TheRenaissanceMan

A few more for the road. Damn does the F3 grade well.

Sounds like a Sony PMW-F3 😉

If you're a low budget videographer, the OG Pocket still makes a lot of sense. 
Or if you are traveling, then OG Pocket is much more compact in you carry on bag than an URSA Mini
And with range finding tools too: 
 

Slightly overexposed while shooting with fill from reflector. ACES grade, Secondary corrector to soften the skin tones and sharpened the reflection in the glasses. 

He loved the C300 and literally released a video saying it was his favorite camera. 
3 weeks later he received a camera to try out that he preferred and instead placed an order for 3 of them. 
Not everything is a conspiracy. It's okay to disagree with his conclusions, but let's be real. 

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

two things really puzzle me when i read through these posts.
a: i don`t think anyone is forced to buy this camera but a lot of the posts read like people already did and now live in a constant nightmare.
b: from looking at the whole thing it does not seem like canon is trying to keep the issue under wraps, they gave pretty honest info about it, so where`s the scandal? of course they aimed for the middle ground like any other company would do.
canon took a big gamble to have 8k on the box just in time before the olympics. well, the olympics are called off and canon has to deal with quite a mess. question is, was it worth it?.
we all know that there is no "ultimate review" that is right about everything, answers all questions, and is totally unbiased.
and it should be common knowledge that you need to read a lot of them and then take home the pieces of info that concern you. and right now there are not enough reviews out to get a clear image.

Johnnie provides some info about how long he was filming for in his comments:
"Looking at my interview timeline, the max i could record was around 9 minutes. Saying that, I guess the camera “gathered heat” while filming some short clips before and when left on “standby” in order to arrange my framing and light."
"I did’t get near the 40 minutes benchmark Canon measured. I guess what they did, is taking a camera “out of the box” and let it run up until it overheats. In reality, we work a bit differently. We film short clips. We leave the camera “on” in standby mode for composing the shot and take care of other (Little) issues like lighting and sound. All this is building a certain heat inside the camera body, so it can be that by the time you need to film your main interview, the camera will shut off much earlier than the claimed 40 minutes."
 

You really think he would be that disappointed after 3 hours of straight use? I think not. 
Agree that the 'review' is not perfect, but it told me everything I needed to know. 

All those things you mentioned above.......they shouldn't matter in a video camera! It's really as simple as that. And while the r5 and R6 aren't primarily 'video cameras' they are promoted as video tools.
He was not able to create the piece he wanted to and the camera dictated how the shoot unfolded. To anyone who want's to use this camera more than just filming a few clips of the kids.....that is all you need to know.
 
I look forward to seeing your review sometime soon.

Except that isn't true.
Didn't provide real world shooting times, not even rough estimates.
Didn't talk about a real world shooting schedule, in terms of the amount of time the shoot lasted during the day.
Didn't mention the average length of a take.
Didn't say at what point during the shoot the overheating trouble began.
Didn't estimate the resting gaps in-between. Or whether the camera even remained turned on during this time.
Didn't say whether the indoor scenes had a lower temp than 28 degrees, due to air con, or other factors.
Did not say when the ice pack was applied, how long for roughly, or whether lower ambient temps even made a difference - seems they didn't.
But yes, praise away the "great job of providing real world information"!
Not reading too much into it at all. Final warning. Agitate me again and you can go and use the DPReview Video forums instead.

You’re reading waaaay too much into my comment Andrew. I didn’t mean to take “sides” with Drake.. was just clearing up the confusion that other members may have had concerning his on going présence here. I personally couldn’t care less either way lol..
I will try and do my best to not refer to any of your “foes” in the future though as it clearly seems to get you triggered..?!
 
 

We had one that contributed to the forum, he shared a ton of great information and got zero respect from users here so left. 
 
Just watched Behrini's video and I think he did a good job of confirming what I already knew. Out in the real world, this camera is useless for video. At least he produced a real world video...Peter Mckinnon zoomed around on quad bikes........as a motorcyclist myself, when you are moving out in the open at 40+kph , the wind chill factor really helps keep things cool!!No wonder his camera didn't overheat, it had constant airflow!
 While Gerald may have given some run times, did he say if these run times where on a tripod or in the hand? Judging by most users here,  people who want a camera with IBIS and AF are wanting a camera that they can use in the hand, nun n gun and to be inconspicuous. I think the camera in the hand will overheat faster than on a tripod. 
No-one has given the perfect review yet but at least Johnny did a good job of providing real world information and a finished product that gave the viewer a rough idea of how he used the camera. 
One thing I do find interesting is that people are more willing to make do with overheating vs poor battery life. As an example, The Pocket4K on release had (and still has!) poor battery life. But, after 45mins I can put in a fresh battery and keep shooting. The uproar from many forum members was way over the top and suggested that the camera was useless.
Now, imagine if your cameras battery died after 30mins but........you couldn't put a new battery in for at least 20mins and even then, the new battery was only going to last 3-4mins of shooting. THIS is what we are pretty much seeing in the R5/6. This is reason to get angry! Who want's a camera that could decide to shut down at ANY given moment and then can't be revived for 20+mins? 
Basically, for video, it's not fit for purpose.
 

I think the issue is that lighting design (and budget) is crucial for the look of that or any movie. I read an interview with the Hannah Grace DP somewhere where he said he had to baby the camera because of the 8-bit codec. In other words, get it right in-camera.
When I used to AC, I was on so many indy film shoots where the DP pushed the ISO of his/her RED or Alexa past their self-imposed limit (typically 1600) because their lights were too weak after being diffused.
So, I think that having a camera with the highest possible usable dynamic range and maximum ISO would probably help overcome some deficiencies of your lighting budget.

