zerocool22

Yeah exactly, 2020 is going to be my rental year. On cooler projects, Im gonna skip my fee and just rent nicer lenses. Which is going to be better for my portfolio anyhow.  

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

ordered

The 18650s are usually good for around 400-500 recharges before its cycle life is over (defined as when it can only achieve 80% of its original capacity) and will still likely be good for a few thousand after that so it will be some time before you throw them away ?

Tilta do their own compact dual 18650 solution that gives out 8v.
https://tilta.com/shop/18650-battery-pack/
It doesn't come with the batteries but you should be able to get 2 of those with a charger for under £20.
At £60-70 total its not the cheapest solution out there as you could roll your own but at least this way you get the cable and know its officially supported and tested with the motors.
Advantage of 18650s is that they aren't that much bigger than AA's depsite the extra capacity and output so you can carry a few spare to increase the run time if you needed.

Obviously, for me it's the 5D Mark III and Magic Lantern Raw. I have been using it for almost 3 years now and it is still the best camera I have ever used. Since I bought it, I have measured every new camera against it and I have yet to see an image that I prefer.
Now everyone is entitled to their opinions but I am going to go against the grain here and say that the NX1 and the GH4 were ahead of their time but shouldn't have been released until 2016/2017. And before I get a ton of dislikes, hear me out... I still feel that 4K was pushed onto the consumer a couple years earlier than necessary. The camera manufacturers hadn't even perfected a 1080p image before moving onto 4K. With a multitude of Oscar nominated films and Sundance films still being shot on 2K, to this day, with an Alexa or an Amira, I just feel that those cameras were pushed out too soon to help sell some TVs. Just my opinion. With that said, I've owned an NX500 and to this day I don't know if I ever used a camera that felt better in my hand.
Now if I'm speaking objectively, I'd have to say that the OG BMPCC is the camera of the decade and more specifically the fire sale during the summer of 2014 was probably the best moment of the decade. That camera was nicknamed the Baby Alexa and ushered in a wave of cost effective cinema camera features from most manufacturers.
In 2019, I really like what Panasonic has done with the S1H. And for the price, the Sigma FP is almost a no brainer purchase for me next year. 
I'm looking forward to seeing what BM releases during this NAB and I hope the rumors for the Canon 1DXiii are accurate.
I still foresee myself primarily using my 5D3 for the next couple years but I may rent a couple higher end cinema cameras next year. One thing I've realized this year is that I don't need to own every great lens or new camera that comes out on the market, but for a small fee, I can use almost every camera on the market if a project calls for it.

Don't forget that Blackmagic has it's own line of new HDR recorders that can record both ProRes RAW and BRAW. It's very possible that Blackmagic:
1. Supports ProRes RAW in Resolve in the near future (as is Premiere Pro and Avid).
or
2. Comes out with support for BRAW for the Z6 on its new recorders via HDMI.
I'm not a hardware engineer but I'm assuming the RAW output to Atomos via HDMI is utilizing the ethernet capabilities of the HDMI 2.0 spec that allows 18Gbps bandwidth of data (any data). That is more bandwidth available than 12G SDI on the BM recorders for example (assuming relatively small packet overhead on the ethernet protocol using jumbo frames or super jumbo frames).
 

Even the light dome is too small for really soft light, well depends offcourse on what the subject is and how close you can move it in.  

Nice job, and thanks for posting.

EOS R super cheap at B&H atm
 

I bought it 1230$ plus taxes last month (adapter kit)
 
Since mark II is coming this is typical.

Using adapters sucks though(unless they are fully manual lenses, metabones, kipon, viltrox they all are a hassle to work with jitter, AF, aputure control,...). I much prefer native lenses this is why i like the EF mount, as most glass have a EF version anyway. I havent seen any worthwhile glass that is only available on mft/E mount. 

Using adapters sucks though(unless they are fully manual lenses, metabones, kipon, viltrox they all are a hassle to work with jitter, AF, aputure control,...). I much prefer native lenses this is why i like the EF mount, as most glass have a EF version anyway. I havent seen any worthwhile glass that is only available on mft/E mount. 

@mojo43 watched the video - cool stuff!
It's definitely a striking result, and you explained it pretty well.  
Some thoughts if I may..  
Yes, please make more videos showing your grades   One thing I've noticed from other grading videos is that they start off by talking about the colour, but every time they touch a control they then explain what the control is and how to use it (literally things like which way to drag the mouse to change the value) and I find that really infuriating, so don't fall into the trap of over-explaining the tools (which you didn't) How to use Resolve is covered by many many people, but what isn't covered is the art side of it, both from a perspective of talking about what you're seeing (eg, how to choose a good amount of contrast and what you're looking for) as well as from a perspective of why you want that much contrast and how that relates to the content of your film (eg, how colours link with the emotions of the characters, etc) If you can talk about the art and not how to use each tool then you'll find yourself without that much competition, and the videos will be useful to people who already know how to drive the tools.
I'm looking forward to the next one!

Using adapters sucks though(unless they are fully manual lenses, metabones, kipon, viltrox they all are a hassle to work with jitter, AF, aputure control,...). I much prefer native lenses this is why i like the EF mount, as most glass have a EF version anyway. I havent seen any worthwhile glass that is only available on mft/E mount. 

Using adapters sucks though(unless they are fully manual lenses, metabones, kipon, viltrox they all are a hassle to work with jitter, AF, aputure control,...). I much prefer native lenses this is why i like the EF mount, as most glass have a EF version anyway. I havent seen any worthwhile glass that is only available on mft/E mount. 

I've had my Z-Cam F6 for a couple of weeks now. It's amazing what they have packed into this little camera. They gave me early access to the firmware they released yesterday which had a lot of color improvements. I also own an S1H and although i planned to sell one or the other, i'm keeping both. The S1H makes run and gun doc work easy. So when i'm hired to shoot behind the scenes footage by the studios, it'll be with the S1H. It will also serve as a B-Cam to my EVA1 for EPK interviews. The Z-Cam F6 on the other hand has strengths i'd want in a cinema camera that I'd use on productions where I'm not flying by the seat of my pants: shorts, features, dramatic documentaries. I'm loving the pairing of my SmallHD 702 Touch with the F6. I know they recommend the PortKeys BM5 because it can control the camera, but I wasn't a fan of the UI or the quality of the screen.

So if you work with these, you would get the same(similar) starting point as alexa footage(without the DR)? But if you throw in some Alexa luts afterwards will they clip on the pocket 4K?  

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.