Tim Sewell

I mean, she can stand up in a car, but she ain't Sydney Sweeney.
 

I’d rather have a phone inside the Sigma BF.
But I bought a RED Hydrogen so what do I know… 

And that's because, at least in part, if 2 out of your 4 Alexas go down on set in the middle of the Amazonian rainforest Arri (or the rental house) will have replacements and/or technicians with you in under 48 hours. It's simply not worth it to provide that kind of support for 'cheaper' camera systems.
Obviously Alexas are also engineered for an exponentially higher level of reliability and resilience in the first place too.

I've said for a long time that the look generally accepted and desired as 'filmic' is, in fact, 'Arri'.

Well to be fair they basically had done their homework on what film looked like because of the work they did on the Arriscan. In its time a revolutionary film scanner.  
 
The sensor in this ended up being what went into the first Alexa.  

The color science work was already done one way   They just reversed it  
 

I've said for a long time that the look generally accepted and desired as 'filmic' is, in fact, 'Arri'.

Its like 18-55mm kit lens situation. Everybody thinks its a junk lens, because they've seen photos taken by that kind of lens, and most of them are not impressive; so they thought its a lens problem. But in reality, the proportion of amateur photographers who were still trying to learn and explore, in total users of that lens, was very high (because it was a kit and shipped with their first DSLR), so what others were seeing wasn't the lens problem, it was users' skill problem. The small group of people who use $30,000 camera, are the same people who know how to extract as much as much as possible from their gear, know how to get perfect lighting, and how to color grade. So when you see a Alexa footage, there is big chance you're seeing a team of elites performance.
You see a discipline among elite groups, and its that when they find a winning formula, like the combination of attributes we call "Arri look", they stick with it. Thats how they made us addicted to it; as we were seeing that formula over and over again in many different movies, to the point that we collectively call it "cinematic", like any other formula is either inferior or not legit. 

I mean it's not really fair to compare an Alexa to any of these more affordable cameras. It's an Alexa for a reason. When you buy one you aren't just paying for the camera itself, you're paying for the decades of research and development that went into the image processing and color science that gives it that Alexa look. That's what you're paying for when buying any of those higher end cameras.
The other part comes down to the sensor, too. Higher end cameras have sensors that are specifically developed for them. That's a huge difference. While these lower end cameras have software and processing that is tweaked to work with sensors they buy, the higher end cameras use sensors that were designed specifically for those cameras.
Finally, there is a Luca Forsyth video that compares several cameras, ranging from the FX3 all the way to Alexa 35. His results were pretty surprising.
 

Scans. My 15yr old just bought a twenty quid Sony 10MP CCD compact. He specifically wanted CCD and he uses the flash on nearly every pic - loves the look.

This. 

A 14 yr old daughter of a friend have a Iphone 15pro, but now carries everywhere a VERY crappy Olympus digicam, shoots everything with flash, and loves it. (now I've taught her on how to do long exposures)

For me, is a trend - when Instagram appeared, everyone used their integrated filters in every photo, because it was so different, and now nobody uses. Dunno how this trend will carry - if 3 or 4 of the biggest infuencers start saying "clean iPhone photos are now the trend", it could dissapear fast.

(probably is where the camera companies will put their money - reversing the trend could be cheaper than develop and sell new cameras)

Yeah and although you can mimic the same look with a CCD camera app and the flash on your smartphone, Gen Z does not want to "fake" it, they want the authenticity aspect.
It's more fun that way, and I agree with em!

The voiceover was real.
This is the card at the end of the video.

 
Well, there’s the rub.
Whatever it was trained on was certainly very real.
Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.

Interesting - I will take a look!

Visuals, music and sound design are all original.

Happy Chrimbo to you too Andrew! Top of my wishlist would be for it to be summer, instead of currently being too cold and grey to go out and shoot anything!

I'm certainly loving my FX30. So easy to use and get good results from.

I'm certainly loving my FX30. So easy to use and get good results from.

I mentioned here some time ago that I was planning to make a mini-doc at this year's Cambridge Folk Festival - the UK's leading such event that this year celebrated its 60th anniversary.
Well it didn't work out quite how I wanted. I took my 15yr old with me and had expected that he would go off independently in search of the things 15 year old boys hope they will find, but no. He wanted to stick to me like glue, as long as he could also stick to his camping chair and his phone all day every day, so I didn't get to do the vox pops and the storytelling I had planned (I still have 200 cards I had printed with the details of how to see the film once finished, to hand to interviewees). Ah well. I've booked to go again next year. Alone!
Here is what I did manage to get. Shot 4k on the A6600 - an underrated camera in my opinion and I don't think it scrubs up badly at all. This was exclusively with my now-doughty 18-105 f4 and subjected to pretty much the same grading process as the last clip I posted here (
)
Anyway. Hope you all like it. Edited to add: Select 4K and turn the volume right up!
 

Great stuff!  Lots of little interesting stuff to notice in there, like you making sure people are clapping in time to your soundtrack, etc.  Some fun characters too - there's nothing like a grumpy person staring down the barrel of the camera lens!
Those Sony 6000 series cameras can make some great images.  I was considering the A6300 at one point, but an IBIS bug put me off at the time.  I think the major issue for those cameras was that getting good colour out of them required more skill than people had at the time.  Now there's more support for folks in terms of tools like colour management, the film emulation plugins, and more knowledge of colour grading techniques, so it's much easier to make the most of the files.
Amusing about your son - kids are funny sometimes.  Just as I thought I'd figured mine out (even just partially) they'd change and go through a new stage and I'd go back to being completely confused again!

