BenEricson

The thing is with what will you intercut it with. 90% of movies/advert shots are done on the Alexa 2.8k sensor. Most people on forum like this don't understand that. 99% of production won't deal with 8k footage.

The original idea to use a S16 camera was the lower cost and the flexibility to perform shoots with a small camera, the French filmmakers take these cameras to the streets in places where  35mm camera were too much difficult to operate, and that was the spirit until the rise of the digital era, now we have very small cameras which can be used exactly like S16 cameras use to be in the past. The digital bolex keep that original intention, a small and very easy to use camera which can be used in extreme situations and places, where the only limit is filmmaker imagination. The BM is clearly not a good choice for a S16 camera, it's a bigger camera, heavier, will have a lot of limitations compared to a digital bolex, there is no a good reason to get this camera to do S16, the only reason I will use a camera so big like this to do S16 is because of it is a film camera, yes, an old and beautiful original film camera, which by the way I have, and I use to do some documentary, I only have like 12 minutes to shoot for each roll, but what you get for all the effort is worth. This new BM camera is oriented to be operated by a crew, to compite in that segment with RED, not for an independent creator, sure you will see some crazy guy running with this brick in his shoulders and telling to the world is the best camera for run and gun, but we all know the best performance for this kind of cameras can only be achieved with a crew, even a smaller crew will make a huge difference.
No need to try to justified this camera as the perfect tool for every scenario, it is what it is, it is too expensive for individuals, it is oriented for crew work to compite with RED cameras. It will find his place in the market for sure, if you have a small production company probably this camera is the perfect tool, I can see the point to get it for some people, but probably most companies will stay using RED and ALEXA just because of when the customer is on set he is expecting to see that kind of cameras filming his commercial. Time will tell. 

I feel like s16 glass wouldn't even resolve that much detail? Might not be too different from just upscaling?

Just get a digital bolex. You don't need this for s16. 

who needs this? and why??

Been using the 1dxII in 4k for weddings over the past 3 years. It's an amazing camera, and no bride will ever ask for more. The file sizes can suck though. I ended up with a workflow of converting the MJPEG files over to 4k h265 files, reducing the weddings by 85%, and they looked 95% as good.

It's a workaround for the biggest downside of that camera. 

Randomly found this when I was searching for that topic. Nice looking color.
https://youtu.be/2GOUeB3dpng

I originally had a non 444 model and when I switched to the 444 model, the colors felt slightly off. I kind of thought I was imagining it, but my issue was due to the S-LOG out. You should try shooting some green grass with both profiles. The straight S-LOG out will look a bit more artificial looking. 
Here is a quote from a member on DVX user form 2017. 
 
"The camera has two kinds of output, which you select in the "Dual-Link & Gamma Select" menu.

One output mode is Video. In this mode you can customize the picture profile to set the gamma and color matrix.

The other output mode is S-Log. In this mode, picture profiles are unavailable. The gamma is locked to S-Log and the gamut to S-Gamut. I found the colors to be weird in this mode and I could find no way to compensate in post, even using a proper S-Log & S-Gamut transform. I believe Sony screwed up S-Gamut on this camera.

So I suggest you forget the S-Log output mode and just use the Video mode. In Video mode, the most useful gamma settings are STD5 R709, Cine1, and S-Log (I mean S-Log the picture profile gamma setting, not S-Log the Dual-Link & Gamma Select mode). S-Log gamma works fine in Video mode. Personally I think the most versatile gamma setting is Cine1, for reasons I explain here. Cine1 is easy to grade by hand with just a levels filter, and you can also use my Logarist LUTs for that. If you want output that doesn't need to be graded at all, set the gamma to STD5 R709.  

I found a matrix of Standard to give the most natural looking color."

The last one where we had to find the best camera under $200 was a hoot
Best technical image was the 4K GX85 but the videos also had various levels of ingenuity and creativity.
I am open for ideas for that the next challenge could be 🙂
Best low light camera for under $500?
Most cinematic look for $300? (Regardless of resolution)
Music video shot with one prime challenge?
Let's settle on a theme and see if we can get the next one going.

I originally had a non 444 model and when I switched to the 444 model, the colors felt slightly off. I kind of thought I was imagining it, but my issue was due to the S-LOG out. You should try shooting some green grass with both profiles. The straight S-LOG out will look a bit more artificial looking. 
Here is a quote from a member on DVX user form 2017. 
 
"The camera has two kinds of output, which you select in the "Dual-Link & Gamma Select" menu.

One output mode is Video. In this mode you can customize the picture profile to set the gamma and color matrix.

The other output mode is S-Log. In this mode, picture profiles are unavailable. The gamma is locked to S-Log and the gamut to S-Gamut. I found the colors to be weird in this mode and I could find no way to compensate in post, even using a proper S-Log & S-Gamut transform. I believe Sony screwed up S-Gamut on this camera.

