Parker

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

Yeah, I've made that point a number of times, except relating to camera size, and it's frustrating as hell.
As soon as you want something smaller, it instantly comes with less.  Less bitrate, less bit-depth, less DR, less IQ, just... less.
It's like the logic seems to go:
Me: I'd like to have high image quality in a small and simple rig The world: Then use a large camera Me: You didn't hear me - I want a small simple rig The world: Then use a 35Mbps 8-bit 8-stop point-and-shoot Me: You didn't hear me - I want high image quality AND a small simple rig The world: Here's an FS5, cine prime, 7" monitor, matte box filter set on an easy-rig Me: No, I need something that is almost pocketable The world: Why do you need something so small? Me: In order to be able to take it where I want to film, which is places where "professional" filming isn't allowed The world: If size matters then why do you need high image quality Me: I shoot in uncontrolled conditions with no lighting or control and need lots of latitude in post The world: Well, if you want both then..  um..  err.. well..  you shouldn't.  You should want what is available. Me: Why don't you make something with high image quality in a small and simple rig? The world: No-one wants it! Me: *facepalm*

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

I'm as obsessed with the Alexa look as just about anyone. I had a major shoot on Friday, I was toying with renting the Amira, as it is very affordable in my area. I don't have a lot of experience actually using it though, so ultimately, despite having plenty of budget available to rent a big boy camera, I decided to just shoot it on my tried-and-true S1. I didn't even use pro res raw, just regular 5.9k internal hevc. I monitor using the GHAlex LUT on my ninja v, so I can nail the look "in-camera" before I grade. I think it's pretty dang close. This screengrab has zero adjustments or color alterations besides just dropping on the lut. 

If I can get 95% of the way there, and have higher resolution to boot, at the cost of maybe a stop or so of extreme highlight retention in certain situations, I think it really starts to be hard to justify, beyond just impressing clients and feeling super cool and hollywood. 

That last sentence segment is key. 
Let's say each shoot has a small $1K profit margin. Assume there is only a marginal 10% improvement on extra future business from that client or their network (let's assume we're starting with a baseline 1:1 ratio, of each well done job leads to another) because you shoot with an ALEXA vs showing up on location with a "mirrorless toy".  You do fifty shoots per year (thus making a modest $50K/yr profit for you to live on).  If an ARRI Alexa Classic costs $5K, then even under these very modest assumptions, you'll break even on that investment after just one single year of shooting. 

I'm as obsessed with the Alexa look as just about anyone. I had a major shoot on Friday, I was toying with renting the Amira, as it is very affordable in my area. I don't have a lot of experience actually using it though, so ultimately, despite having plenty of budget available to rent a big boy camera, I decided to just shoot it on my tried-and-true S1. I didn't even use pro res raw, just regular 5.9k internal hevc. I monitor using the GHAlex LUT on my ninja v, so I can nail the look "in-camera" before I grade. I think it's pretty dang close. This screengrab has zero adjustments or color alterations besides just dropping on the lut. 

If I can get 95% of the way there, and have higher resolution to boot, at the cost of maybe a stop or so of extreme highlight retention in certain situations, I think it really starts to be hard to justify, beyond just impressing clients and feeling super cool and hollywood. 

I'm as obsessed with the Alexa look as just about anyone. I had a major shoot on Friday, I was toying with renting the Amira, as it is very affordable in my area. I don't have a lot of experience actually using it though, so ultimately, despite having plenty of budget available to rent a big boy camera, I decided to just shoot it on my tried-and-true S1. I didn't even use pro res raw, just regular 5.9k internal hevc. I monitor using the GHAlex LUT on my ninja v, so I can nail the look "in-camera" before I grade. I think it's pretty dang close. This screengrab has zero adjustments or color alterations besides just dropping on the lut. 

