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(Last topic's) lessons on shameless opportunism, part 3...

(Last topic's) lessons on shameless opportunism, part 3...

https://variety.com/2019/film/reviews/lillian-review-1203227609/

When I say that I do not care, I mean that I do not care if they put a limitation in the camera if then they remove it. 
A company is here to make profit. When they "listen" like Fuji and bring you a good feature update, that's not to make you happy or because they are nice guys. Fuji CEO couldn't care less about you, as much as Canon CEO. They do bring that update because they think you are more likely to buy their camera and stay with them if they do it. They do it for your money. 

Stop being blind, camera manufacturers are not charity. They want to make money, and they happen to have different strategies for doing so. Canon strategy is to cripple lower priced camera to have you buy a more expensive one. Fuji strategy is to bring you software update and pretend they listened to you. I agree that Fuji strategy is much better. Yet for my need, the R5 could be a much better tool than any Fuji or Panasonic on the market. At the end of the day is what TOOL do you need, and which company is making that tool. The tool I need today, a hybrid 50/50 photo/video FF camera with 4K60/120 and IBIS and great AF only exists with Canon appart from their soft limitation. They remove the limitation I buy it. they don't remove it I don't buy it. Nobody is walking over me, I am making a choice based on my need. If you don't buy the R5 in case they fix it despite the fact it was the tool you needed just to punish them, you actually roll over yourself. 

It's beginning to evolve as great scenario for future feature film: tenacious whistler vs system. And by "system" I don't mean so much on Canon (its behavior was more or less expected) but on those established gang of sugary annoying first youtube testers. Actually, their ambiguous comments were - now it is obvious - completely in line with Canon strategy, carefully measured, tempered and servile mislead. What is especially disgusting is how all of them now again carefully correct and upgrade their first reports. Really not at all new story, but always so insipid.

I found that nothing in camera specs is not so much elusive and subjective as trying to measure DR in some sort of experimental condition - after camera crosses certain high threshold for resolving demand inside-outside space (or shadow to bright sunlight) range that is aesthetically relevant (I mean not looking from deep cave to harsh midday desert sun). Simply, when crucial distinctive variable is "noise", there're too  many subjective variables that are include in someone's impression. So, the most and only relevant to me are tests strictly side by side where we can more evidently judge also (or above all) a "quality" of DR.
For example, I already posted this IMO interesting test in a dedicated thread, so I apologize for  quoting it here, just to illustrate my opinion
 

With download ready R3D files 
 

With download ready R3D files 
 

Simply because of practical reason - it is very hard to buy RED in, say, Eastern Europe, price will be much higher, there's no supporting network in neighborhood, being till now pretty close system doesn't help also (Komodo is better in that regard). To cross boundaries become more and more hard task - say, I personally am not easy traveler (actually in this life phase I hate to travel without highly creative reason) and I have to relay on help and good will of friends or some sort of admirers in UK,  France, USA, China to get such components that look "exotic" from my side... which, as any favor, is not too pleasant experience... (Movie making is not at all my primary creative field, so I have no collegial sort of channels nor, even less, any serious income from that activity... I'm just motivated to start some new creative branch from the beginning and from ground up, simply greatly enjoying process as new-youth game🙂

The Micro is really due an update. Especially with the Z-Cam/Komodo using the same form factor and being quite popular. It would make sense that they use their new sensor technology in upcoming cameras.  I read somewhere that a MFT crop of that 12K sensor is 8K. It would be cool if they could use the full S35 12K sensor but limited to 8k full sensor recording.

Maybe it is safe to assume that J. Brawley has at least some weight of consulting influence to BM plans. It seems that his enjoy to participate in forums discussions provide closest possible information through wall of anti-hints attitude that IMO looks dictated and compatible with rest of G. Petty personality expressions. Last that I've read by mr Brawly about that matter is (quote from Personal View):
"It's funny people talk about how great the Z cam is, but I think that BMD kind of did it first with the MICRO. A camera I use a lot. My personal wish would be for them to update THAT camera, maybe go to a full MFT sized version of the 12K sensor."
 

You can say that, my well and oh so well mannered spoken friend. 🙂 Or get yourself a FS700 with a Shogun Flame and a speedbooster for less than 2500 USD.

Apart of AF exactly UMP G2 if you're ok with form factor and S35. (Although I think price will even go down pretty soon with new offer with new BM sensor.)

(BTW E2-F6 is announced to be properly used with iPhone and iPad as monitor)

If the image and color is at the and of a day someone's top priority - as for me - maybe is not too digression to remind that Z cam E2-F6 Full-Frame 6K is 4000$
https://www.bhphotovideo.com/c/product/1496581-REG/z_cam_e2_f6_professional_full_frame_6k.html

I
Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with  G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere). 

I
Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with  G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere). 

5D Mk3 raw. Yeah, it still looks amazing 

Zeiss Contax 100-300 + Contax Teleconverter 2x which is easy to find..
(As a second option maybe Tamron adaptal 200-500)

https://variety.com/2019/film/reviews/lillian-review-1203227609/

(Canon R5 Me Too signature edition...)

https://variety.com/2019/film/reviews/lillian-review-1203227609/

Little bit of digression - just to remind when camera (here cheap Sony) is in service of talent/idea, not about going to specs war for 4500e Hybrid (Bullshit) Lords
 

Bmpcc 6k is the best bang for your buck. Cinematography is an art. The Blackmagic makes the most beautiful image and gives life and art to the image. If I were a painter, the 6k would be the brightest colour on my palette. The others are garish and utilitarian. 
Ibis, autofocus should not be considerations unless you have a job to do. But they have nothing to do with the art of cinematography, which has never needed these things and which is detrimental in most cases. 
So it is illogical for two people to argue over which camera is better when their objectives are different. 
A painter will go through the most trouble to get a unique and beautiful image. He will not pick a tool which allows him to make a pretty picture with the least effort but one that looks identical to others. 
If your aspirations are high then that is what you should aim for. If not then that is fine too but let us not delude ourselves.

Actually, my intention was to note how m43 is at the very moment the most capable (even higher) indie movie making format - but it must be that my noble intention was typically lost somewhere in mine new example of advanced Sioux English language 😞