Gregormannschaft

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 
If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.
TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

This camera is very tempting and I love Canon, though I find the EOS R a total pain to use (and the rolling shutter really is bad). Much rather use an S1H or Fuji, which are actually fun to use and hold. But, I have lots of EF glass, shoot with the C200 or C300 II quite a bit, so staying with Canon for awhile.
While the 1DX III is very tempting, I don't see myself using the raw that much because the file sizes are huuuuuuge - though full-frame 4k in 10-bit 422 is awesome. C200 4K raw is my max and even that isn't something I can use on most projects. I think the Red Komodo could be a game changer for Canon. They are going to sell a lot of EF and RF lenses because of that camera, I believe. I've almost went in on a C500 II purchase, but didn't. I've almost pre-ordered this camera, but didn't. I've almost ditched Canon completely and ported everything over to Panasonic or Fuji, but haven't. 
And the main reason is the promise of the Red Komodo and a Canon RF Cinema EOS body (NAB 2020?) and the potential that an RF mirrorless camera with 1DX III specs is very close to arriving. I hate this wait-and-see approach, but so much is changing right now in mounts and tech, that waiting another 6-months might be a good bet...

This is true, but it still requires a sizeable investment over time to buy new drives and media. I find things get cheaper, but sizes go up. The RAWLite out of the C200 is just about manageable to the moment, with 256GB getting you about 30 mins of record time.
 
This is nicely broken down. I purchased a second hand (never used) C200 from a production house 2 years back for just over 5k euros which was a great deal at the time. So if you buy second hand you can easily get cheaper prices.

I'm not entirely sure why you'd want the 1DXIII if you're doing both video and photo. It offers the extreme best of both world, but do many jobs really require you to be shooting 5K Raw and using a top of the line professional photo camera? I guess the middle broadcast codec is a great thing to have for some photojournalists out there and the more I think about it the more I think that's who will really end up buying and using this camera to its full ability.

The rest of us probably specialise on one side or the other. Doing only video, once you have internal NDs and built in XLR audio it's very hard to go back.

The specs are really nice, but 13 minutes or so on a 256GB card is crazy. It's nice to have the option and it's great there's a ton of codec options in there but that's a serious cinema camera bitrate for serious productions. Maybe it'll be used as a B or crash cam on some bigger productions.

I'm not entirely sure who this is for to be honest. It's a couple more grand more expensive than the C200 I bought a couple of years ago. My hopes for a middle codec have completely disappeared, but I can't see myself seriously requiring more than the Canon RawLite format. Once you start shooting in these really nice, thick codecs it quickly shows up other areas of your production that could be improved like lenses, lighting and sound. I'd argue that if you have a camera that can shoot decent RAW and you like shooting with it, there will be no real reason to upgrade for a long time. 

It's going to be too big for a lot of shooters used to mirrorless, and it's too expensive to be used as a B cam. I'm currently using the BMPCC4K as my B cam and gimbal cam and it pairs really well with the C200. You would have to have a very particular use case to warrant splashing out on the 1DXIII as a B cam.
Serious hybrid photographers maybe?

The specs are really nice, but 13 minutes or so on a 256GB card is crazy. It's nice to have the option and it's great there's a ton of codec options in there but that's a serious cinema camera bitrate for serious productions. Maybe it'll be used as a B or crash cam on some bigger productions.

I'm not entirely sure who this is for to be honest. It's a couple more grand more expensive than the C200 I bought a couple of years ago. My hopes for a middle codec have completely disappeared, but I can't see myself seriously requiring more than the Canon RawLite format. Once you start shooting in these really nice, thick codecs it quickly shows up other areas of your production that could be improved like lenses, lighting and sound. I'd argue that if you have a camera that can shoot decent RAW and you like shooting with it, there will be no real reason to upgrade for a long time. 

