jagnje

Exactly...if I go around town and make a IG video or sometning I would prefer to directly edit.

Prores, because I need to transcode before that. I thought we were over that about a decade ago

same goes for the proxies...I will not be using this camera for feature films anytime soon, it is a hoby camera.

My computer is in need of an upgrade anyway, so why not get it ready for future consumer cameras, which will most likely be h.265.

I guess I need to upgrade my computer a bit unless I transcode. In theory, what do I need for smooth editing of these files? 

My home computer is strugling...the gpu is fairly new, the 1060. Cpu is pretty antient, one of the first i7 8 core I think.

Runs fine the 4k raw, but this is a different story altogether

Yup, no point in buying it now for a grand anymore, but for 500 it`ll be a steal!

Bravo!  I guess I made it easy with that hint. It is the BMPCC with a Tokina 28-70 2.8 and a metabones XL shoot in RAW. Anyway, we have cut it with the 4.6k ursa many times and if you don`t need to punch in or reframe 99% won`t know it`s not the ursa. I`ve seen these go for like 300-400€...insane image quality for the money! I need to drag out the micro cinema, for some slo-mo goodnes.

Cmon, no other guesses??? I hint...it does not take photos

nope..I thought that this will be guessed in the first attempts

thank you! 

but none of the above, lets keep playing

well, take a guess!

I`ve got the atomos power staion that I kinda never used that much since the mirroless days....Today I wanted to use it with the OG bmpcc and found out that it outputs less that 10v, 7.2-8.something.

Would this work if I used a dummy battery with the OG pocket and the 4k?

well what you get with a light camera and a steady cam in not what you get with a heavy cam handheld...lets clear first of all what do you want a steady cam  of a heavy handheld camera. If you want to have a look of an alexa on a steady cam you get a steady cam and a great colorist

If you want the look of a heavy camera being handheld you need a heavy camera and operate it handheld  but really as Inazuma said, multiple points of contact with the operater and simply add weight, v-lock batteries help a bunch  and yes a top handle for low slung shots, it`s a must. I don`t really like gimbals that much, don`t get me wrong they are superb tools that have opened so many doors to so many filmmakers, but they have their own feel and look. 

What I have used many many times with all kinds of cameras for follow along shots was a wheelchair with two apple boxes to sit on or simply standing on a skateboard going backwards, on smooth surfaces that is.

super 16 crop is about 3x from full frame, micro 4/3 is about 2x crop, so yes most s16 lenses will vignette at least at the wide end.

it will vignette.

what middle ground do you need? ibis?!? what is up with you guys? there has been 0 cinema cameras with ibis to date.

23 minutes ago, deezid said:

OLPF, IBIS and DPAF as well as some integrated ND and bigger batteries and a 5" flip LCD

invest 2k and you have all those things, there`s middle ground for you. OLFP, what 500€, ibis(ronin s) 600€, ND-s 200€, external power 200€, external monitor 300€. 

If you want a vloger and travel backpack camera, well this ain`t it, get a gh5, fuji, or what ever. There is not one camera on this planet that would suit everyone and everything, get a grip! 

1 hour ago, zerocool22 said:

Haha I don't need it perse. I have a 6D for that. But was just wondering Might be handy though for once in a year kinda situations.

that is a cold shoe mount, industry standard for various attachments.

The user says that it happens with Ursa 4.6 as well...I have shot tons of footage with it and have not noticed it yet, so maybe it`s not that big of a deal. But then again I didn`t shoot that much ultra saturated reds.

I think the red clipping has beed adressed somewhat already.

quoted, not my words.

"The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway."

Give it a shot, to see if it helps, this interests me as well.

Best regards

How do you reckon they sell thousands of cameras with this thread?  and maybe the send free cameras to people they think are relevant, not who you think is.

sun and cine lights don`t flicker. Almost all comercial I have shot were 33fps offspeed on a 25p project. Is is just a matter of playback speed and not needing to do it in post.

49 minutes ago, DBounce said:

Doesn’t the Ursa come with full Davinci Resolve?

As far as I know it does. But I don`t own that camera, the production I work for does.

industry standard codec, menu that I love and work with on the ursa, good picture quality, full davinci resolve, speedbooster and lenses I already own... For me it`s a no brainer, but for someone that is a GH5, XT3, 5D or whatever camera.  

Well, I guess so do what you are best at and let others do what they're best at as well

Valid points you guys made. I forgot whats it like to shoot wedings and not being able to light the scene. Heres another one...the only light modifier was a white bounce, same gear, completely diferent feel.

Well, where do most of our videos end up? you don't buy lights, you rent them. 200€ worth of rented lights ads way more production value than a 4k€ camera. 

well I can assure you that I could have just as easily shot this with a 300€ bmpcc, it was just more convenient to use the fs7. 

But it is not what I was trying to prove at all...than again I wasn`t really tying to prove anything at all I think  It just seems to me that many people here demand top quality cameras and lenses but most can`t tell one from the other.  But something as I said, I could have used just about any camera with a fast-ish lens. What nobody really comented on was lights...no it wasn`t a home depo flood ligh. Two main lights were Arri M18 HMI lights, one for key, flood and thru a frame with difusion and the other set to spot, just to cast the lengty  shadows. A set of those two costs about 20.000€ and those are the pieces of gear I could have not shot this video without. Other lights were redheads for backlights and in hall lights to give you the sense of depth, plus a very important piece of gear was the fog machine!!!

I`m still not really sure what I`m trying to really say...just focus on what you are trying to achieve and how to do it, cameras and lenses are most of the time just a piece fo the puzzle. As far as the grade and edit goes, not my work. I`m the DP/OP on most shoots, after it`s done I`m done.