I mentioned here some time ago that I was planning to make a mini-doc at this year's Cambridge Folk Festival - the UK's leading such event that this year celebrated its 60th anniversary.
Well it didn't work out quite how I wanted. I took my 15yr old with me and had expected that he would go off independently in search of the things 15 year old boys hope they will find, but no. He wanted to stick to me like glue, as long as he could also stick to his camping chair and his phone all day every day, so I didn't get to do the vox pops and the storytelling I had planned (I still have 200 cards I had printed with the details of how to see the film once finished, to hand to interviewees). Ah well. I've booked to go again next year. Alone!
Here is what I did manage to get. Shot 4k on the A6600 - an underrated camera in my opinion and I don't think it scrubs up badly at all. This was exclusively with my now-doughty 18-105 f4 and subjected to pretty much the same grading process as the last clip I posted here (
)
Anyway. Hope you all like it. Edited to add: Select 4K and turn the volume right up!
 

I mentioned here some time ago that I was planning to make a mini-doc at this year's Cambridge Folk Festival - the UK's leading such event that this year celebrated its 60th anniversary.
Well it didn't work out quite how I wanted. I took my 15yr old with me and had expected that he would go off independently in search of the things 15 year old boys hope they will find, but no. He wanted to stick to me like glue, as long as he could also stick to his camping chair and his phone all day every day, so I didn't get to do the vox pops and the storytelling I had planned (I still have 200 cards I had printed with the details of how to see the film once finished, to hand to interviewees). Ah well. I've booked to go again next year. Alone!
Here is what I did manage to get. Shot 4k on the A6600 - an underrated camera in my opinion and I don't think it scrubs up badly at all. This was exclusively with my now-doughty 18-105 f4 and subjected to pretty much the same grading process as the last clip I posted here (
)
Anyway. Hope you all like it. Edited to add: Select 4K and turn the volume right up!
 

I mentioned here some time ago that I was planning to make a mini-doc at this year's Cambridge Folk Festival - the UK's leading such event that this year celebrated its 60th anniversary.
Well it didn't work out quite how I wanted. I took my 15yr old with me and had expected that he would go off independently in search of the things 15 year old boys hope they will find, but no. He wanted to stick to me like glue, as long as he could also stick to his camping chair and his phone all day every day, so I didn't get to do the vox pops and the storytelling I had planned (I still have 200 cards I had printed with the details of how to see the film once finished, to hand to interviewees). Ah well. I've booked to go again next year. Alone!
Here is what I did manage to get. Shot 4k on the A6600 - an underrated camera in my opinion and I don't think it scrubs up badly at all. This was exclusively with my now-doughty 18-105 f4 and subjected to pretty much the same grading process as the last clip I posted here (
)
Anyway. Hope you all like it. Edited to add: Select 4K and turn the volume right up!
 

Another thought, I really think it's down to the IBIS implementation.
The GH5 has two IBIS modes, one that smoothes motion, and the other eliminates it creating a stationary frame.  The normal smoothing one is how you describe, but it's the other one that's of interest.  
If you put it in that tripod mode, but then pan the camera, it keeps a stationary frame until you've moved it too far and it realises it has to 'follow' you, and if you keep panning you get the smoothest pans I've ever seen without sticks.  The level of stabilisation is incredible.  When you're doing it the feeling is a cross between pulling the frame through treacle and one of those time-warp things where reality is delayed (because it moves a second or two after you start, and then it keeps moving a bit after you stop again).
I really miss that mode on the GX85, as it only has a normal smoothing mode, and if you hold it steady the frame sort of floats around randomly because it didn't completely eliminate all the motion.
Interestingly, the OIS from the 12-35mm F2.8 on the OG BMPCC and BMMCC (which don't have IBIS) tries to keep a much more stable frame - if you hold it steady then it will have a much more 'locked off' shot with far less drift than the 'normal' modes from the Panny cameras.  I haven't compared it between cameras, so it might be the lens, or might be the camera doing this.
I think there could be a lot of benefit if they included several levels of smoothing on the IBIS mechanisms.  Light, Medium, Heavy, and Tripod modes would be very useful I think.

Yeah, it was the building pans where I noticed the IBIS artifacts. In theory gyro should do a better job here because IBIS is always playing catchup; it's very fast but the lag can produce noticeable artifacts. There is no lag with gyro, but there's a crop and you have to use a lower shutter angle (typically 90 or even 45 degrees) and then add back motion blur in post. The lower shutter angle is to counteract situations in which the camera is moving faster than the exposure time per frame; if you use a 180 degree shutter angle the camera will often be moving faster than the exposure time per frame and you'll get blurry images.

Not really the car shots and so on that I'm thinking about - I quite like them to be a bit jumpy. It's the huge number of really impressive buildings I saw in the city that just cry out for long, considered, pans/tilts/combinations that you can really only achieve with a tripod and a good head.