It's going to be too big for a lot of shooters used to mirrorless, and it's too expensive to be used as a B cam. I'm currently using the BMPCC4K as my B cam and gimbal cam and it pairs really well with the C200. You would have to have a very particular use case to warrant splashing out on the 1DXIII as a B cam.
Serious hybrid photographers maybe?

A while back I posted a tutorial on film emulation and recreating halation and grain in a realistic way. I recently came out with a new video that goes over it in a better, more concise way.
I see quite a bit of people asking how to achieve the look of film and it's characteristics so hopefully this video can help them out!
A big thanks to the Lift, Gamma, Gain forums for figuring a lot of this out also feel free to share your results and download the PowerGrades I've provided on my website!
 
 
 

Even the light dome is too small for really soft light, well depends offcourse on what the subject is and how close you can move it in.  

The Blackmagic RAW highlight and shadow rolloff sliders affect the roll off of the "S" contrast curve you create with the custom gamma controls. If you add no contrast, they will do nothing as there's nothing to roll off. Increase (or lower) contrast and they will start to take affect. Choose "Extended Video" from the gamma selection in the Blackmagic RAW panel and you will see it's actually just a custom S curve with saturation preset via the custom gamma controls - you can start to modify it to your taste and the "gamma" automatically changes from "Extended Video" to "Custom". Or you can start from scratch with "Blackmagic Film".

If you want the highlight/shadows sliders that were in DNG panel, those are not RAW specific controls and are still available in the 2nd tab of the primaries (same algorithm as found in DNG tab and same exact effect on Blackmagic RAW clips as DNG).

If transforming to another log curve or colour space helps you get what you want faster, great! Different log curves like ARRI/Red or using highlight roll off sliders/presets don't give you anything you can't do yourself by using the curves tool etc, but not everyone is experienced with that stuff. Our log curves preserve the full sensor dynamic range though so the highlight roll off is completely in your hands, or you can start with another log curve if it suits.

Something I tend to do a bit is expose for the native ISO in camera, then later in the RAW tab I switch to the highest ISO possible and compensate middle grey with the exposure slider which will lower contrast and have the most highlight roll off we offer in our log curves for a particular camera. I start with Extended Video from the gamma drop down and tweak the contrast/sat and highlight/roll off sliders for the shot. Adjust white balance/tint and that gets me 90-95% there with most footage.

This is exactly what I was after, thanks so much. I actually found a good deal on the 50 1.4 and it has a lovely clean look from f2.4 and above, below the sharpness really takes a hit.

I'Ve always liked shooting with that lens. Wide open it produces a really filmic bloom while still retaining a lot of sharpness. Wish I lived Stateside, it's much more expensive in Europe.

RIP my Aussie friend. May you enjoy the afterlife and start filming that Clive James Postcard wherever that may be...
Here is his incredibly dry and witty portrait of Berlin, one of the TV shows that inspired me to go there in the first place. I ended up spending nearly 8 years there.
Clive James was huge in the UK and his programmes were a weekly must-watch for millions of British people.
I recommend checking out everything he did - be it the books, which are fantastic, his poems, his TV shows and documentaries....  he's one of my all time favourite writers and wits.
He leaves a big hole in British culture, much missed.
https://www.bbc.co.uk/news/entertainment-arts-13437293

I have lots of experience with both J9 and C/Y 85/1.4.
The Jupiter is a big hit and miss, like most Soviet M42 lenses. If you get a good copy, you'll have tons of character, easy flares, lots of bloom and sharp results wide open. Not a contrasty lens unless stopped down. Getting a good copy is a tough process though. You can go through a dozen of them before finding one you like. I certainly have.
Contax: the 1.4's are all fring-y, chromatic aberration-y wide open. The 35 is the best performing wide open of the trio. The 50 is notoriously bad wide open (think blooming and intense CA). The 85 has no blooming and CA is mostly controlled, at least in my copy. But good luck getting a close up in focus if everything is not bolted down. hahahaah
Here's some more info on my set and the decisions through building it - https://***URL not allowed***/zeiss-contax-cine-tune-up-guide/

If you have the right gimbal its no issue. The camera is on the bulky side but its not heavy. Definitely a different image than the C200, but it can hold its own against a C200 imo

You'll need an offset plate or a cage since the Pocket 4K is too wide for the popular gimbals out there.

