mkabi

Absolutely, colourists often talk about colouring scenes differently to match the emotional tone of the scene.
Increasingly colourists and post-production in general is getting brought in earlier in the process to advise and help craft the final look, so they may have some small input into lens choices from that perspective, although it's relatively easy to bump the WB or contrast levels for a scene in post.

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

Exactly my point... I'm not trying to insult you or the community... but all the "hype" is around these experimental builds. Everyone is excited to share the positives without sharing the negatives.
All I'm doing is pointing towards the negatives.... if you can look past them, you're golden.

Sure if the OP is basing his purchase of a 5D on the experimental builds, then it's probably not a good idea to purchase one. There's a crop and the last I checked there isn't any real, or accurate, Live View.
With that said, Andrew has a gorgeous sample of the 3.5K mode, and I've seen dozens of samples online. Even the eos-m has some nice features and IQ if you like to tinker. But based on what he said, it doesn't sound like that's his goal here.
I was merely correcting a false narrative that ML Raw is entirely useless on the 5D3. I mean, a filmmaker recently had his 5D3 ML Raw, narrative film debut at SXSW and received write ups in all the Hollywood trade magazines. Of course, he shot it in 1080p, but if it wasn't dependable, I doubt he would shoot a feature film on it.

Exactly my point... I'm not trying to insult you or the community... but all the "hype" is around these experimental builds. Everyone is excited to share the positives without sharing the negatives.
All I'm doing is pointing towards the negatives.... if you can look past them, you're golden.

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart.
There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then.
Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.
 

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart.
There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then.
Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.
 

Magic Lantern has to be the most Unreliable thing ever invented. You would have better luck guessing the Lotto numbers than using Magic Lantern often. If you don't cuss you will.

Remember the Nikon D1X (over two decades old!!!) is "only" 6 megapixels and a hell of a lot of billboards got shot with the D1X back in the day!
https://www.dpreview.com/reviews/nikond1x 

I have a strong feeling that most people have been tricked to think that way by the pixel peepers who need to zoom in 400 to 800%
1080p was good enough on my old 60 incher… and you have to remember 1080p is only 2MP.
Even if you’re talking billboard size… nobody is walking up to a billboard on the regular. Most of the billboards I see are off of highways… I see one moving at the speed of 60 to 80 miles per hour 1 mile away and that’s if I’m not concentrating on the road/traffic ahead of me. Where is the logic here??? “Oh… I see jagged edges on that Billboard… did he take picture on the first iPhone or something???” All that while driving too???

I have a strong feeling that most people have been tricked to think that way by the pixel peepers who need to zoom in 400 to 800%
1080p was good enough on my old 60 incher… and you have to remember 1080p is only 2MP.
Even if you’re talking billboard size… nobody is walking up to a billboard on the regular. Most of the billboards I see are off of highways… I see one moving at the speed of 60 to 80 miles per hour 1 mile away and that’s if I’m not concentrating on the road/traffic ahead of me. Where is the logic here??? “Oh… I see jagged edges on that Billboard… did he take picture on the first iPhone or something???” All that while driving too???

I think I found your answer. go to 8:00.
 

Weren't you talking about buying $1000 phone and video quality coming out of that phone in some other thread????

Now imagine adding a Panavision housing behind it 😄
 

I can't remember where I saw it, but somewhere I saw someone from ARRI saying they have been working on the new sensor for years and had one ready to go years ago but the quality wasn't up to their standards and so they went back to R&D.  The message was that they weren't in any hurry (as they had 4K+ in the LF) and that quality is their highest priority.
It makes sense too - they could easily have released a 4K S35 sensor by now (or a decade ago) if quality wasn't their highest priority.
I think ARRI (and their IQ) pairing 4K (and instant Netflix approval) with S35 (and all the lenses that are out there) will be a very popular option.  It'll be the "safe" option in a world where 4K is a magical number for cameras (despite not being so for eyeballs).

The problem with so called "pros" is that they have been tricked into thinking that way... you need that kind of $100K setup to be a big shot. The main problem are the producers... they come from old school methods of film making where you need those kind of huge cameras, rigs and setups.

I remember someone telling me or reading it somewhere, that once the guy brought DSLR to a gig and the producer turned around and said something as cocky as, "I have a camera like that at home, so if I can just bring that to set... may be I wouldn't need you."

I would've said, "Fine, then go to your local dollar store, buy yourself a hammer and build yourself a fucken house while you are at it... or better yet, go to your local pharmacy - they literally give away needles... use that to perform brain surgery on yourself." 

