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One of the main issues with the cloud storage is that it takes forever to upload anything. It says 'unlimited' but if you can't upload very fast then it's a very real limit. My wife has been backing up her photo collection overnight to OneDrive for maybe a year now and I don't think she's done yet. She doesn't upload every night though because whenever she starts uploading it kills the internet and everyone complains and so she turns it off again, and the app doesn't have a schedule option, so it's just a bad experience overall. I have dropbox and sugar sync and both take a long time to upload things too. Cloud storage seems like a good idea, but in reality is has many other issues. Also, whenever you hear "cloud storage" you should substitute the words "someone else's computer" so that you're interpreting things correctly - it has very different connotations.

Not yet released, but here's some test footage vs iPhone X. Verdict - it's a great time to be alive and into video!!

TLDR: MILCs will gradually replace DSLRs, like DSLRs replaced SLRs and smartphones will replace cameras for the enthusiasts that had compact cameras Mirrorless advantages over DSLRs MILC lenses vs DSLR lenses and focus modes Enthusiast vs Pro Stills vs Pro Video customer segments vs mirrorless manufacturers - current and predictions Industry sales are decreasing, more competition Predictions of what each brand will do and what will happen commercially Sony are leading, CaNikon only have to have good enough mirrorless to keep their current customers, then they can go after Sony in the future Consumers are the winners...

I'd view those things more like hygiene factors (absolute minimum requirements) rather than weaknesses, but you're right about some people might view the trade-off as acceptable.

This is an excellent example of how people speak about the Sony cameras, a list of features, presented rationally and factually. I'm not criticising at all, this is how I view the camera - an input to the work I do in Resolve. By contrast, people talk about the colour of Canon and more recently Nikon, they talk about the rendering of out-of-focus areas of vintage lenses, they talk about things like the Black Pro Mist filter, and they talk subjectively about 'the look', how things are 'cinematic' or 'analog' or 'filmic', about the quality of the highlight rolloff, etc etc. They tend to say things like "I know camera X only shoots in soft 1080, weighs 25kg, battery life is 12 minutes, sound is unusable, and you need an engineering degree to operate the menus, BUT <insert subjective comments about the feel of the footage here> and that's why I choose it". Different tools for different folks. Film-Making is Art after all I guess my point is that although Sony isn't a stand-out in aesthetic terms, it is a stand-out in wringing all the technical capability out of the components of a camera, which is a stand-out for those who take a more objective preference to the camera, which is why people can suffer the poor menus and other weaknesses.

I use Resolve Colour Management but not in the way you describe above. The way I use it is to just have the colour management for the clips set to the defaults, but I convert the colour using the OpenFX Colour Space Transform plugin, which (I believe) does the same thing as the Resolve Colour Management options you are using, but it does it in the node graph, so you can have greater control over how you use it. For example, if I shot a clip in C-Log I would have a node graph like this: Exposure and WB corrections using the Lift Gamma Gain controls OpenFX Colour Space Transform from C-Log to Rec709 Nodes to grade the footage how I like I find that having that first node before the colour space transform allows exposure and WB corrections to be performed similarly to how they would have happened if I'd done them in camera. I've shot Canon cameras in normal profiles with bad WB settings before and you just can't get nice colours out of them, but I did some experiments shooting in C-Log with really really bad WB and exposure and using the above setup you can easily correct them without much damage to the resulting image at all. This is a crazy interesting video by Juan Melara showing how you can use multiple Colour Space Transform plugins in the node graph in order to have nodes that are 'working' in different colour spaces. I had to watch these a number of times before I got my head around what he was doing, but you can learn a ton from them, so they're worth watching. Also, this video shows what you can do when you understand colour spaces and the Colour Space Transform node: Good luck!! Resolve is like having the keys to the universe - and is almost as difficult to operate

I've noticed that a camera rig looks funny when the microphone sticks out further than the camera lens, but doing this to correct it is going a bit far!!

I'm reminded of hearing that some cinematographers want equipment that gives a great look SOOC camera, and some want a neutral capture that they can then manipulate in post. The former tend to view cameras and lenses and lighting as artistic tools, and the latter talk about the highest resolution and lowest distortion components and view the camera as a technical tool. It seems to me that Canon, Nikon, and others have followings because of certain artistic elements - people buy Canon despite the weaknesses because of "those Canon colours" etc. No-one seems to talk like that about Sony. People seem to buy Sony because they have designed their products to extract the most technical performance out of them, not because they have some sort of killer feature - no-one is saying "oh, but that 6K downsampling resolution!". In a sense it's a philosophical choice for the user, do they want a camera that is a flawed but wonderful artistic instrument, or do they want a precise but neutral capture device? I prefer the latter but I understand why people would choose the former, it's personal.

