zerocool22

I love Philip Bloom for the information what he has given us. But I dont think he is a DOP, not even a cinematographer, videographer/camera operator is more likely the term you can describe him with.

The blackmagic one is affordable and also very good.
 

That looks destined for the Cinema line. They're not releasing a 10mp hybrid and they're certainly not releasing a 4k60p hybrid or something that does 12-bit internal given how conservative they are with 5d4 or EOS R video specs. Its a Cx00 sensor if anything.
Chris

i did alexa mini, c300 raw to pro res hq 4k and c300 internal with noise reduction set to minus 1 (new firmware setting)
yea but you can get an alexa classic for 20k - even though it's a useless heavy brick that is power hungry and can't do more than 1080p

Yeah im skipping kinefinity as well. Blackmagic will probably release a full frame camera at some point too, which will beat this price no doubt, and will have much better support. (I just hope they will have a upgrade platform from the ursa mini pro to full frame, just fingers crossed that they thought about this when developing the ursa mini pro, like RED did)

Wow has it already been 10 years. what have I done with my life. At least Philips career took off from then  and peaked and is now back where ever he started I guess. 
I remember Philip Bloom's 7D tutorial series. Which helped me out a lot when starting out. But dang this is the proof right here, dont fixate on gear and stop waiting on the gear to become affordable. 

Wow has it already been 10 years. what have I done with my life. At least Philips career took off from then  and peaked and is now back where ever he started I guess. 
I remember Philip Bloom's 7D tutorial series. Which helped me out a lot when starting out. But dang this is the proof right here, dont fixate on gear and stop waiting on the gear to become affordable. 

Any Fanboyism in general is stupid. Not sure Sony fanboys are worse than Canon or Fuji one. They should just use their brain and pick the best tool for the job.

the UMP, while much improved with BRAW, still has magenta color shifts in the highlights that make the dynamic range not as strong.  Also UMP doesn't seem to have a OLPF in it - I haven't tried this out: http://rawlite.com/olpf-for-blackmagic-ursa-mini-pro-4-6k/
but I think that would make the camera more similar to the alexa.
Still at this point (and I am redoing the test) - the c300 mark ii RAW to pro res is the best way to get the sharpness an alexa has.  even with the new Noise reduction set to minus 1, the image is still too soft for me to be able to be cut without anyone noticing.
I love the UMP, but I sold it for the c300 just cause it was too sharp.  showed every pore, even with diffusion

With ridiculous amount of crop there is a difference in texture detail. "B" is ProRes (left) and "A" is h265. (right)
Thanks for the test!
 

Blackmagic already have prores export functioning on the windows version of thier Fusion software...as of yesterday that was how I’d normally export ‘genuine’ Prores from my windows 7 workstation.
Now with Adobe being granted prores export for windows (as long as you are on windows 10 that is) it makes life a lot easier. Blackmagic indeed need to implement prores export via Resolve - or at least a simple ‘send to Fusion’ dynamic link feature so as to make that software suite complete for windows users. 
DNxHD flavours are all well and good, but deliverables often need to be in a recognised prores flavour...mostly when passing video material to die hard Mac-based post people who assume nobody could possibly use PC’s for creative purposes. One can only assume that the only reason Blackmagic have not enabled Resolve prores export on PC yet is because of licence restraints, rather than any technical reasons. I really hope Adobe have not somehow snatched the rights away from Resolve having native Prores export features on a windows platform.

Sounds kinda spammy coming from @Video Gems Productions in the 3rd person??

A bit off topic again, but matches the previous conversation.
"The camera is only a small part of any production, and any camera, even an α7S II, can produce good results in controlled conditions in the right hands. To me, it looks like they just ended up making more work for themselves by having to build out enormous rigs to make the a7SII usable and functional on a movie set.
It’s slightly ironic that the production said they were interested in shooting with a very lightweight camera, yet they built it out to a size that makes it no smaller than what an ARRI ALEXA MINI or RED package would end up being. There is no doubt that the camera is capable of producing good results in the right hands, but this whole thing feels a little like it’s a publicity stunt to attract attention to a movie that hasn’t exactly received great reviews from film critics. It’s a bit of a pity that all the publicity surrounding this film is based on what camera they used and not that making a movie is a collaborative effort that depends on so many people and departments."
From the newshooter article about that A7Sii film, which by the way had an - almost - 10.000.000$ budget and is a Sony made and distributed film.
The article and comments are very interesting.
https://www.newsshooter.com/2018/12/05/the-possession-of-hannah-grace-a-feature-film-shot-entirely-on-the-sony-a7sii/

I fail to see who this osmo pocket is targeted for. My mom would not shoot with it as why would she spend any money on a camera as she has her smartphone, I as a videographer would not shoot with it as it looks non professional, the quality is no where near any real camera. None of my pro or hobbist friends wants to shoot with it for mainly the same reasons. I guess only youtubers are interested in this(for vlogging purposes).