It fits well on the Weebill Lab without an offset plate, but you need to counterbalance it. I've used it with the Viltrox booster and 24-105 f4 and the results were really nice. My counterweight was the NPF battery sled with a 970 battery, which was handy because I could shoot like that for hours should I need to.
That said, if I were to buy again I wouldn't necessarily go with the Weebill Lab as I've found I quite often need to use some post stabilisation as well to help it out a little.

You have here a full thread specifically on topic:
 

Some shameless pimping for v1.4 of 3C in case you missed it in the other thread.
Added support for using Tilta Nucleus Nano focus wheel to control native and EF adapted lenses without requiring gear rings/focus motor/power.
Ideal for gimbals or just to keep the overall package form down.
 

You're certainly right, but the level of fringing is a bit mad. Still, some of the footage looks great, will just avoid shooting wide open in the future.

I'm editing CRM on a mid-2014 MBP (16GB ram, i7). I don't know about multi-cam, but I can edit the CRM files natively within FCPX without any LUTS applied. As soon as I apply any LUTS, or colour correction, the whole thing falls apart. It's not a massive issue though, just create proxy files and you should have no problem.

thats what im talkin about!!! thank you @Gregormannschaft!!
seems, dare i say, pretty easy
 

We have a Wally Dolly at work that is an absolute breeze to setup, and can get you a solid 6-9ft of smooth movement. Might be worth looking into for rental, it’s relatively easy to transport.

oh wow thank you so much @Jimmy G. im so glad you HEARD it! lol
yeah thats something i should point out – all my shots (with NO audio) seemed lifeless and SHIITY and DEAD until i started adding sound, and then the film CAME ALIVE
this is my first attempt at sound design, and truth be told... i wasnt gonna do it, someone else was ? this girl i found online, we talked about it at LENGTH, over months and months, and when it came time to actually do it.... she just didnt come thru. she made nothing. it was too much for her i guess. so, i was expecting to see some stuff finished at a certain point, i find out shes done NOTHING, and i was like... *drinks a beer* FUCK IT ILL DO IT MYSELF ?
and in two days i was like.... damn i love sound design this stuff is amazin ?
i used all kinds of weird sounds, thats a huge part of the fun~! theres everything from gunshots to deep space noises from NASA. theres even a pine jay squawking at the end lol
oh @kye i thought of one thing i did brilliantly: the shot of the girl working at "walmart". i designed a badge, printed it, bought a clip-on badge holder, bought the blue vest online, had her walk in walmart with me, shot some footage for a few minutes, and walked out. how do ya like that for stealing shots ?

Haven't posted on here in ages but still lurk, just wanted to say you've done an amazing job kaylee. I don't really 'get' the story, but I'm all for films being mood pieces and trying to evoke a particular feeling rather than being as accessible as possible. I'll try not to repeat what others have said on the visuals, but I really really liked what you did with colour. The opening shots of the man on the bus, at work and then on the subway home were stunning. My favourite set of shots has to be the woman travelling on the bus which felt very cinematic.

I liked the idea with the very dark shots and they'd probably look beautiful in a pitch black room, but I couldn't much on my monitor during the day. I like the idea though, did you underexpose these or did you push the levels down in post?

 

Quick tip, buy a bigger ND filter. That way, if you buy lenses with a larger diameter filter thread (77mm or 82mm are common), you wont have to buy another one. You can always buy a step up filter ring for next to nothing, but going down isn't an option.

To me it looks like there's minimal NR going on with CRL and it's most noticeable in the shadows. I'd be interested to see what you find when you get to looking at your files.