I have a a7iii + ninja V as my main video camera setup (and a a7rii for photo )
i got the a7rii when I still had my blackmagic ursa mini 4.6k .
the a7rii in slog 2 had a bit more DR thank the ursa mini in pro res , so I sold the ursa ( mostly because of the form factor and the video autofocus)
The a7iii is a killer camera , I shoot HLG with it because I found Slog 2 to be unusable ( too much chroma noise , even externally) , but in resolve I do a color space transform back to slog3 and use the Venice rec 709 Lut , so you get great colors.
Dynamic range is really not an issue anymore on modern camera , I don t believe that the Alexa is that much better anymore , but it still have a nicer roll off in the highlights when it clip .
 
The roll off is more important than the dynamics range at that point , also realistically Film only have 11 stop , so it s hard to blame mordern cameras over analog for DR.

So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range?
Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR.
I've read Sony a7 III with slog 2 has close to 14 stops of DR.
Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW).
Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it).
What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery).
ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat???
(P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)

In tech I imagine it's also difficult to show a judge that has a limited understanding of the subject matter why these patents are bullshit. 

The pro support is a big factor in these decisions, cameras going down in the field = lost $$$ for company like AP where timeliness is everything.

They obviously are convinced Sony can deliver pro support. In particular if  I were Canon I'd be worried because their pro support has differentiated them for years. Nikon pro support - not soo much.

Beach food shoot. Both with Nikon 24-70

John Brawley has said they are still tweaking the IR filter and it will be a different one on the final camera release
From.dvxuser.com
IR filtering is still being tweaked. My comments wouldn’t mean much because I had a prototype camera that had a different IR filter than what will ship so that’s a bit difficult to draw conclusions from.

I used all internal ND’s on my shoot. There was also a calibration difference with my camera that wasn’t picked up till recently. Most of the RAW files are shot at the default WB of 5600K +10, which is the “standard” BMD daylight default.

BUT

When you start to go into he RAW tab you’ll find it’s really about -500K to -1000K (Less warm) and -5 to -10 tint (less magenta)

I didn’t change these on my initial clips, but I have on these ones...

https://vimeo.com/440479199

Which also by the way show the 8K and 4K modes 🙂

Mieke are making extremely affordable PL lenses as well, which should be released in the near future:
 
For the insanely low price of $539.99!

I wasn't saying you should fix IR in post as a rule--just that this specific instance didn't seem to lose much. 
My experience with Canon has been mostly good, especially in regards to pleasing color.  However, the extended ND settings on the C200 invariably needed an IR cut to decontaminate the shadows. On the 2 commercial projects I've shot with newer Canons, I've run into issues with cycs lit by blue LEDs turning purple. Turns out I'm not the only one--there's a whole topic about it on DVX User (the answer from Canon: "the camera is operating within spec" lmao). And while rather pleasing at first glance, the color isn't what you'd call accurate. It took a ton of secondary work in post to get the company colors dead on without fucking up everything else. 
All I'm really driving at is that every camera (and brand) has its issues to mitigate, be it form factor, color accuracy, IR, codec, sensitivity, etc. In the scheme of things, considering what the 12K offers, remembering to use some IR cut is pretty damn manageable.
 
At least for my kind of work. Ymmv.

That's because there's two ways to handle IR Pollution. Hard IR cut or gentle. Gentle gives you an more accurate color at the expense of needing to use IRND filters.  ARRI uses gentle IR cut and so did RED up until their newer cameras. Blackmagic used gentle IR cut but it's a little too weak so you sometimes may see IR cut without even using ND filters.  Blackmagic is either lazy or for whatever reason they haven't bothered to source a better IR filter. Because blackmagic uses a softer IR cut you end up having to screw on your own which defeats the purpose of using smooth IR cut in the first place. A lot of blackmagic's early camera choices were inferior copies of what ARRI was doing and a few of them have stuck throughout all their cameras.

8K RAW frame grab, shot with animal eye AF.

In the Camera RAW settings in Resolve, you can do the subsampling from 12k to 8k, 4k or even 2k. Is Blackmagic doing Oversampling in the Resolve and in camera it is a different type of math? We may see a quality difference when comparing the two methods (in Camera and in Resolve).
Subsampling to 2k looks to be straight averaging so that should look about the same in camera or in Resolve.
Because it is not an even ratio of RGB pixels when going from 12k to 4k, the subsampling conversion should benefit from doing advanced math to get the most out of the subsampling process as you are turning a 36 pixel 6 x 6 group of pixels in to 4 pixels. There is a lot of data to work with and maybe simple math, if that’s all that is available in camera, won’t be a big difference when going from 12K to 4k in camera vs in Resolve, if the math is different in camera vs in Resolve.
For the 12k to 8k subsampling coversion it is a 2.25 ratio so you are going from 36 to 16 pixels. I would expect to see the most difference between capturing at 12k and subsampling to 8k in Resolve vs subsampling to 8k in camera and creating a 8k BRAW file, if the math is different in camera vs in Resolve.
If the subsampling math is simpler in camera, I expect the 12k to 8k in Resolve subsampling to look better. It is possible that they may look very similar now and eventually look better in Resolve when higher math options are available. Testing and time will tell.