zerocool22

So the nikon z6 is now around 12 stops. but with the raw update beeing raw and all, and photo's are 14 stops of DR. We will get 14 stops of DR out of the nikon Z6 right?  Which would make this a 2,5K $ FF raw camera(with the atamos recorder included). Which is even only half the price of the zcam F6. This could be the next best thing and blows everything in the near range out of the water, or am I missing something here. What are the downsides of the Z6, as I never used it or saw it really? (I have a shitton EF glass, are there decent adapters out there?)
I went on to check some quick footage online. If its looks this good crippled, I can only imagine how good the RAW will look like. 
 

Its definitely on my watch list. Especially at that price. 

From what I've seen of Prores RAW it only yields slightly more dynamic range than native. So probably like 12.5 maybe 13 stops if the camera is doing 12 in H264. 

Still thats 12 bit 4K full frame. 

You'd use an Atomos Ninja V

def BRAW and then prores. But Zcam is not even thinking about implementing braw, they are going their own RAW route. Which at this point would involve using their own software to open the RAW files and convert them, which is a major flaw/pity. 

Im not hyped on the 6K let alone 8K, 1080p is even good enough for me. But its also the most affordable full frame RAW camera atm.   

When I think F35 I think Ed David...
Such a wicked piece. Think he sold his... ?

Close is a real stretch here though. Nowhere near the DR, colors, latitude or that 3D pop the Alexa gives.
But agree the camera is too heavy to handle without any crew/the needed support. 

Depends what kinda real estate you do. If you are doing 50$ jobs. Then yeah go ahead. Otherwise it looks like shit. Also I am more a pixel peeper then any of my clients, and I care how the image looks.

Just seeing this now; my work happened to have both a 16gb SxS and an SD SxS adapter for use in the EX1. So a year back, I did test them out, and found it did not work. I had assumed my Sandisk Extremes would be better than the SxS, but the Arri is very picky; everything is very locked down. For example, I wanted to look into Arriraw and thought maybe a Shogun might do. But with the Classic, only the Odyssey 7Q with raw license would do (because of the proprietary T-Link standard)

Thanks zero! I was pleasantly surprised by that lens and I still love my 5D3 but I must admit, it is tough sometimes... I am not that great of a colorist and sometimes I think a GH5 or X-T3 would be a lot easier to get that sharp, modern look.
I’ve never measured it, but the 5D3 with ML Raw seems to have 11-12 stops which is usually more than enough for my needs. As you know, the biggest issue is chroma noise in the shadows but with a faster lens and one of those MX-9 Aputure lights, it’s not horrendous for a run and gun, handheld set up... and usually with a little crushing of the blacks, the chroma noise will disappear. But yes dynamic range is not why you would choose this camera.
Btw I still watch your “Wolf...” ML Raw film on occasion... and it holds up beautifully.
That location is a little beach on the Delaware Bay in southern New Jersey. It’s a tiny, old fishing village with tattered remains of piers and docks. People still live their but the commercial aspect of the village is just a ruins of memory. I posted a frame or two from this location before...
The last one is obviously in the winter but you can see how desolate the location is from the opposite angle. To stay on topic, that last one was shot with an old Minolta MC 35mm 1.8. I bought it with the mount modified to EF but the focus ring is jammed at 3-4 feet so until I get it fixed, I can only shoot close ups with it... awesome lens though. 

Looks great Mercer, glad you are still rocking the 5D III. There is something special about that camera! Only wish it had more DR, as we arent always able to shoot at great shooting times/weather conditions.

Where is this location? I once had a weird dream, and this location looks exactly as my dream however I never been to it. Maybe picked this up unconsciously in a movie or something?

That’s pretty much my assessment too. The FD is a better built lens with better color separation, naturally, but the Samyang seems sharper, naturally, with possibly an easier path for me to get a more neutral modern look. 
Another plus of the Samyang, which seems overlooked in lens tests, is that it has some focus leeway between 15-30 feet... making it much easier to track your subject.
Also, for the price of the Canon, I can have the Samyang 50mm 1.4 and 24mm 1.4... that has to play into my decision a little. Or a lot. 
Btw, here’s another shot from the Samyang that was taken at the same time of day, with a more similar grade...