There are systems with vertical slots and shelves that clip into those slots - I think that was what you were looking at in the video? The shelf brackets look like this (for some reason the image is upside-down): They would allow some flexibility in placement, would be sturdy when assembled, and would be relatively easy to dismantle for transportation. These are probably what you were considering anyway

Ken says that ~6MP is enough, even for billboards! https://kenrockwell.com/tech/mpmyth.htm But seriously, he has a point that there's a level that is good enough for most things, and 24MP is probably beyond it. In a sense this applies to video too, but 4K video is only 12MP and in consumer products is highly compressed in comparison to even JPG images, let alone RAW, so a few extra MP isn't ridiculous.

Yep. Lots of discussion here: I did some experiments with my Sigma 18-35 1.8 (which is basically a ~2.5 in FF equivalence) and came to the same conclusion - that F4 on FF would be sufficient. For me it's just about having a bit more depth and separation to the image. I shot a test video at 2.5 of my wife and I going for a walk along the beach and DoF was too shallow in almost every shot. I also had trouble with MF on the not-so-great Canon 700D screen in full sunlight - which having focus peaking will rectify nicely.

Cool idea. A few thoughts... cable ties might be useful - they're stronger than elastic straps but also less permanent than glue/screws, and Id imagine that something like this would be tweaked and changed over time. Also, having the equipment like mixers etc anchored to the shelves somehow, or having shelves with a lip around the outside might be useful if you're wheeling the trolley across uneven ground as they'd prevent things from bouncing out. I'm not sure how many times you're on a set without mains power (maybe never) but that bottom container would be a perfect place for a battery and inverter. I've seen buskers with that kind of setup powering a small amp / mixer.

Woohoo! <starts downloading>

Does anyone know if the API supports a live view function? Even if it's not that fast it would still be useful for framing, especially for people who are operating the camera but are also in front of it, like vloggers, or people who are acting in their own productions.

Thanks @IronFilm Those B-roll shots look gorgeous don't they!!

Just like everything I guess - the flexibility of the fully articulating screens makes them less attractive for people that only need a tilting screen not a front-facing one. My XC10 has a tilting but not front-facing screen (like the Sonys) and if you're always behind the camera it's brilliant. My 700D has a fully articulated screen and it's a PITA if you want to tilt it because you have to flip it out to the side and then rotate it 180 degrees, making it much slower to tilt and almost impossible during a shot, much more vulnerable to knocks or hand positions, and making the setup far less compact.

Ah! Thanks - I think I missed that review. It sure looks good, even compared to other downsampling cameras!

Cool - if you are designing a new product (and indeed a product in a new category) then it makes sense to start with a blank sheet of paper and question all the 'normal' decisions. Good stuff. I think this bodes well for it not being a 'same same' performer.

I agree.. YT 'shows' is a pretty good name, although I'd still stress that there are people doing both 'shows' and 'vlogs' and also people who use a mixture of techniques, or even a technique somewhere in the middle. Only earlier today did I watch a video by a lady who shows how she does construction projects (this particular video was about her making a large wood and metal gate) and as we'd been having this conversation I was paying attention to the shots in it. It seemed that she was sitting and talking to camera with the narration of the video and was cutting b-roll of the build over the top, however what was interesting was that her shot was a tripod / lav mic shot but it was outside in uncontrolled conditions, so that's somewhere in-between your two scenarios described above. Also, included in the standard tripod b-roll shots was a fancy dolly shot where the camera follows her from one room of her shed to another (the front face of the shed was open, so it was one of those "looking into the building from outside" style shots). It was an interesting shot because I think it shows she's got an appetite for upping the production value, and the fact she's already got a lav and sound is nice means she's not new to the game. She also sells plans for projects online, so her channel is a business. Would she benefit from having a cinema camera? Maybe. I didn't see any evidence of auto-focus requirements, or IBIS requirements, so a cinema camera wouldn't be ruled out. If she shot 1080 in prores then maybe her edits would go faster, so there's perhaps some benefit. I don't think she'd benefit from having more DR via a flatter profile, but others like her might. I think the lines between (hand-held + selfie + outside) and (tripod + not selfie + studio) scenarios that the industry thinks in are so blurry that they ceased to exist quite some time ago. And yes, I did notice Jon Olsson getting excited about the RED and then it not featuring much again. I heard a mention that their camera guy had a routine of taking it out to get b-roll early in the morning when they were in Monaco before Jon had woken up, but yes, in terms of lugging it around during the day or through airports etc it's not the right camera for the job!!

LOL, crying face is right!! But actually for a single operator it looks quite functional, it's quite elegant really. Then again, I've used the HDMI input on my 32" UHD computer monitor as a monitor when doing some camera tests in my office!!

