mercer

Gotcha. The FX3 will check a lot of those boxes, but it may not be as run and gun as you think. In that BTS video, you posted, the filmmaker used a gimbal in some of his shots, which may indicate that the IBIS isn't that great. I've never used one, so I can't speak to that. I'm sure it's acceptable, though. With that said, if I was in the market for a camera in that price range, I'd consider the FX3. I like the form factor, the lowlight looks fantastic, and I think the video IQ would look amazing in B&W. Which is something I am looking for right now. But there are other cameras that fit the criteria... the S5 is a fine camera and is only $1499 right now. There probably isn't a better deal on the market. I also like the X-T4, although it's probably not as good in lowlight. Good luck in your search. Resolve is a great program, but it can be complicated. Luckily, there are a ton of resources available at your fingertips.

Idk, it kinda feels like you're arguing with the people you've asked for advice because you've already made up your mind? Which is fine... go buy an FX3. As everybody has already said... it's a fine camera. But if you want advice, then listen to what people are telling you and asking you... what lenses do you own? What kind of video work do you want to do... personal, travel, documentary, music video, narrative. With that, of course there's a difference between a t3i and an FX3... but if you have zero experience color grading footage, then you would probably get better results with a t3i than you would with an FX3. sLog isn't the easiest Log profile to grade. So your R6, with a modified Neutral profile (ProLost Flat) would probably look better than the FX3. Also the GH6, shot in ProRes is probably on par with, or better than, the FX3. It will definitely have better stabilization. As far as the C70... well now you're talking a different classification of camera. If you can afford one, have video experience, plan on using it for work, etc... then it could be a great choice. But then you may as well get a Red Komodo. But why stop there? For a bit more you could get a C500 Mark II... for a little more than that you can get a Red V-Raptor... a bit more you can get an Alexa... surely that's a better camera... The point is that there's always a better camera. But cameras don't have a "cool" button. Roger Deakins, and others, would make video from a t3i look better than I would with an Alexa.

Speaking of the C300... if it's good enough for a Hollywood film by Ti West...

Jeez... a production could take the casing off and use that as a prop in the next Bond film. All it needs is a countdown timer.

If you have enough money to get an FX3 or a C70, then go for it. They're fine cameras. If you haven't seen it yet, @Oliver Daniel has shot a gorgeous music video on his FX3 and a7siii. Personally, I didn't find anything WOW about the videos you posted. I don't want to be disrespectful to the filmmaker, they are fine videos and he is very talented/skilled... But the second video you posted looked very video to me. They were all wide shots, stopped down and focused to infinity. Other than some cloud separation and color depth, I'd think almost any camera could capture that. Check out Noam Kroll's website/instagram and see what he he's been capturing/grading with an X-T4 on his current feature film. It looks very high end. Even Fuji's Film Simulations have a pretty nice, SOOC look. I assume they may take a hit in DR, but that can be molded, a touch, in post with some aggressive curves. I believe @kye has a similar video, to the beach one you posted, that he shot on an OG Pocket or Micro and it looks fantastic, maybe he'll repost it to give you an idea what can be accomplished with some care. I've seen some really nice footage from the R6, so I'm sure it's very capable. Also... what type of stuff are you looking to shoot? You've used the word cinematic a few times, so am I to assume you want to shoot narrative films?

With ML Raw, the basic idea was to use BM Film but there really isn't a designed post workflow. I've used everything form the LogC transform in the MLV App, to BM Film in Resolve, to LogC CST and also used Rec709 in the Raw Panel. None of them seem any better than the other, really. I think this is why I'm intrigued by the FP because it seems similar to ML Raw in some ways, and I've found that some times you just need to wing it and make it work.

With FCPX, has anyone tried using the "zebra" tool in the View drop down window to see if it corresponds with anything? Also Color Finale has a raw importer tool called Transcoder which will read the dng files. I'd be curious to see how they compare with the ProRes Raw files. And finally, regarding internal raw... is it possible that the settings from photo mode are effecting cine mode? For instance... if you have the photo setting at 4:3, perhaps it's effecting the meter readings of the cine mode 16:9 and if they're both set to 16:9 maybe it will click. I'd also check the Director's Viewfinder. Anyway... just some thoughts.

Same. You gotta get that camera rigged up to shoot something with! If I could find one for the right price, I'd buy it in a heartbeat. It goes against my compact, run and gun preferences, but the IQ is undeniable. I regularly look at the video with the classical music and beautiful red headed woman. It's one of the nicest images I've seen on an accessible camera.

Someone told me once that part of the mojo from the Alexa is built into their LogC to Rec709 LUT like it was designed to be part of the image pipeline. Honestly, I don't know about all that, but when I do a LogC CST, with my ML Raw footage, and then apply the LUT, the image does seem to open up nicely. It's usually best using Linear as an input, but even a BM Film input helps.