The problem with so called "pros" is that they have been tricked into thinking that way... you need that kind of $100K setup to be a big shot. The main problem are the producers... they come from old school methods of film making where you need those kind of huge cameras, rigs and setups.

I remember someone telling me or reading it somewhere, that once the guy brought DSLR to a gig and the producer turned around and said something as cocky as, "I have a camera like that at home, so if I can just bring that to set... may be I wouldn't need you."

I would've said, "Fine, then go to your local dollar store, buy yourself a hammer and build yourself a fucken house while you are at it... or better yet, go to your local pharmacy - they literally give away needles... use that to perform brain surgery on yourself." 

True... but thats reality. Cost of CF Express Type B.... isn't exactly bargain basement - even with other brands.

You know what man... just give it 10 years. Everyone wants now... now now now....

You know I recently bagged a Blackmagic 2.5K Cinema Camera... yeah... I know its old, but the images that come out of that is undeniable. Moreover, people used to complain about storage if you filmed 2.5K RAW... this is 10 years ago (actually, people were even complaining 5 years ago) anyway.... now... you can get a 1TB SSD from ebay for $100 and that will hold about 4 hours of 2.5K RAW. Grab 3 SSDs and you are good for an event. Even the EF mount now has a magic booster... give it time... shit happens....

That beauty also comes in a flavour of MFT mount for C-mount and Focal reducers in action. @mkabi So this is indeed a great image taker for people who are not in want for 50p. Dunno if Rawlite has a Oplf or IRcut filter for it. If so, even better.

True... but thats reality. Cost of CF Express Type B.... isn't exactly bargain basement - even with other brands.

You know what man... just give it 10 years. Everyone wants now... now now now....

You know I recently bagged a Blackmagic 2.5K Cinema Camera... yeah... I know its old, but the images that come out of that is undeniable. Moreover, people used to complain about storage if you filmed 2.5K RAW... this is 10 years ago (actually, people were even complaining 5 years ago) anyway.... now... you can get a 1TB SSD from ebay for $100 and that will hold about 4 hours of 2.5K RAW. Grab 3 SSDs and you are good for an event. Even the EF mount now has a magic booster... give it time... shit happens....

Speaking of which... Apparently the "Delkin Black" CF Express Type B cards are capable of recording 8K for 30 min. without overheating??? 

https://www.canonrumors.com/new-delkin-cfexpress-card-to-launch-thursday-it-will-be-the-fastest-card-for-the-canon-eos-r5-yet/

I don't know how 4K/120p performs... but any volunteers on this forum that is willing to do so... let us know.

Use wrong lens and composition and crop in post.. because you have 35 mega pixels!
Set wrong exposure and white balance and lift colors and shadows in post.. because you have RAW file!
Sorry, I don't call this trend "progress". 

i was happy enough to see dune on the big screen. However to be honest, i'm a bit blasé with all the batman / spiderman remakes. I realize its hard o come up with novel material and i do enjoy them for two hours of entertainment value, but it seems alot like groundhog day to me.  
glad you enjoyed it but i reckon i'll wait for the dvd to come out.

You know that thats been said over and over again for several years now.

But, you know whats funny... eventually... for as long as I've been on these forums... on an individual level (I don't know about the rest of you all)... the need to argue about tech dies down, and for me atleast the tech outpaces my initial arguments and I want to go out and shoot more often... You got to be humbled by the advancements... think about what you are coming from... I'm coming from the 7D and 5D Mark 2 era... and all I wanted was 4K/24p and 1080/120p - look where it is now. I never asked for IBIS or Video AF.... I never asked for DR over 12. <- These are just bonuses. I know people would be surprised when I say this... but I've never used IBIS and none of my cameras have IBIS (I still use a tripod, a 4ft slider and for special cases a 4ft crane - I borrow an 8 ft crane from a friend).

You know that thats been said over and over again for several years now.

But, you know whats funny... eventually... for as long as I've been on these forums... on an individual level (I don't know about the rest of you all)... the need to argue about tech dies down, and for me atleast the tech outpaces my initial arguments and I want to go out and shoot more often... You got to be humbled by the advancements... think about what you are coming from... I'm coming from the 7D and 5D Mark 2 era... and all I wanted was 4K/24p and 1080/120p - look where it is now. I never asked for IBIS or Video AF.... I never asked for DR over 12. <- These are just bonuses. I know people would be surprised when I say this... but I've never used IBIS and none of my cameras have IBIS (I still use a tripod, a 4ft slider and for special cases a 4ft crane - I borrow an 8 ft crane from a friend).