I guess that's part of my point @jonpais - there are more and more people who don't fit the title 'vlogger' neatly. Any vlogger who watched a "how to vlog" video will be trying b-roll as an alternative to jump-cuts, and any vlogger who bought anything and has watched an unboxing video will be doing product shots, so to say that a vlogger is someone who only ever shoots selfie shots would eliminate most vloggers. Take Kelsie Humphreys for example (who I showed above interviewing Tony Robbins) - she makes vlogs as BTS from her interviews. Does that make her a vlogger or is she the producer of a talk-show / interview channel? Same for Laura Kampf (also above) who shoots no-dialogue creation videos, using MF-focus tripod shallow DoF techniques, but also shoots vlogs, is she a vlogger or not? We can use your definition of "recording a sort of video diary of your life" which I think is quite a nice definition, but it isn't very useful if we're talking about what equipment matches that style of creation, because video diaries can be shot in any style with any equipment, because it refers to a subject not a style. It might have been the case that certain types of content matched certain types of shots and equipment (game shows vs TV drama vs blockbuster movie) but those pesky Youtubers haven't been told the rules, so they're just using every colour in the whole paint-box with reckless abandon!

I wouldn't be surprised @jonpais, not even a little bit. It's the same in the hifi arena with CD vs SACD - you'd go to a demo where they'd be comparing CD with SACD and the SACD would definitely sound better. You'd look around and people would all be nodding their heads about SACD, but I'd be standing there and thinking "both sound completely awful compared to my CD setup at home - how is this a valid comparison?".

Vloggers tend to operate in three distinct environments, a fixed camera in a purpose-built studio, a hand-held camera while out and about (selfie and b-roll), and an action camera for harsh environments. Some have drones too. These are often covered by a G7 or RX100 for the first two and a GoPro for the third, but there are vloggers who do use a dedicated camera for their studio setups, and I've seen REDs, C300s, FS5s and 1DXs as well as the usual suspects of the various Canon cameras. These 'premium' setups have boom mics, monitors, and large soft-boxes permanently setup. I think for those that have a fixed studio camera setup the BMPCC4K would be an excellent choice because of the combination of low cost, the anticipated high quality, and the convenience of having prores to edit with SOOC. They might also find use as a mobile vlogging camera when combined with a gimbal, MF (like Sony users have learned to do), and a fast wide lens. I find that increasingly YT creators are blurring the lines between documentary film-making, studio film-making, studio talking-to-camera (vlogging), mobile vlogging, travel vlogging, travel film-making, etc etc. Will these niches drives a lot of sales? No. But I do think they'll have a small footprint in the YT / vlogger ecosystem. Here are a couple of examples of potential customers that blend "vlogging" with more traditional film-making elements, and who might be interested in upping production quality: I'll stop now, but there are many many examples of this blending of style, and I think the idea that you can approach RED/ARRI quality for mid-range mirrorless prices will be a HUGELY attractive factor for these people As a special bonus, here's a couple that shoot mostly hand-held with an FS5 (IIRC) and a GoPro. Production quality isn't top notch (stabilisation is an issue), but I've seen previous videos where they had a smaller Sony video camera, so if they can afford an FS5 then a BMPCC4K wouldn't be out of the question.

They are interesting. That the project is dead doesn't matter because I think it's something that they will have learned a bunch of stuff from, and will keep that stuff in their back pocket for future times and products. I think in the past companies would have done things exactly like this but just never told anyone about it, but because this is the cutting edge they don't really lose much from telling people it's a product 'coming soon' and then just don't launch it if people don't line up with their wallets open. It's interesting that Intel went for middle-class-businessman - which is probably the right market to go for eventually, but the early adopters will be 'those pesky kids' and they will need something a little more fashionable.... Not a display, but an example of wearable tech that's actually fashionable.

If you're referring to the resolution after debayering, then you're absolutely right. People say that the 1080 from the C100 is so nice because it's downscaled 4K, and the A7III downscaling 6K to 4K seems to be a feature that isn't spoken about enough. I find it strange that through this whole conversation about 4K vs 1080 on YT no-one mentioned debayering. With film you shot at the same 'resolution' as what you delivered in, but digital doesn't do that. Anyone who wants to see what 4K YT can look like if done correctly should compare it to a video by MKBHD, who shoots 5, 6, or 8K RAW. and if you think he can't possibly be shooting 8K RAW because it's ridiculous in terms of camera equipment and storage, check this out: There's a pretty strong technical argument that the A7III should be the C100 of FF mirrorless, because it should have a bunch more resolution in its 4K output than anything that shoots at 4K. I'm surprised that the pixel peeping people aren't publishing test charts of this. If I end up with an A7III then I'll do a comparison just for my own curiosity.