If I can get 95% of the way there, and have higher resolution to boot, at the cost of maybe a stop or so of extreme highlight retention in certain situations, I think it really starts to be hard to justify, beyond just impressing clients and feeling super cool and hollywood. 

I shot on the NX1/NX500 as my primary cameras from 2014-2019, before I moved onto an S1/GH5 combo which I'm still happily using currently. I couldn't care less about autofocus (I primarily shoot vintage contax zeiss or anamorphic) so the S1 is an excellent successor to the NX1 for my needs, especially after it's semi-recent updates of 6k internal, pro res raw, output, etc. 

I still love the NX1 and I don't think I'll ever sell it, but while it still has an incredibly detailed image, as amazing as it was back in 2014, no 10-bit modes, no 4k60, no IBIS, no log profile, really strong rolling shutter in 4k, and low light falling off a cliff above 800 ISO all keep it on the shelf for me most of the time these days compared to the S1, which is exceedingly strong in all of those areas. 

I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic:
(this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) 
Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯
The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻 

I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic:
(this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) 
Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯
The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻 

It's certainly far noisier than the in-camera codecs, that's for sure. But most of the time I'm lowering the ISO in post quite a bit anyway, and I actually quite like the textured, much more organic feel, at least for certain projects. It feels like there's an added depth and thickness to the images that I'm a fan of. 

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! 

I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻

Thanks! It really is worth buying, skin tones just seem to get such a nice, beautiful separation, color-wise, from the rest of the image, and I like the way saturation is handled throughout the exposure range. 
All of the shots I shared were shot on the S1, a mix of internal 10-bit VLOG 4k60, 24, open-gate 6k, and the shots of the dude are all ProRes raw from the ninja v. 

Darn, @Parker, you nailed it! Shots are all from the S1 or some from the GH5? S1 or S1H?:) I was close to purchases Sage piece of art. But then figured I will do it for a S1 only job! Last one was FS700 plus 10percent S1 in the mix. Cannot wait to do a S1 only gig, once I got my rigging set!:) cheers

Thanks Sage! What I do to simplify the workflow in FCP is to add the full stack of pre and post LUTs that I need, make sure they're all in the proper order just once, and then I simply save the whole thing as a custom effects preset, so that I can just drop my single "S1 Alexa 24p" effect onto a clip and it's 95% of the way there. Definitely makes it much easier to use, and I've also been able to share this effects preset file with my assistant editors when they're handling my footage, so that I don't even have to try and explain the order or have to make them read your explainer pdf. 

As for the anamorphics, all of the shots I shared above were with the aivascope 1.5x (amber flare version) and contax zeiss taking lenses.

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! 

I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! 

I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! 

I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻

Wanted: a partner that loves me as much as Panasonic loves DFD.

Skip the background music or turn it way down. It's competing with your voice, and while it might work in a quiet room you have to remember that half of the audience will listen to it while on a noisy subway or in the shower.
I am looking forward to seeing future videos. You've got the technique down (short and fairly well paces), but finding interesting topics will be key to keep the audience attention.

Subscribed.

I see a tons people complaining about the marketing/hype machine that is the "filmmaking sector" of YouTube, and I hate a lot of those clichés too. That being said, it has been in the back of my mind to try out for a while, so yesterday I had some free time and I finally decided to give it a go!
Turns out it's actually a lot harder to film yourself and talk right to camera than I anticipated (I very quickly abandoned my plans to shoot it anamorphic, focusing on my S1, all by myself, was just way too difficult) and the whole process took me far longer to shoot and edit than I expected. 
Anyway, here's my (first ever) attempt at this kind of video:
I'm assuming a good number of users on here consume as much YouTube as I (sometimes regretfully) do? 
I've always considered Eoshd as a cut above the rest of the internet filmmaking-afficcionado crowd. I'd love to see anything anyone else on here is making in this space too, and/or see if we can start a discussion about good, lesser-known channels to follow that aren't specifically about shoving gear/affiliate links and clickbait sensation down our throats.