Aussie Ash

The Resident is “only” shot 1920, but it’s 444ProRes, so 12 bit.  
Fox only air in 720 remember !  I’d say the majority of TV production in the US is still 1920 ProRes.  They’re not interested AT ALL in 4K.
JB

I couldn’t agree more. 9 out of 10 times, creativity will trump technology.
And although I agree you will have more options with a newer camera, I enjoy the creatively cost effective possibilities that older cameras afford.
And some of those cameras can be had for peanuts now. The 1DC and C100 are still fairly expensive but are cheap compared to their original MSRP.
A GH2 can be bought for less than $200.
These are serious cameras that may not hold up against the best cameras available new today (except for the 1DC... that camera is as good as the best 4K DSLR/DSLM on the market) but they are also amazing tools and anyone on a budget could make an amazing film with one.
I’m just using the GH5 as an example, you can insert any camera, but for the same money you can get a near mint condition C100 Mark I with DPAF... I think if I was forced to choose... I’d take the C100. Or if I was really strapped for cash and I had to choose between a GH2 or a GX85... or something similar... I’d take the GH2 everyday of the week.
So my point being... there are some great cameras on the used market that are 5 years old and there are some great films shot with those cameras... and I thought this could be a fun place to remember those cameras and draw some attention to those films. 

Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000  bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is
the last of the D5000 series ??

I think you’ll find the pocket is EOL. 
I have a few different camera builds for different jobs. 
Ursa gets used when we need to be hyper intimate with the actors.  It’s smaller build means you can go inside the acting space.  It gives you more intimate and more reactive coverage. I call this visual jazz.
A scene like the two hander with the leads conspiring together is perfect for this.  The operating is very improvised.  I do multiple takes with very short reset times.  On each pass I emphasise different story telling beats, taking my cues from the actors themselves. Between each setup, often without cutting I tell the actors what I’m hoping to catch and then we dance.  Each take has a different story beat emphasis.  I try to build in the insert shots (like the phone) and also build in trades between the cast to emphasise story moments.
Sometimes you’ll do a regular pass with three cameras, all Alexa.  This tends to be more conventional storytelling coverage.  Then we do a “football” pass with the Ursa at the end in the manner I listed above.  A first started calling it a football because that’s about the size of the camera and the way I tend to hold it.  
I have used the Olympus a little, but not much on the Resident.  I tend to use the EM1 for its stabiliser and small size.injust did a pilot where we used it a bit.  
JB
 
 
 
 

He answered many times on various forums that it's basically smaller and lighter so you can handhold it and get the shots you want.  Alexa is a huge camera and hard to wield.  Alexa Mini is smaller than Ursa Mini/Pro but it's a nightmare in terms of ergonomics so you have to rig it and then it's larger.  So it's more/less a matter of which camera is easier to use to get the shots you need.

He does use Olympus EM-1 Mark II as well on the show.

Actually sometimes the Ursa Mini Pro is actually a BETTER camera image-wise too.  It has much more shadow dynamic range vs the Alexa so it tends to look better in low-light.  I'd also say it has slightly more FPN if you have to lift the blacks of your image (which you never do), but in the upper and midrange it's a cleaner image.  In the scene he linked of Nevin and Hawkins privately chatting in one of the rooms, the Ursa Mini likely performs better than the Alexa would in the same situation.

 

I have no idea.
As far as I recall, they only did that once with the pocket.
And I do love using the pocket / micro to get shots I can't get any other way.
 

JB
 

I thought they’d already discontinued the pocket ?  Watch that become a cult camera if it isn’t already.
I think they’ll keep the micro going for some time.  It’s really a different camera.
In the photo above the camera has a wooden camera cage, a Noga arm and a BMD 5” VA as the operating monitor. On front is the SLR Magic 10mm T2.1.  I’m manually focussing myself, using peaking on the VA.  
By way of example almost all of this promo is either Ursa Mini Pro or Micro using that exact rig.
This whole scene is shot Ursa Mini Pro
 
 
I have used a LOT of Ursa Mini Pro and Micro in the resident.  Not just as an insert camera, but shooting whole scenes using only the Ursa Mini Pro.  Most scenes have a mix of Ursa Mini Pro and ALexa, and I’d estimate more than 40% of the show is Ursa Mini.
I tend to use the micro camera for these kinds of surgery shots where I can very easily reach into the scene and get super close before diving down to almost inside the surgical field, and then transitioning back to another actor. It keeps it very agile and alive shooting this way.  I’d anticipate the Pocket 2 will replace this rig for these kinds of shots.
JB

Fingers crossed for a D5600 update with no crop 4K and focus peaking in 4K!
 

Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000  bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is
the last of the D5000 series ??

If this is true, then it’s quite possible the entry level models may have this new X mount and the pro FF will retain the traditional F mount?
I was waiting for my GF yesterday and had a minute or two to look at the camera section at Target... it was bleak, but they did have a Nikon D3400 on display. I was surprised to see it has the Flat Profile. And the kit lens’ VR was rock steady, with a great little zoom ring... seemed sharp and clean too. At $300, not a bad little pocket camera. The damn thing was TINY too. So if their entry level mirrorless cameras can offer the Flat Profile, zebras, and focus peaking on an aps-c sensor... even at 1080p... they’ll have a little winner in my books. Hell, I may go out and buy a D3400 for some inconspicuous shooting... it looks like a lot of fun. 

