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  1. @TomTheDP Hopefully, I suppose. I doubt I'll ever shoot with any Alexa, so I guess it doesn't much matter to me, but it's interesting to see what Deakins may use on his next film. Weirdly, I prefer FF or S16 over S35. Once I started shooting FF, it became hard to go back to crops. There have only been a few cameras that I've seen footage from and I thought... wow! Obviously, the Alexa is one of them. If you end up getting a Komodo... I think you'll own almost every camera that gets me going. Lol.
  2. Yeah it's pretty crazy what Arri has been able to do with the same sensor after all these years. Someone recently shared this video from the Mini LF with me... Honestly, I don't know how they could make something better. Since the new sensor has been in development for a while now and delayed a bit, I can only imagine it must be pretty special. I suspect we'll see improvements in DR and color depth, but also some new gain technology. It should be a sight to see.
  3. That seems like a decent price, did you find it locally? I'm very curious about your thoughts on the Raven. From what I've watched online, the Scarlet and the Raven have a really interesting IQ. I'm looking forward to your tests!
  4. Glad you're enjoying the phone, but I prefer the 1DC shots. The bottom one is fantastic!
  5. According to his tweet, he's going for that older Red aesthetic... so sure there are alternatives unless you are going for what he said he wanted. That's like @PannySVHS wanting eggs and tomatoes and you saying he could have a muffin.
  6. I love how you tell us what you're going to eat when you read articles. It's as if a certain food goes well with a certain camera... with fava beans and a nice chianti.
  7. Yeah, the Komodo is an amazing little camera. But like you said, there are some crazy deals out there. I often look to see how much the original Scarlet or Raven is going for.
  8. Well, he said he wanted to make a film. These hybrids can only take you so far. Hopefully, he'll update us on his process of building a rig. The Dragon is a fairly small camera, so it will be interesting to see how compact he can keep it.
  9. I think there is some merit to the idea that m4/3 may not have a long future ahead of it, but with the GH6 release, OM-1 and Leica's recent 9mm release, it has a few years left. The issue with m4/3 is the cost. They were appealing when you could get the GH2 for $799, but they are getting a bit expensive. I understand you're paying for features, but there is a stigma that one shouldn't pay $500 more for a m4/3 camera than a FF. Obviously I'm not privy to Panasonic's manufacturing and marketing costs of the GH6, but I can only assume that they'd still be making a buttload of money on the GH6 if they sold it for $1599. I fully understand I may be contradicting my earlier statement about how amazing the GH6 is for the money, but there are other factors that go into the consumer's thought pattern and although I think that the features are pretty great for the price... it's still a lot of money for a m4/3 camera when you don't have a cheaper model.
  10. M4/3 definitely has its advantages. I shot a short film recently and pulling focus while my actor was walking to or away from the camera was a major pain in the ass. After 3 or 4 takes and some coverage, I knew I had enough to cobble together the scene, so I just gave up. With a smaller format, I could have stopped down to 5.6 and could have wiggled the focus ring for the last few feet... In some ways, I'd love a camcorder... focus was never an issue when they reigned supreme. If Panasonic puts ProRes into one of their 1/2in or 1in camcorders, I may just bite. I'd love an updated FZ2500 with ProRes. But since we're talking FF here, I must admit that I really like what Panasonic has accomplished with their line up. A freaking S5 is on sale for $1499... that's pretty crazy. And I must admit that I was tempted. But I think all of the manufacturers are putting out nice cameras. I wish they were cheaper, though. The image from the Canon offerings are pretty damn nice... even the R6 has some special, filmic mojo to it. The R5C and the R3... let's just say I wish I was a wealthier man.
  11. I get that... but it shoots ProRes! I noticed there are a few videos that try to show that the h.265 is just as good as the ProRes, but we all know that is BS. If h.265 was just as good, Hollywood production companies would choose an S1 over the Alexa LF. And with that said... I don't really care what people use. But if I were to buy a brand new camera and get into a new system, the GH6 would be up there. I'll probably buy a used FP before that ever happens though... because what a cool little effin camera. But don't you have an Alexa? What else do you need? Of course, I'm not a DP... I'm a hobbyist wannabe narrative filmmaker... so my needs rarely align with most members of the forum.
  12. I'm probably the last person who should contribute to this conversation. The last time I bought a new camera was over 5 years ago and the camera was released 5 years before that. With that said, I think the GH6 is the best camera on the market right now. Internal 5.7K ProRes with IBIS, 4 channels of audio, etc... I mean it's $2200! For internal ProRes and an image that comes damn close to the Red Komodo. I wish Panasonic could extend that ProRes license to one of their cheaper m4/3 cameras... maybe a 2K ProRes camera at half the price... that would be a genius move. And with that said, I do prefer full frame. I like using vintage lenses and not have to do math every time I decide what lens to use... especially since you need a speedbooster to get the most from the lens. And with that said... I'm cheap and I know what I need. I have a camera that works perfectly fine. I don't need 6K. I doubt anyone in the prosumer market does. So I'd wait for a big sale or to see when they release their ProRes FW. But man... the GH6 is a pretty special camera. Sure you can get a P4K for $1299, but you're adding a lot of money to make it workable and it's a huge beast of an ugly camera.
  13. Thanks for trying. Just a thought from IgnorantVille... is it possible there's another line of code needed to recognize/enable the all-i codecs?
  14. Without a doubt. I would assume that as long as you can see a little detail in the clouds, you should be good to go.
  15. Yup, more than likely, the meter inconsistency is consistent, so with ND, VND and/or exposure compensation, it should be fairly straightforward to get consistent results. I agree that ETTR isn't optimal, but as you know, a 12bit raw image should give you a lot of leeway in Resolve's Raw Panel. To add to your greater point... I think I would use the FP as simple as possible... I'd probably monitor it with the Monochrome profile, use the in camera, center weighted meter, run some tests and adjust accordingly. I'd also use a wide angle lens that vignettes a little to take the edge off the highlights, or add a slight vignette in post to soften the highlights when needed. With my 5D3, I can't even review clips, so the FP seems like a luxury to me in a lot of ways. Btw, the Digital Bolex is one of my dream cameras. It must be great to have one.
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