Weird, I just watched this yesterday. I was also going to post it here, but I didn't get the chance. It looks great, and the production is pretty impressive.

Red sued Apple, and won, a few years ago, because Apple wanted to use ProRes Raw, a compressed Raw codec, in their phones. That's why you only see ProRes Raw in Atomos recorders... it gets around Red's patent. So Nikon can license ProRes Raw all they want from Apple, but Red's patent still keeps Nikon from using an internal compressed Raw codec.

It always is... The patent may seem broad, but it is very specific to their use. Others have gotten around it. Either through licensing or design. In this instance, I'm not so sure N-Raw is the problem based on TiCo Raw's claims about their product. I think the issue may be internal ProRes Raw. But I haven't read the full complaint. With that said, this does suck. The Raw video out of the Z9 looks amazing. And I would consider downloading the firmware if I preordered a camera or had plans to buy one soon. Hopefully they come to terms and Nikon uses the codec in future models. I'd love to see a Z63 with internal raw. Instant purchase.

I honestly don't understand how people who create things get angry with a company that created something and want to protect their work. If you went online and found someone on YouTube that decided to use one of your videos and put their name on it, I'm sure you would flag it.

Wouldn't it be great if the camera market was like Build A Bear and I could just order the Alexa Mini LF in a GH6 body with IBIS and internal NDs... while also having an interchangeable monochrome sensor that I could easily pop in and out when desired. Of course, it would have the Roger Deakins mode that would make my footage look better. And obviously the Amy Adams mode to make my actors prettier.

With that said, I understand that this is a business for some people and other factors come into play. Which is why I've often said that some people would be better off with a camcorder, or the latest Canon DSLR/DSLM... they're money making, workhorses.

Idk, there's something soulless about shooting with a Panasonic. It feels like a machine in some ways. I started shooting film stills and although the camera is almost unimportant when you shoot film, certain cameras feel like an extension of your arm. I never felt that with any Panasonic camera. But I have with every Canon, Nikon and even Olympus I've ever owned/shot with. Perhaps it's the longer history those companies have in the camera industry... I don't know, but it's quickly evident.

Panasonic deserves a ton of credit for what they offer at the $2000 and under price point for filmmakers. Blackmagic as well. Canon and Sony, and especially Nikon, would be smart to get into that market. If they'd only realize that there is a good little market for a $2000 raw video camera that shoots 3K, they could hook aspiring filmmakers into their ecosystem.

My friend has a GH5, I've shot with it on a number of occasions. It's a fine camera. Fun to shoot with. 5 years ago I chose the 5D3/ML Raw over the GH5... 5 years later... I'd make the same decision. But I'm not the normal customer... I have my 5D3 and a BMMCC that I RARELY use. I was hoping for the rumored XC20 with RawLite would be released and I would have bought it to fulfill my desire for a CineCorder. Shooting Raw on my 5D3 has spoiled me for most cameras. The FP is kinda good, but an R5C, R3 or 1DX3 would make a lot more sense but they're way out of my price range. So I soldier on with my trusty old 5D3.

Well, if you insist. I wouldn't say they're competing at all with the GH5/G9 due to the sensor size. Obviously, the GH5 is a great camera, but it's strengths lie solely in video, where the R7 is more of a hybrid camera. It will be better in lowlight, have better color, it includes a Log profile at no extra cost, and it will have great AF. Actually, Canon always gets a bad rap around here, but Panasonic should be ashamed of themselves for selling the GH5 for $1300 over 5 years after release.

Thanks, I thought that's what I read. I know @kye was joking, but I think he could be onto something with his Canon S16 joke... this could be a great opportunity for Canon to offer a S16 1080p Canon RawLite codec. I have a few old c-mounts that would love to see some daylight, some Canon color... and some IBIS.

Just to be clear... the egregious crop is only one of the versions of 4K 60p, right? So unless you shoot 4K 60p and process it on a 60p timeline, it isn't the end of the world.

I believe this is the 8bit video @PannySVHSwas referring to... We could probably debate Marcus' message for a dozen pages. But in the end, who could question the passion in which it's delivered?!

Wow. I honestly do not know what to say. In 20 minutes, I feel like my life has changed but I have no idea how, why, or in what way. I am confused, inspired and depressed. Thanks Marcus!

@Andrew Reid that's convenient. Those smaller V Mounts aren't too bulky. How much of a charge can you get off a 99?

Arri should have just listed the DR as having a BUNCH. Or BETTER than any other camera. Maybe INSANE highlight rolloff and DANG you can really see into the shadows and the window is perfectly exposed too.