I think I really just miss my Canon 24-70mm f/4...

While there is no dslr/mirrorless news for NAB, it would be awesome if ML finally was working on the 5D IV or the canon eos r. 

Yep, mine isn't either. 

Same

This might be the cleanest camera I have ever seen. I would love to see a test with some vintage lenses(and maybe some diffusion) and some film grain thrown on it. 

Any updates on this project? Maybe ML can unlock the true potential of this camera?

They're all day long for me. If it is a loooooong production day then I will at lunch of midway through the second half swap out the batteries to be safe. Better safe than sorry

Would be a pain in the ass to do this while on talent! And the risks of the USB connection being damaged are SKY HIGH!!!
 

I haven't used the Sennheiser XSW-D, so I can't really comment. Specs say it is USB-Rechargeable 5-Hour Batteries, is 5hrs enough for you? Let's say 4hrs to be safe, is 4hrs safe? What if after three years of solid usage the battery life has dropped by an hour or two? (as rechargeables do have a shorter lifespan as time goes by) For me, even the best case scenario of the quoted specs, would be totally 100% unacceptable. 

B&H says it is still in pre order status, so has anybody used it aside from reviewers with pre-release copies? Probably not. 
 
btw, quick comparison though of some specs of the XSW-D vs Deity:

Sennheiser XSW: 8mw dual PCB fractal antenna
Deity Connect: 100mw Dual PCB factual & Dual SMA dipole whips

That suggests there could be a massive difference in range between though, although like you said, this isn't a concern for you. 

Agree, projects that might end up portfolio material I shoot in RAW (but really now with braw I shoot everything in braw anyway, as its the same bitrates as prores, its a no brainer).

I shot RAW ages ago on 5D3 and BM Cinema Camera.. which the work from those cameras coincidentally ended up on big screen & major art installations.
Shooting RAW & developing it takes more time but doesn't necessarily require more staff (unlike manual focus which may require an AC).
I've been doing a lot of corporate / digital content stuff with fast turnover lately but I'm definitely hoping to get back into the more indie/artistic projects where RAW will be put to good use again (part of the reason for upgrading my personal equipment). For that to work into my workflow it's better if it's internal and supported by my favourite NLE. That kinda rules out ProRes RAW options for me.
So imho, RAW isn't overrated at all -even for low budget shoots- for certain projects that might involve heavy grading or require ultimate IQ / DR.

Not even in our lifetime. If it gets as far as this we would should be happy, because there would be no jobs left, the robots will be doing all the work. Everybody will get a wager for doing nothing. And we have a lot more time on our hands to enjoy life. 

Too new. They targeted specifically 3 categories.
Cheap one for ENG (visible, kind of rugged) - which Sony/Sennheiser/Rode/Audio Technica/e.t.c have similar options that start from cheaper and go to higher.
Middle ones - good for everything, DPA 4060 and Sanken COS11 are the king here, the difference is price is around 20%. I would pay the 20% premium.
Tiny ones: B6 and I am ordering the DPA 6060 as a top option. The difference against the 6060 in price is big here, but 6060 takes the best characteristics of everything (rugged design and cable, water repellentless, top -as in, best ever!- sound quality and a tiny tiny design). All in all, it seems like the best ever made, so you pay a premium for that too. Also it is out in the market just very recently, so another 5% premium!
OscarSound Tech have a mic in the latter 2 categories for less that what the Deity cost for years, they just do not have any marketing whatsoever!
Audio Technica has some interesting designs also. I am surprised how people forget about this Japanese company that produces amazing value for money products in every category, and some unique designs.
Foot note: Sanken has also a very very small capsule, smaller than the European Industry standard DPA 4060, but not as tiny as the tiny ones. Also it comes with a package having a lot of extras.