IronFilm

A lot of huuUUUge productions have used the BMPCC for vehicle mounting and sorts...

Think that had more to do with the name 'JVC' giving flashbacks to mom & dad DV camcorders. Apparently there were some letdowns like display quality as well. But all who have tried it had seemed positively suprised by what it was able to do... and now many quite significant firmware updates later, it's quite capable. Really like the idea of an APS-C sensor behind a MFT mount leading to new possibilities. Wouldn't mind the new Blackmagic pocket rocket to be capable of such as well.

Yeah, especially for a 'mirrorless' 'pocket' camera... there's always adapting EF to MFT... so, why waste a perfect oppertunity with a limited use EF-mount used on clunky DSLRs. BMPCC was partly so popular because of the size and MFT and even S16 allowed for small lenses (C-mount as well).

And if they do that I'm completely uninterested.
That is likely what we will see. 

No, as it could be the 4.6K sensor at the heart of it, but a cut of it. A 4K sized cut of it. 

No, as it could be the 4.6K sensor at the heart of it, but a cut of it. A 4K sized cut of it. 

Flanders Scientific / Sony / Panasonic / etc are some of the common ones I see on sets with budgets. 

On low / no budgets then I can see almost "anything" used! Quite commonly, just a TV or PC monitor:
 
 
 
This btw is the trailer of the film which was shot during the previous vlog from just before:
 


It was just shot on a lowly Canon Rebel DSLR, seriously. A BTS shot of the director (it was her first ever film) and the camera (oh, and you can see my blimp too in the shot! ha): 



An indoors pic (you can tell from the HDMI cord running out the director is sitting somewhere there to the right of the pic, monitoring the shot):



Me again, this was back when I was still using my Tascam DR680:

Someone could have asked a while ago why would any one ever buy a phone from a computer company?!

I can't imagine the BMPC4K being crammed into anything which could be described as "pocket"?! It would surprise me. 

But yes, I also hope not!

Comrades.
We might just get something gooood
https://www.newsshooter.com/2018/04/07/blackmagic-tease-new-4k-pocket-cinema-camera/

BMD has taken to heart the criticism and seems keen to ship cameras immediately now or at least in a timely manner 
 
Then again they might regress to old form....    so anything is possible!

Astonishingly they'e still selling secondhand for more than that!
 
Hopefully the new BMPCC4K will push down hard prices of the secondhand  original BMPCC

Finally a pocket 4k! We should start a pool for when it actually ships vs. when they say it'll ship. Still something worth looking forward to.
Once again Blackmagic makes a splash...

I hope thy use Fusion engine in Resolve, it's so far superior compared and it reads way more formats than Resolve. Although the one or two formats Resolve can read is not hard to beat.
But I would settle for a Resolve that don't crash or lock up for 5 sec, that would be an epic improvement.
 
*edit* also Nikon better release something useful!

Seriously? You don't know what company I'm referring to?

Oh dear, now I'm feeling really old. You don't have to go that far back in history.....

Wow, Apple has never been in the business of anything else?!  (as more than just a "side show")

Yeah, I'm "old". Either that or a historian. 

"Full frame" is a nonsense size popularized by the Canikon marketing duopoly. 

Full frame really just means a match between sensor size and image circle the lenses are designed for.

In the movie world, S35 is the "standard size" (or S16 in the indie/doco/news worlds). Thus compared to that the MAVO LF is indeed "large format".

In the film stills world you had 135 film (also referred to as 35mm film) or medium format as the two main standard sizes that people used. 

So what is regarded as "large format" depends on what you're referring to as your reference starting point.

Friends and family must love you!

I don't think anyone really knows what panasonic will be showing.  But they do mention "new products" on their NAB page,  so they are showing something new. 
And yes,  I will be heading over to Kinefinity's booth to learn more.  I do sort of feel like the GH5S is a bit like the more trusted version of the Terra 4K. Same sensor, but with better warranty and service. Also weather sealed and in a smaller package.
 

FS5 II had to happen to make way for A7SIII and provide an upgrade path from their MILCs.. which have currently surpassed the FS5 in both AF & IQ (aside from raw).
I'm hoping for a new sensor, 10-bit 4K & much improved AF. Raw internal would pit it straight up against C200 but probably external standard.

It is quite tempting to get the FS700 to play with. (pity it lacks TC)

Is it about raw or industry standart part?
Compressing raw is just common practice - Red, Cineform, cDNG, Canon raw lite, it's rational to compress before debayer and leave it to post. It would be strange if Apple ignores this opportunity.
Standarts... Apple introduced intermediate codec not only with obvious vendor lock-in but with platform lock-in as well. And it's fine, it's Apple in their right to follow thier business model. But somehow the industry abandoned the idea of open standard intermidiate codec, ignored other intermidiate codecs and here we now: "- We need masters in ProResLT! - What about DNxHR? - What's that?" Ok, "ffmpeg.exe -c:v prores_ks -profile:v 1 ..." and here we go but still some frustration left.
And I'm afraid that industry will switch to this raw flavour of ProRes, and it won't have effective implementation outside OS X.

if apple pro goes away, hopefully then software developers will start supporting windows for professional and commercial applications. There is no reason for apple to be the standard for pros when it is more expensive and less powerful. 

Micro management turned up to an 11!

Taking a look at the Yedlin footage what seems interesting is how little dynamic range is in the 'final output' when compared to how much dynamic range is in the scene.

Note the limited DR in the histogram.
The footage is also very desaturated. (The camera angle and limited color gamut also seems cinematic.)
Take a vaguely similar shot with a digital camera. Straight out of camera it looks something like this... (A7r3)
Note that this has bags more dynamic range - it fills the entire histogram and the colors are much more saturated. And that it looks 'digital'
However, if you make a tonal adjustment (see below) which compresses the dynamic range - see histogram and tone curve (by raising the blacks and lowering the whites). And reduce the saturation (see below), the photo appears more cinematic...

So my feeling is having quite a low dynamic range in your final output is quite key to a cinematic look. Of course you can achieve that with a high dynamic range scene given enough processing leeway (either in camera or post.) Or alternatively, you could achieve it with an iphone given enough additional lighting equipment I would imagine.

@jonpais
Getting back to the original question you asked about DR, and to sort of add to the point of being "cinematic" in general...
I think it really boils down to, "not looking like video."
Think of all the BAD qualities of broadcast video and of early video cameras.
Surely limited DR was part of that, but there were other technical (and artistic) things that scream "VIDEO." I think as the video format became the option for lower budget content creaters, there is just a sort of mental connection that low-budget-looking productions are video, and more polished productions are cinematic.
One way to look at this is to ask yourself "What ISN'T cinematic???"
To me, cinematic ISN'T:
- blown highlights / horrible rolloff
- oversharpened
- compressed skin tones
Add on to that artistic features that were amateurish.