zerocool22

Not sure why you would still want a scarlet mx though, I would rather shoot ump then scarlet mx on any day.

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff."

For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure).

Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709.
P4Ka PDF
Emotive Color

I've been following it pretty closely and have been wondering that myself. I thought it was going to be sensor size, but that proved to be incorrect. As far as I can tell, the main differences will be:
- High Frame Rates - Most Red cameras can do 96fps in 6k (Komodo will top out at 40 or 50fps) and 120-150fps in 4k. The specs haven't been released yet, but I'd be surprised if Komodo matched this.
- Modularity - All of Red's other cameras can be built out based on the production. Whereas Komodo is pretty much just itself - it can't really be anything more than what it is, which probably means it won't be used as many A-Cams on most of the shows/movies that Red cameras are used on now. They need all the extra inputs and outputs that DSMC2 provides.
- Fixed Mount - Totally fine with me since I love the RF Mount, but having an RF Mount and not user-swappable PL and EF mounts probably means many bigger productions will opt for DSMC2 and not use adapters. 
But really that seems to be about it, all of which is fine for small crews, owner/operators, small production companies, etc. 
Also, with a global shutter mode and Red IQ, I bet they will sell dozens of these to action movies and tv shows to use as crash cams and b, c, d, e, f, g etc cams. 

This is a creative art form we take on as filmmakers - I see nothing wrong with the approach by the filmmaker or the grade, if that was their vision.

First, auto tune your motors, then set the joint angle as described in this thread:
forum.dji.com/thread-163729-1-1.html
Then...
1) With the app on your phone/device connected to the Ronin-S, go into the SMOOTHTRACK setting.
2) For Pan set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off
3) For Tilt set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off
4) For Roll set Smoothtrack and Pushpan = Off
This has fixed my Ronin

Does it have cinelike? Log seems a bit useless on a tiny sensor like that. 

No manual controls is stupid though. Kind of a killer. 

I just got the Mavic Air and I think I'll be happy with it for now. 

Tech is not a limitation with drones, its just market segmentation. All DJI's drones should have 200mbps 10 bit imho. That said I am not as worried about color with drones, usually not dealing with skintones so you can get away with a lot more.

This whole discussion is absurd. Why do we need Netflix to determine the value of a camera based on some unknown and abstruse criteria. The whole thing is speculation. Make up your OWN MIND by looking and testing the images. 10 bit is still 10 bit though.  The traditional Japanese companies won't give you internal raw, and that's why most people will pick the blackmagic at half the price. If you pick a camera based on what Netflix says, you are in a dream land, and to suggest it is some arbiter of quality is even more fanciful - cause no one here can say what the criteria is. Not to mention that some of the best cameras ever made aren't on the list. 

I finally released my last feature in streaming. It's now on Amazon's Prime Video here: https://www.amazon.com/dp/B07ZHRZ782
It's a Drama/vengance/thiller type
I little bit of history with this.
I started to shot this film in the end of 2013 (yes almost 7 years). It took almost 3 years in production. It was shot with a couple of Nikons DSLRs and Super 16mm film. Since it's first screening in the Mar Del Plata International Film Festival in 2016, the film was going around thru some festivals and other screenings. It finally got a theatrical release locally (Argentina) in march this year. It's preaty hard to get distribution to some "kind" of movies.
As you can see, this is a very looong process when you are a "newcomer" in the business, but you just to keep pushing.
I still have in plan try to reach some other platforms. Only time will tell. 

In my opinion, you’re looking at this too analytically. Test charts and head turning videos on boring sets can only tell you so much.
One of the most important factors in any image is rendering and an MTF chart will not show you that... only your eyes will. For instance, the Veydra vs Zeiss CP.2 numbers you referenced... 
Take the Zeiss 28mm f/2 lens for example... the Contax version was known as “The Hollywood” due to the way it renders the OOF edges of the frame due to the extreme field curvature. The ZF Classic version is a very similar design as the C/Y version and uses the same glass as the CP.2. Check our this, real world, review of that lens...
https://www.google.com/amp/s/blog.mingthein.com/2012/07/19/zf28distagon/amp/
Also look at Cookes or Baltars... they aren’t perfect lenses by any means, but they have character and some of the best films of all time have been shot with them.
Anamorphic lenses are revered due to their flaws.
Color separation, tonality, 3D Pop, OOF highlights and even flaws... these characteristic can add charm and dimension to your images. They can help you tell the visual story you’re trying to tell.