Pleased to announce that my Pocket4K app for Android is now complete and is with beta testers so barring any calamties will be available from the Play store on the 21st of December.

Here is a screen shot with a quick run through of the features from top to bottom :

Across the top we have the controls for Aperture, ISO and shutter angle.
Next up we have the colour temperature and tint controls, the preset white balance selectors, the Auto White Balance button and, of course, the Record button.
Beneath that we have the 8 snapshot memories which you can use to store and instantly recall 8 different custom settings of ISO, Aperture, Shutter Angle and White Balance. To store the preset you long press on the memory slot that you want to use and to recall it just short press. Haptic feedback is given to indicate that the preset has been written and the currently loaded preset is denoted in orange (M1 in the shot above). Presets are stored in non volatile memory so are always available in any session.
Next is the focus controller, which is operated using the slider and/or the fine tune buttons. A long press of the button moves instantly to closest focus and infinity respectively. The AF button in ths row activates the single shot auto focus.
To accompany the focus controls, you then have 6 memory slots (A to F) to store focus points and you can switch instantly between them by simply pressing the required one. In addition, next to these are the controls for A-B-A focus transition and the speed control. Again, all focus points are stored in non volatile memory for use in any session.
Finally we have the controls for applicable MFT power zoom lenses with the same interface as the focus controls (including long press for instant minimum/maximum zoom) and 4 non volatile memory positions for later recall.
There is another function that it can do that I'll let you know about closer to release date and I will put up a little demo video of it in action late next week.
 

I fail to see who this osmo pocket is targeted for. My mom would not shoot with it as why would she spend any money on a camera as she has her smartphone, I as a videographer would not shoot with it as it looks non professional, the quality is no where near any real camera. None of my pro or hobbist friends wants to shoot with it for mainly the same reasons. I guess only youtubers are interested in this(for vlogging purposes).

Yeah that would be the easiest, I guess we could start a kickstarter and gather the amount fairly fast. But A1ex does not want it. I guess besides the testers, that A1ex is mainly the only dev these days. Other devs would help out immense. We could maybe do a EOSHD kickstarter for buying a used one, and give a 5D IV to a trusted user on here that has some dev skills that wants and can help out? 

Not sure if there are any users on here that apply for this?

Any volunteers here that own a 5D IV(or a broken one) that could some tests for the magic lantern team so they can hopefully unleash the full potential of the 5D IV and unlock RAW recording? As they are looking for a pioneer to run the boot flag, when this is done hopefully dozens of other users will step in to test. 

https://www.magiclantern.fm/forum/in....msg209000#new
 

Any volunteers here that own a 5D IV(or a broken one) that could some tests for the magic lantern team so they can hopefully unleash the full potential of the 5D IV and unlock RAW recording? As they are looking for a pioneer to run the boot flag, when this is done hopefully dozens of other users will step in to test. 

https://www.magiclantern.fm/forum/in....msg209000#new
 

True but its the manufacturers fault as well. I guess its a easier sell to the masses, so they can shoot and say, look how sharp this looks."Amazing huh" Sure whatever floats your boat.

I found one, not sure if its been posted in over these 55 pages. Looks pretty good, but often feels way too sharp and digital to be truly great.
 
Well some camera's have more mojo then others. I feel like the 5D III RAW has some kinda voodoo mojo, offcourse the Alexa has it, and all film camera's(have not shot with an actual film camera before though)

pocket 4K in stock. 

Any coders on here that could help out Magic Lantern on the 5D IV? (The 5D III was awesome, but the dynamic range could use a boost)
https://www.magiclantern.fm/forum/index.php?topic=17695.375
 

IMO, not really if it looks like Sony footage. I don't care how many Ks are in it.

The Osmo is smoother and image looks a little better than the Hero7, but is it a waterproof crash cam? That's the main reason I use a GoPro in any production. Seems like a solution looking for a problem given the volume of action cams sold in the last 5 or 6 years. Plus a phone/action cam gimbal is cheaper and the Osmo IQ doesn't look any better than most current 4k phones. I guess if you don't have a GoPro or a phone and need stabilized video this makes sense, otherwise there are other options that don't require yet another device.
Maybe I'm too cynical and just going into device overload now that I'm carrying the Sony's for stills/video, a gimbal for the a73, my iPhone XSmax, a Osmo phone gimbal, a GoPro, a 360 camera, and a Phantom 4 for productions depending on the needs of the day.
Chris