sam

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

Berlin is amazing!  It feels like NYC from like 20 years ago.  The people are great there.  There is a renewed experience, to make the city something, after everything that went down in the 20th century.  It's really something amazing to be apart of.
Nice guys on all your comments.
SAM, yes, you can have my F65.  I will go back to shooting on a t2i

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

Agreed.  Raw is great to have, but I've never really needed anything more than 10-bit, 4:4:4, flat and at a nice resolution.   A lot of the time, even that is overkill.

that you credit the F35 as 5 percent better is interesting....But....the F35'smotion cadence and noise pattern, no jello(sorry Bill), user selectable gamma from linear to cineon based or create your own, up to 12 bit 444 uncompressed files, customization of the F35's image in almost any conceivable way including gamut all pre 14bit ad converter, easy control through a web browser, muliple simultaneous use monitor, viewfinder, and test outputs, cooke and arri lens communication,  storage of endless camera setup files including Nd filter corrections at the press of a button,  is closer to 95 percent better than the other cams. Maybe if you compare video files on youtube, the f35 is only 5 percent better. Watch a bluray  or 4k hdr disc on a 65"+ 10bit 4k oled or better of "Real Steel" or "Once upon a time in anatolia" or "Tron legacy"   back to back with current mainstream Alexa, F65 or Red films.  These F35 is easily on par.  Id love to see something from the cams you mention that compare?   

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

Well I use a  HP ZR30w. 30" IPS screen. It is a 2K monitor. I am too old to use a 4k one.   It was over 1200 bucks back in the day. First great monitor I ever had that was big money, so nothing similar to compare too.
But it was a unbelievable upgrade to what I had I can tell you that. It was a pretty good 1080p Nec monitor at the time. And I had cataract surgery a few years ago, so I might see stuff better than some people in their late 40's 50's. It is a Incredible difference after they do it. Especially colors.

To be fair, images that I have shot look worlds apart on my mid 2011 iMac, Note 4, late 2015 5k iMac, 37" LG television, the wife's Galaxy and the kids' iPads. 
I much prefer the originals that existed before I hit the record button - never over saturated, over sharpened, perfectly exposed, no chromatic aberration. I just wish we could reteieve the data directly from our memories. Without compression artifacts, of course.
The closest we get to that is when we replay those images in dreams.

Yes but are you wanting something to look like it's shot on film or to look cinematic.
Those are different goals in my view.  Seinfeld was shot on 35mm.  But it's not cinematic.
By pointing to lensing, lighting and staging, I was trying to say indirectly it's not really the "camera" or the film look recipe you have in post.  All that stuff happens before the image is captured.  It's mise en scene.  It's an important part of these discussions that always seems to get left out.
The tech stuff can help, but in my view, the objects you shoot, the lens you choose to shoot them with, where you put the camera and how you light them and how those elements iteract all matter a lot more than any magic bullet (pun intended) you think you can have in post to emulate that look.  And in order for the post film look recipes to work, you need a camera with high dynamic range and high bit depth. Which is why I mention those elements next.  Even when you have a scene that appears to have low DR, film has a way of rolling off highlights that you can emulate if you have the DR to do it.  So you take your 14 stop original, crush it to fit into the 8 stop TV you're looking at and jam the extra stops into the highlights to give you a softer roll off.  And in swinging the grade around a high bit depth stops the image from breaking down and looking blocky and digital.
Film has always been not that great by any technical measure, but it's always something we try to emulate.  So far I haven't seen anything that matches the way grain size changes with exposure though for example.  Film grain size gets tends to get smaller or tighter as it goes towards clipping and larger when it's underexposed. In the same image you have different sized grain depending on where it sits on the exposure curve.   That's hard to emulate in an image in a way that's realistic (as a match) because we're often mapping a much higher DR from the camera to a lower display DR.
The colour fidelity is also something that's hard to describe.  No one ever publishes the colour response of their sensors, but film still has the edge. And yeah, just because they have a file that's labeled REC 2020 doesn't mean that file has 2020 worth of info.  Again a higher bit depth image means you can stretch the colour information out a bit before it breaks down.
You're also confusing display technology with capture technology. 
Just because you tube displays in 8 bit 264, doesn't mean that's all you need for capture.  SD tv for many years had a mix of 35mm and electronic cameras.  There was always an easy distinction to make on the camera acquisition despite the fact the resolution was the same for both acquisition technologies.  Super-sampling has been happening since the beginning and is always going to trickle down to lessor display mediums.  Otherwise you'd be happy with what your iPhone shoots right ?  Don't fall for that trick. Compression factors here too in this, but this is a different conversation.
JB
 
 

Maybe a film out? I believe this was done with Birdman....or on lower budget films maybe a subtle simulated gateweave with a touch of motionblur applied pre grain might help?   

Maybe Kodakchrome could come back but it wont. What was it, 7 baths or something to process and an archival lifespan of just 20 years?
I dont know many Hipsters that shoot film. Frankly I dont know any, they are a lazy bunch. It smore for people who really enjoy photography and film making as an art imo.
I believe the reason its coming back is because after all these years digital still can't beat it. Digital is nice but film is nicer. Every time I watch a Blueray of any old movie I blown away of how much digital suck in comparison
Also digital large format doesnt exist and medium format is still out of reach for most. A film MF is $7.
(This of course depended on your definition of "better" and what aspect of image quality you rank highest.)
Ps. Fun fact I heard but dont know if true, Fujifilms Instax division is currently their most profitable business...
I know Im throwing money at them for my Instax printer

Quite a surprising move. I didn't expect this!
---
Kodak Brings Back a Classic with EKTACHROME Film
Las Vegas, NV, Thursday, January 05, 2017
To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks.  Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications.  Initial availability is expected in the fourth quarter of 2017.
Full press release at: http://photorumors.com/2017/01/05/kodak-to-brings-back-ektachrome-film/
 

4k, 8k, bah.  I was watching a Blu-ray rip of the 1983 Scarface tonight allowing my UHD to upscale the *gasp* 720p footage and thought it looked AMAZING for 33 years ago.  I guess content is always king of course. 

For a quick job, Film convert is what I too prefer for the 1dc after exploring many other paid/free options. Otherwise, just create your own look.

The Trump lens series is a perfect match for the F35, right down to the black and gold!
I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                              F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
 
 

The Trump lens series is a perfect match for the F35, right down to the black and gold!
I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                              F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
 
 

The Trump lens series is a perfect match for the F35, right down to the black and gold!
I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                              F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
 
 

The Trump lens series is a perfect match for the F35, right down to the black and gold!
I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                              F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
 
 

The Trump lens series is a perfect match for the F35, right down to the black and gold!
I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                              F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
 
 

I need to see more image samples out of this camera; I'm still not convinced the skin tones, motion, and overall "look" are to my liking, despite its impressive spec sheet.
If it is, I'll buy one. My work gives me a 40% rebate on one Sony a year, so trust me, I'm rooting for them.

Yeah, I'm all for waiting for real life comparisons.
But Andrew sure has a nice bite "...although Canon’s implementation of the technology is A-ok, the marketing of it is highly targeted at Video Oligarchs and people who like moire." ZINGGG

Overclocked?  My old i72600 would also shutdown on  renders until I returned to a stock clock speed.