Idk if mirrorless sales will ever surpass DSLRs for Canon and Nikon. I foresee an environment where their mirrorless offerings will be 2nd cameras in serious photographer’s bags and not their go to camera.
For beginners, until there is a mature, inexpensive system, I don’t see people buying mirrorless over DSLRs.
Since I switched back to a DSLR, Idk if I can go back to a small mirrorless... especially now that I shoot FF. With the added weight and size of the FF DSLR, I’m able to go handheld with a non stabilized lens up to a 35mm focal length. With a mirrorless, without IBIS, it would be shake city... of course I’m still looking for a small rig or chest pod... so if anybody can recommend a good, small chest/shoulder pod or support, I’d appreciate it.

The bearded Kiwi may find this one interesting for the soundtrack
 

How many of you guys have actually rigged up and used an Alexa in single operator mode? It actually works really really well.
Everything I see online points to how its a crew camera, not made for single op use, you NEED a 1st and 2nd AC etc. This usually comes from people who have either only shot it this way, or it's repeated by people who have not even shot with it.
There is nothing unique to the Alexa that makes it require a crew any more than any other camera. In fact, because of how ridiculously simple it is to use and it's great ergonomics, it's more single op friendly than a lot of other camera's I've used.
The trick is setting it up to make it single op friendly.


This is the basic setup for a shoot I DP'd last week. 6 hours, 5 locations, all shot shoulder mount (obviously missing the front handgrips, motor controller/cables and shoulder pad).
Focus is through an RT Motion 3.1 setup, controlled from the thumbwheel mounted on the right handgrip. The thumbwheel also has run/stop control. The EVF is setup with focus peaking, which works really well. Out of the 100 or so takes I did, only 2 were not usable due to buzzed focus.
I'm using EF Zeiss Milvus lenses which only have electronic iris control. Iris is controlled on the operator side directly on the Optitek EF lens mount - super easy.
The setup is powered by IDX 185wh batteries. Each battery powers the entire setup for just over 2h. They weigh 50g less than Anton Bauer's 90wh batteries and half a kilo less than their 190wh batteries. Power for the Optitek mount is drawn directly from a ribbon cable inside the mount, so no external cables. Power for the RT motion setup is drawn from Alexa's 12v output on the operator side, so no DTAP cables running back to the battery - super clean. This makes switching batteries fast and easy as there are no DTAP cables to switch over. I've got a hot swap battery mount arriving next week, so there will be no need to power down.
I'm using screw-on Firecrest ND filters which are completely neutral even at higher strengths, so no need to touch white balance or tint as I increase or decrease ND.
In the EVF I have control of FPS, shutter speed and white balance/tint all controlled via buttons on the EVF, all without removing your eye. The buttons on the operator side below the Alexa logo are user configurable. At the moment they trigger the Rec709 LUT on and off, false colour and fullscreen view inside the EVF. No need to take the camera off your shoulder... Once you setup your project and format your cards on the operator side at the start of the day, there is no need to return to that side as the important functions are all available inside the EVF.
I load in 2 x 128gb SxS cards at the start of the day, which record around 2h of Prores 4444. So theres usually no need to swap them out during the shoot. 
From here I'm adding a Movcam MM4 lightweight mattebox. It has Arri rosettes on each side which allow you to attach handgrips directly onto the mattebox. This will shave some weight and further streamline the setup as I no longer need the BP-12 bridge plate, 19mm rods and the handle bridge. Still unsure if 15mm rods are too lightweight for this task, we'll see... I need a new mattebox anyway.
I'm also going to add 2 Dynacore 310wh batteries which will power the setup for around 3.5h each. And they're still 200g lighter than AB's 190wh batteries.
Is it as nimble as an A7 or GH5 setup? No. But from my experience, when shooting Alexa shoulder mount I'm moving just as quick as someone shooting mirrorless. Except if I've done my job right on the day, I can then grade that footage to match pretty much any feature shot on the Alexa. I can't really do that with mirrorless cam footage...
 

No way, Nikon will absolutely have backwards compatibility with all existing F mount lenses. Nikon F mount has been around since the early 50s, and every F mount lens still mounts on modern day cameras (you might lose metering and stuff but the lens still works.) The only reason Nikon shooters (me included) haven't completely jumped ship is because of lenses -- if Nikon doesn't ship an F mount adaptor that works perfectly with their mirrorless system then they might as well give up now. Seriously, if you need/want FF mirrorless why wouldn't you go to Sony if you have to buy all your lenses again? 

I've already half moved to Fuji, so really if 2019 is how long I have to wait it makes the decision to sell all my Nikons and get a GFX that much easier...

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). 
The new album (last I heard) was at No.7 in the official UK chart. 
I'm a big fan of what Panasonic has done with this camera. 
That said, the shining star of this video is the band. 
 