Me too. I want an uncropped, full frame 4K60p 10bit tool. I can look past the lack of IBIS and ND filtration, but if I'm paying $6,000 i don't want any crop. Otherwise, I can just stick with an APSC Pocket 6K and have 10bit RAW 6K at 50fps. Yes there are some ergonomic and battery issues, but nothing that can't be addressed with < $500 extra. 

If you want pro photo and pro video in one body, this is it. No other camera gives you that, hence the price. As good as the s1h is, I don't want to be fiddling around with external recorders just to get raw. With the weather sealing etc, the places you can take this camera where you can't take others makes it all the more appealing and unique. The price is warranted. This thing is a BEAST. 

Not sure, lets wait and see. But I am guessing IQ will be better for photo and video.  Also the native EF mount is pretty good for me as I have a shitload of EF glass and dont want to invest in a new mount (sony, panasonic, nikon..)

Here are Martin Scorsese's words:        [the magazine in question is Empire Magazine]

 
Surely, people are outraged.
 
But, in my view, he is quite right.
He took care not to hurt the MCU creators by saying: 'as well made as they are', so I don't see why he is accused of being insulting.

I like the softness, but I find the colors a bit too mute. Contrast is sitting well, but I feel the colors should pop more, more saturated on the RED/BLUE shots.

Thats great and all, but what cine lenses are we gonna use that have AF. Im not beeing sarcastic, but I think there is a need of AF lenses that have a great look (Cooke, Zeiss supreme, angenieux, Arri masterprimes, leica summicrons/summiluxes, any anormophic). We should maybe give the zeiss otus/milvus lenses a go.
While if you are doing event work, you would not go for a zcam anyway. 

Looking forward to more from Jonah Hill 

Speaking of skate videos, I just watched Mid 90s. Movie was awsome and would highly recommend. 

lol, wth wants that holographic display anyway. 

The F6 seems hard to beat with that variable ND. The S1H is nice but this has internal RAW(probably prores as well), internal ND's (depending on the mount you use I assume), and 4k 120fps. 

If they would do it, its gonna be a stylish camera with only a few controls/options that is way overpriced. 

Is it only for dslr's or also for ursa mini pro's, FS7's, canon C300's (automatically presuming Alexa's are out the question)?

We have cameras that are unable to shoot internal RAW literally because of RED. You want to stop animosity against a company that is completely screwing everyone else over and suing people left and right? A company that made it so Blackmagic had no choice but to create their own RAW format and made companies like Panasonic, Sony, and Nikon all have to figure out ways to make raw external instead, which in turn makes the rest of us have to buy expensive external recorders and expensive SSDs? Seriously, no offense man - but you should probably quit telling people what to do and how to treat companies, especially companies that are making our work life more difficult and more expensive. Also, dont forget where you are - this is EOSHD, where the creator of the site is very critical of companies - which in turn pushes them to be better and to quit their bullshit. So in conclusion, please get off your high horse and realize that we shouldn’t bow down to big bad RED and let them push us around with their bullshit patent. And this “animosity” is very much warranted.

Yeah as I will prolly also use it it handheld from time to time (depending the situation, like travelling, or really long shooting days, etc)

What about the nikon z6? Anybody got experience with this one. Imagewise its ahead of the other mentioned cameras.

I would suggest the S1 and the 24-105 f4.
Ibis is excellent
battery life is excellent (2+ hours per battery)
No record limit (or overheating)
AF is good 
Great in low light
Shoots in UHD 10 bit 422 to sd card
14 stops of V-LOG (optional)
Very good skin tones
Is a 6k sensor so you can do a APSC crop in camera so that 105mm becomes a 157.5mm and the lens is parfocal. 
Because fo the S1H and all the other cameras you can find them used for $2500 now for the camera/lens combo. I do a lot of corporate events (trade shows or conferences kinda thing), and it really works well.