying a wide range of 4x4 filters to shoot with for instance, having a spare grand or two to put into that could make a real difference. Or splurging on a Sennheiser MKH8030 & MKH8040 for a M/S microphone setup could really make a big difference on the final video. Or getting a few other microphones. Or spending a grand on a weekend trip away to a stunning location to film. 
 
Don't be silly, the Canon C70 would depreciate more in just the first year than the entire purchase price of the P4K!!

If this helps, you technically wouldn’t be using the full potential of the pocket 4k either, you would just be wasting less money.

Are you referring to Jedi Master's thread? 
He doesn't need any of the professional features required by productions. 
Just needs a sensor to capture pretty landscapes in a slow paced chill manner on the weekends. 
That's like expecting someone to read an article before commenting on it on Facebook! Totally unrealistic expectations. 
 

I was doubting about getting a mini pro g2 instead of the 6k, because we use the Ursa's at work and I LOVE their form factor, but the G2 is in such a weird space. It's still 'current', as in they're available new on the BM website, but they haven't been updated in years, so all the new features (gen5, gyro stabilisation, new UI) haven't been available and I doubt they ever will be. Also some quality of life features from the 12k (especially higher nit screen) are not on there. Just a weird model.

I too was tempted to go give a lol reaction instead a like
But I support @QuickHitRecord on their impossible mission!

Totally agreed @TomTheDP

The Pocket 4k has good dynamic range. Above 12 stops when using davinci highlight recovery. 

You can mount a small Sony NPF on top the camera and get good battery life pretty easily. Variable ND's are very easy, you can get a magnetic one for quick removal. Variable ND's aren't great for skin tones but he's shooting landscapes. M43 lenses are tiny and cheap, but if he wants he could just get EF mount or something to future proof. 

If you aren't making a lot of money off your cameras it makes little sense to spend $4000+ on it. 

The Pocket 6k Pro is a good compromise though. You can get them for under $2000 used. Battery life is better and the built in screen is really nice. 

Honestly when I am not on set I like to have the smallest camera possible. The FX30 has been great for me. I want it to feel like there is no camera at all. 

On narrative film productions that is when I prefer a cinema body with all the bells and whistles. Carrying anything substantial around when I am doing solo or non paid stuff is a pain in the ass. 

Honestly the FX30 would be a good choice. The image looks great, especially for landscapes. Lens options are cheap and tiny. Good battery life too. The weight of the camera feels like you are carrying nothing. 

😁 Well, well, this certainly was a long read that took quite a few days.... I have to say it was quite a ride to read. 

In my case, still using my NX cameras but pretty stock, it was until last month that I found that there were "hacks" for both the NX1 and NX500 and decided to get up to speed and do some shooting.

Sadly, I have not been able to find much around. The old NXKS2 hack is nowhere to be found (can someone share it?) I'd like to experiment with that before trying Vasile's method. 

It seems I lost the boat on accessories like cages, or adapters like the NXL that sadly are not popping up in an amazon or eBay search or anywhere.  It was strange as well to see that many of the comparison videos linked here were taken down in one way or another. 

I still feel very happy with my NX lineup in 2023. I wonder how it compares to whatever others had upgraded in the past years as I still feel it can hold up for a while - in my humble stock mode-. Now I'm anxious to try the hacks from 2016 🙂 
 

..guys.. Camera Cospiracies is completely right.. if for a moment we don't consider the high iso performance, the NX1 is still at the top level in 2020. 
In 2020! And it was released in 2014.

still a good camera!
 
 

I think a case can also be made for the argument, ‘Just Because’.
I’ve done it throughout my career. And life.
Sometimes…most of the time, I do things the way they need to be done, but sometimes I don’t.
I’ve shot an entire 4 days of Motorsport for a top team with Fuji X Pro2’s with a bag of primes, nothing longer than ‘85’mm.
The pro photographers at the event didn’t bat an eye wit their massive long lenses as they had no idea what I was doing which was in fact doing something the polar opposite of what they were all trying to do.
Because I could.
This whole Creator/FX3 thing is a ‘Just Because’.
And what a boring world it would be otherwise…

They could have just used much smaller spherical lenses and done the look in post like Fincher does. At the end of the day DP's/Directors almost always sacrifice convenience and time for a certain look that the audience won't really care about. 

I too was tempted to go give a lol reaction instead a like
But I support @QuickHitRecord on their impossible mission!

Something has to change. Duh! 😂 Let's simply not buy anymore stuff. Though some of the stuff I want to in. Before getting anything I will need to sell something beforehand. I want to trade my LX10 in for a LX100. Loved the LX10 as a personal camera. But that grip and lack of EVF... LX100 means 4K S16 instead of 2/3 as well'':) I have a second LX15 though.:) Bought both of them last summer from a fitness  youtuber for 120 EU!

I have been spending too much money on equipment in recent years, and WAY too much time researching it. I really don't need anything else in terms of kit. What I do need is to replace my wardrobe and make some repairs to my home and my vehicle. Also, I'd like to spend more time producing passion projects.

So, I'm making a commitment that I will not buy any new gear between November 30th, 2023 and November 29th, 2024 (got to give myself the option to take advantage of Black Friday deals). If I need a specialty piece of gear, I will rent it.

The exceptions are expendables and direct replacements, should anything I'm using break down.

I've never done this before and I'm posting this to help keep myself accountable.

My Priorities for Panasonic:
1) Release a VERY SMALL M43 camera body with PDAF and full-sensor readout in 4k NOW!
2) Release a GH7 with variable ND and PDAF.
3) Release a high-end video camera with variable ND and PDAF for L mount.
4) Release a pancake (28mm or 40mm or both) lens for L mount.