Excellent work Oliver. I was wondering why one of the ladies was almost left ungraded but it made sense once I finished the clip  
Other that the colors there was some nice footwork as well. 
Wish we could keep this as a motto for this forum. It would make this place more pleasant and then we could spend a bit more time discussing actual cinematography  

I don't think a big camera is a problem if you have a big crew. With a second AC to carry everything and swap batteries, set up monitor, etc. and a first to pull focus and hit record and set up camera settings, and a DIT to handle cards, all you have to do is operate, or not even that if you have an operator, especially for steadicam shots, jib shots, etc. where you'd traditionally have even more crew and definitely get a better result than from the gimbal you're using yourself (no offense).
Under those circumstances, why not go for the FS7 or something? The image quality will be better. I suppose you need to plan a bit more to manage crew efficiently, but that's in the job description: "director" of photography. With a crew that size, you can manage a bigger camera better than as a lone gun with a dSLR, at least if you're a good DP, and get the benefits of a better image, too.
But without the crew, I'd take whatever the cheapest option was that delivers adequate image quality, probably a dSLR or mirrorless camera, maybe even using autofocus or image stabilization at times. But that's because I'm not a real DP.
A bad carpenter blames his tools. I wouldn't blame the camera for being big, it just needs more people to operate it. But in this case a good carpenter might be five people each getting paid $500-$1000/day. So I hear your point, but it all depends what you're working on and what the budget is. 
Fwiw, I shoot with a medium/small mirrorless camera and get better results with it than when I operated or DPed on shoots with an Alexa. But I didn't do a great job on those shoots (nor have the resources I needed) and I'd just like to hope that with experience and access to a full crew that would change. But it probably won't for me since I'm a hobbyist.
This doesn't reflect poorly on you or on me, I don't think, at least not necessarily. (It reflects poorly on me that I can't operate an Alexa well, but I never said you couldn't.) I've seen some extremely high end content (award winning major national campaigns) shot by lone wolf directors and DPs on 5Ds. And that stuff is breathtaking. They were working under circumstances where they didn't have access to a full crew, but rather wanted more time to wait on the right light etc. or in remote locations, and they made the right compromise. 

A rant. I mostly shoot on DSLRs for my work. Got a big yesterday with a Sony FS7, big ass tripod, monitor, the works. Ohhhh fancy stuff by my standards!
But here's the thing. It drove me nuts. Moving, positioning, getting shots was so damned cumbersome. Shot some Broll of a guy on a sailboat.
I garauntee I could've gotten way more and frankly, way better and more interesting content with my trusty GH4 and gimbal. Blah blah specs, I don't care. Footage would've been nicer and more interesting to 100%  of audiences.
I know there'll be some "back in my day, cameras weighed 1000lbs" folks who will scoff, but you know what? Fuck large camera systems. Fuck them. 

https://indiefilmhustle.com/color-science-let-pixar-teach/
http://www.dvinfo.net/article/optical-science/a-short-history-of-camera-color.html
Smarter, more experienced people in this industry seem to disagree with your dismissal of color science as a concept. Perhaps, as a beginner, you should spend more time listening and learning, rather than espousing ideas you don't understand?
All photosites only capture luminance data. That data is assigned an R, G, or B value, depending on the filter that covers it. Those filters have to be carefully designed to let in their color and a bit of the others: if made too pure, the sensor will not be able to accurately reproduce secondary colors, like yellow and cyan; not pure enough, and colors blend together into mud from lack of separation.
These color values must be interpolated from nearby photosites, as each one only capture data for R, G, or B. How that data is cobbled together has a profound result on the resulting detail and color. Then this information feeds into a camera's color matrix, which carefully subtracts channels from each other to create clear and distinct colors. All of which are made to hit specific mathematical targets within the manufacturer's carefully designed color space. These are tuned partially for accuracy, but also to create certain effects on the viewer based on the psychological effect of various colors. 
So sure, subjectivity plays a part. That's why every manufacturer does their color slightly differently, and has their own "look." But to purport that no math or science goes into the process is misinformed and asinine. 

Guys on the Pentax forums claim that Pentax used to use Samsung sensors
 
https://www.pentaxforums.com/forums/137-photographic-industry-professionals/270634-pentax-samsung-collaboration-what-happened.html

You do not understand  - you are paying for Resolve. It is not free, but added to the price of the camera. By the time this camera comes out Vegas may very well work with all the codecs. And if it doesn't you can buy Resolve Studio. But now you must pay for it, whether it is "necessary" or not. 

Seriously, do you not understand how business works? What do you think the scale of value is for camera parts vs a resolve license? Obviously BM wants people using their software but if you really think this is anyway screwing people over you are kidding yourself. The value of the software is insignificant for them vs hardware cost of the camera.

Ahh a lot of people on here never heard of ehh Lights. That might look too Filmic. That would Not be Run n Gun worthy. Hell you might even have to stop and setup stuff. Oh MY GOD, that would be a pain. I might have to use a Tripod. My IBIS would be...Wasted, oh dear what shall we do. Ahh yeah those old timey lights. Damn.
Good find Glenn.

Grant Petty talks about Prores raw at 6.4 
 
 

Grant Petty talks about Prores raw at 6.4