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That video is just wonderful.. Normally I remove videos when I quote posts, but it deserves a bump!! One of the things that struck me was the DR. I'm no expert, but the highlights looked soft (ie, not harsh) and the shadows looked nice too, with nice mid-tones. People keep talking about skin tones when 'colour science' gets mentioned, but more and more I think (for my eyes at least) it's the DR and highlights that really matter. As an example, the video above is in direct contrast to the below video that was shot on Canon, where the highlights look clipped / harsh / videoish. To be fair, Matti could have shot this on his 1DXII or his 6DII, and I'm pretty sure he doesn't shoot log, so it won't be using the full DR from the sensor, and it's also some pretty difficult lighting conditions, and he might have also rushed the grade (considering he's travelling with friends and family and trying to vlog at the same time), but yeah, it's not nice. However, to also be fair to the Nikon D850 video as well, there are lots of shots in there with quite challenging lighting conditions too. I was saying that my shortlist was the A7III, Pocket 4K, Canon FF ML and Nikon FF ML, but I think Nikon has just gone from an academic inclusion to an option I will take seriously! You missed out the people waiting for the Canon FF mirrorless. The consensus is that it's unlikely Canon will do anything revolutionary, but there's still a chance, and I think there will be quite a few people waiting to see what that looks like before ordering anything. Also, those on the fence about the Pocket 2 might wait to see sample footage and reviews start trickling in, considering the initial issues / bugs that BM had with the Pocket 1.

A camera in-between the XC10/15 and C200 would be absolutely fantastic. The C100 is sized closer to the C200 than XC10 but only does 1080. Those industrial cameras you mention only do 1080 (link link) and would be large and attention grabbing by the time you rigged them up so they had screens and the proper ergonomics. You're right about the camerasize.com images looking strange, for some reason they cropped the lens out of the top angle!

I totally get your point. It'll be a hangover from the days when burning film was a fixed lower limit on making a film - you couldn't shoot a 90 minute film without exposing, processing and developing at least 90 minutes of negatives. In that sense, "No Budget" would have made sense if it was below that minimum cost. In todays world when digital cameras are being thrown away, old computers capable of editing video are being thrown away, and editing software is available for free, you can literally make a film for nothing. In this sense, $2200 is a large amount of money because it doesn't have to be spent on equipment. It's yet another culture clash caused by technology letting all the riff-raff in! Anyway, enough tangents from me

Actually, this thread is mis-named. It should be called "YouTube has come to its senses and doesn't add black bars to non-16:9 content".

It seems like the decision is if you're swapping to FCPX or not. I'd suggest watching some of those "I switched from PP to FCPX" videos, some about FCPX to PP, and see if you can find any where people went PP -> FCPX ->PP again, and listen to the reasons why people made those switches and what their impressions were. It depends on what style of editing you do as each editor will have slightly different strengths and weaknesses, and will have slightly different philosophies / approaches to things. It's about how well they fit to how you like to think and what your workflow looks like. I use Resolve, not because it's "the best" (it's not) but because it fits my mindset and workflow.

I've enhanced the image using the latest Hollywood VFX and I can conclude it's so large because it has to fit in all the video modes.. I can clearly make out 1080 RAW 12bit, 1080 RAW 14bit, 4K RAW 14bit, 4K RAW 16bit, 4K Prores 444 HQ, 5K RAW, 5K Prores 444 HQ, 6K Prores 444 HQ, 8K Prores 444 HQ, but the last two are too blurry - I'm assuming they're 10K to downsample for 8K.

It's not that hard to cool a sensor in a small body. The Canon XC10 has air cooling with fans, and it's a very compact body. Here it is vs a 5D mkIII body:

I know that's how it works @IronFilm but it just seemed a little too far from <common sense / normal humans / the real world> to leave hanging... the film industry is a very strange place where Low Budget can mean $400,000 and No Budget can mean $2,200 (link link). That puts a $100 film in the "I Haven't Eaten In A Week Budget" category, and yet it still got a $15,000 camera!

I'm not sure what you should choose, but here's a handy list of codecs that might inspire you? https://blog.frame.io/2017/02/13/50-intermediate-codecs-compared/ I would imagine your decision would revolve around quality vs bitrate.

Plus, since Homo Erectus, people are vertical creatures... so it's almost a mystery as to why video began in landscape. BUT, if you consider that most TV / movies are people standing next to each other it makes total sense. Now with the rise of vertical video and lots of videos of a single person talking to camera it almost seems like these might be connected?!?!!?