So I suggest you forget the S-Log output mode and just use the Video mode. In Video mode, the most useful gamma settings are STD5 R709, Cine1, and S-Log (I mean S-Log the picture profile gamma setting, not S-Log the Dual-Link & Gamma Select mode). S-Log gamma works fine in Video mode. Personally I think the most versatile gamma setting is Cine1, for reasons I explain here. Cine1 is easy to grade by hand with just a levels filter, and you can also use my Logarist LUTs for that. If you want output that doesn't need to be graded at all, set the gamma to STD5 R709.  

I found a matrix of Standard to give the most natural looking color."

Yeah, you can grade F3 footage easily with just the Lift, Gamma, Gain in any grading tool and get nice results. No LUT needed. 
It is important to mention that there are two S-LOG settings on the F3. For best results, you want to set your camera to video out and enable S-LOG in the picture profile setting. If you do a standard, S-LOG out, the color is altered and harder to deal with in post. Specifically in the green channel.

I remember that topic! Didn't see a lot of difference between his samples though, so I dismissed it as a placebo effect. I'll have to add a couple picture profile clips to the folder for comparison.

EDIT: Clips 18-20, shot in Picture Profile SLOG, have been uploaded to the drive folder.

Randomly found this when I was searching for that topic. Nice looking color.
https://youtu.be/2GOUeB3dpng

Interesting...I've heard the opposite--that the picture profile version of SLOG is inferior and has "incorrect" color compared to the "proper" SLOG out. I've never noticed a big difference in my (admittedly brief) tests, so I use the latter option for the ability to toggle LUT on and off in the onboard monitor. 

The clips I posted above use the non-picture profile version of SLOG.

Hey y'all! Sorry I wasn't able to get footage up sooner. I've been feeling under the weather this week, which has been understandably stressful given COVID. Still waiting for my test results, but I'm improving steadily, so hopefully everything comes back negative. 

But enough about me--let's get to the fun part.

https://drive.google.com/drive/folders/1nYFylo03zFn2W-P5OtZ08xvZEuQrscGh?usp=sharing

These shots are just casual off-the-cuff clips taken around my apartment complex, but hopefully they still prove useful to those interested in how the F3 grades. I tried to get a variety of lighting scenarios, shot sizes, and color temps. The cookbook shot is ISO 1600, and the one under the bed is maxed out at 6400. Everything else is at the F3's base ISO of 800. 

At @mercer's request, I've included some cats this time. 😁

Keep in mind that I sometimes adjusted/bracketed focus or exposure during shots, so be sure and scrub through to find the most useful frames. 

Let me know if y'all have any other questions! 
 

And here is my entry for most ridiculous Micro rig, the competition that no-one asked for and no-one will find useful.

Micro, FD-MFT adapter, Canon 2x TC, Canon FD 70-210 f4.
Might be one of the cheapest ways to get 1210mm 60p RAW that exists.  Beyond that, not so useful!

R6 will overheat in 4K60p after 30-40mn & in 4K30p after 40-50mn (depending on FF/S35 modes).
Shouldn't be any overheating issues in 4K24p/25p.
Let's just remember we're talking FF no crop oversampled 4K60p with DPAF in 10-bit 4:2:2 internal.
In comparison, the only hybrid camera on the market that can get close to that is the almost twice more expensive S1H which can only do 4K60p with a S35 crop in 10-bit 4:2:0 longGOP and poor contrast AF... and that camera has active cooling on board!

I think this overheating is getting over exagerated. I read a guy was shooting all day long didnt get overheated once.

I had 2 BMP6K's wet the bed and ruin a shoot over multiple days.  
I'll take short record times any day over ruined  color.  And the crazy thing is Black Magic is still selling the P4k and P6K as is.

Nice looking frames. I love your rig as well. 
I have had good results with ProRes LT to Vimeo.

Nice looking frames. I love your rig as well. 
I have had good results with ProRes LT to Vimeo.

@Antoin e I don´t get it. Something in those f3 images sings to me. That´s all I get:) Cannot wait to get mine into gears.

Personally I'm a fan of Tiffen's warm black pro mist filters, I alternate between 1/8 and 1/4 depending on whether I'm using vintage or modern lenses, I love the warmth and I feel like it helps me nail skin tones better, and of course the soft, subtly blooming highlights are lovely. 

I have the 1/4 and 1/8 Hollywood Black Magic filters and they are indeed very nice (I got them to reduce the harshness of the Sigma 18-35 and give it a bit more character, which they sort of succeed at doing but I think I just don't like that lens). The main thing to watch out for with these filters is speckly bokeh, which can happen if you've got an object in focus in the foreground with out-of-focus lights in the background. It looks pretty weird when it happens; you can find examples by typing "speckled bokeh" into a youtube search or on Google.

So that means the 4K 24p comes from 8K readout with serious rolling shutter then 😃
Yes that's how it works. Ambassadors can't mention other brands.
They are salesmen who have people fooled into thinking they're Stanley Kubrick