All this talk of a bazillion stops of DR, I'm reminded of the minor miracle that these manufacturers have managed to accomplish.. 10 stops of dynamic range means that in comparison to the smallest amount of light they can distinguish, the brightest light it can distinguish is 1024x. That doesn't sound like much, but 12 stops is 4096x, 14 stops is 16384x, and 16 stops would be 65535x!!!! Even the claimed 13 stops for the Pocket 4K is 8192x.. that's huge! We really are spoiled ???

Now all the YouTubers who record IGTV and YT content will be hassling monitor companies for "flippy screens" as well as Sony!

I may be nit-picking, but there might be a difference between what the customers want at home and what will make it sell on the shop floor. There's a thing with hifi speakers about treble - manufacturers deliberately turn the treble up too high because on the shop floor it makes them sound 'detailed' and so they out-sell the other speakers in the line-up, Of course, at home, in a quiet, much more absorbing environment, the speakers sound bad and will be fatiguing. Tests show that more treble is preferable when doing a quick test, but when doing a longer test more balanced speakers win out.

Interesting. Maybe it's a legacy thing for adapters? I would imagine that their product design would be pretty sophisticated - they've been at/near the top for a long time!

If it's going to last another 100 years, designing it with more pins than you think you'll need, or even some spares would make sense. Who knows what kind of currently-unknown technologies will come into play during that time..

Do you think that "high resolution" means the kind of high-but-existing resolutions like the 40-50MP sensors we have already, or beyond those to 100+MP? If you were asking stills shooters what the new we-built-a-new-architecture-from-the-ground-up camera would include, I'm not surprised they'd want more MP rather than less. You have to take a lot of photos for storage sizes and write performance to be anything like we face in video, but more MP means you can crop, do better NR, and all kinds of other things which are useful in the real world. Like we talk about 4K giving the possibility to downscale or crop to 1080 but potentially having a much larger crop factor than 2. Stills is a different game to video.

I think we need to distinguish between "cash budget" and "total budget". You might have shot that film for $100, but if my neighbours kid wants to shoot a film for $100, they're going to run out of money after they buy a Chinese tripod and smartphone mount, a Lav from eBay and couple of halogen floodlights from the hardware store. And they started with their own camera and you didn't!

I'd be surprised if they didn't. The vlogging community has been jumping up and down about a "floppy screen" and great AF, but all the Sony vloggers have learned to vlog without seeing the screen, and GH5 users have learned about MF, so it's possible. Considering that run and gun docos, corporate gigs, and the like are more controlled and slower paced affairs (certainly than the grind of daily vlogging) so MF and other limitations are surmountable. People have been running and gunning at close to the same pace probably since auto-exposure. and with film there was no preview window

Article: https://www.hollywoodreporter.com/behind-screen/netflix-mode-comes-new-sony-master-series-tvs-1130621 Looks like the industry is gradually getting colour and gamma standards in place..

How many people here use natural or practical lighting vs dedicated lighting setups? Personally I shoot natural / practicals the whole way, because my work doesn't have a 'set'.

No! You have to shoot in that lane... everyone knows if you're in the left-hand-lane your skin goes all funny!

In the absence of someone more knowledgable than me replying, one thing I have heard is that for compositing (ie, combining 3D renders into the footage) you want as much precision in the footage as possible so the tracking can be good enough. This suggests rendering out of Resolve with a very high quality codec. Perhaps something like Prores 4444 HQ?

Can someone clarify the debate around the colours for me? There seems to be two kinds of comments.. the "Sony colours are bad" type comments, and the "colours look fine to me" comments. The A7III colours look fine to me, but I'm definitely not the biggest connoisseur in that department. Do the "Sony colours look bad" comments include the A7III? I have seen comments around the A7III having the Venice colour science, so perhaps it's other Sony cameras that these comments are referring to? Thanks! @jonpais thanks for that upload - the amount of detail is really impressive.. downscaling 6K seems to be a winner!

My previous offer to "store" your excess camera gear at my house still stands!!

Thanks for the update!! The way I view this camera is for high quality in relatively controlled conditions - so the lack of features like fast AF and NR seems appropriate. Pulling focus manually is the norm for a cinema camera, and the lack of NR is actually an advantage I think because you can de-noise carefully in post, using the Resolve spatial and temporal NR features or plugins, for the best possible result. The substantial crop in windowed 1080 is encouraging, as for those capturing in 1080 it gives a good extension to their existing lens collection. The more I hear about this camera the more I think that BM is going to absolutely nail it for the low budget film-maker. Bring on the Pocket2 vs ARRI youtube clips!