kye

If no-one is able to assist here, might be worth asking in the relevant sub-forum on liftgammagain.com where the colourists all hang out.  Of course, you might get an answer that's more technical than you'd like...

One of these days this community should just team up and send every new game-changer straight to @kye ; ) You’re priceless, mate :- )

Well, that was fun.  New phone has new colour space which requires updating Resolve which wouldn't install and required me to update MacOS.  Recording and then viewing the first clip took a lot longer than anticipated.
Here's some initial observations as I find my bearings.
Resolve 20.2 only has Apple Log 2 in the Colour Space, and only has Apple Log in the Gamma.


If we assume that BM and Apply both know what they're doing then that means that Apple Log 2 gets a new colour space but keeps the same gamma curve, and iPhone 15 and 16 users get an upgrade to Apple Log 2.
In the default camera app you only get Log and HDR (whatever that is) in Prores mode.  Not entirely sure what Prores flavour it is, but I'd guess HQ because the fine print in the settings to enable it says 1 minute of 4K 30p is 6GB which is 800Mbps (and would be 640Mbps for 24p) which is sightly lower than the 700 typically stated, but is definitely higher than the 471Mbps typically stated for 4K 24p Prores 422.

If you select Prores and Log, the image displayed is the log image..  no display conversion for you!
BM camera app gives tonnes more options.  I'll have to investigate that further, but last time I looked it seemed to only offer manual shooting, rather than the auto-everything that I need when shooting fast.

Well, that was fun.  New phone has new colour space which requires updating Resolve which wouldn't install and required me to update MacOS.  Recording and then viewing the first clip took a lot longer than anticipated.
Here's some initial observations as I find my bearings.
Resolve 20.2 only has Apple Log 2 in the Colour Space, and only has Apple Log in the Gamma.


If we assume that BM and Apply both know what they're doing then that means that Apple Log 2 gets a new colour space but keeps the same gamma curve, and iPhone 15 and 16 users get an upgrade to Apple Log 2.
In the default camera app you only get Log and HDR (whatever that is) in Prores mode.  Not entirely sure what Prores flavour it is, but I'd guess HQ because the fine print in the settings to enable it says 1 minute of 4K 30p is 6GB which is 800Mbps (and would be 640Mbps for 24p) which is sightly lower than the 700 typically stated, but is definitely higher than the 471Mbps typically stated for 4K 24p Prores 422.

If you select Prores and Log, the image displayed is the log image..  no display conversion for you!
BM camera app gives tonnes more options.  I'll have to investigate that further, but last time I looked it seemed to only offer manual shooting, rather than the auto-everything that I need when shooting fast.

The phone arrived today as expected and I've had a few minutes to play around with the camera. I shot a short test scene using ProRes RAW and ProRes 422 in the Blackmagic app. Here's a quick look at the footage with just Resolve's Apple Log 2 CST applied. Very first observations:
 
Open gate is only available in RAW or RAW HQ RAW can only recorded to an external drive. I have a great Magsafe SSD that I use for this. Sensor stabilization is not available in either raw mode Resolve is super sluggish with the raw files unlike ProRes RAW or BRAW files from my S1ii. I hope this gets optimized The normal raw controls are there and the footage is very flexible as you'd expect I used Resolve's built in Apple Log 2 CST for the test https://www.youtube.com/watch?v=97PPh276M4o

Sadly the mini was a flop, it didn’t sell well. People want big phones apparently which I find annoying as one hand gesture operation is impossible, not to mention pocket ability and discretion while shooting. Those are the reasons why I still use my 13 mini as my daily driver despite having a « better » regular size iPhone.

Just like camera manufactures i guess. You can get option A & B but not option A & B and C, or option C & B but not A  Mini size factor may have less of a profit margin as well and perhaps even overheating, mostly i suspect its more about marketing segments and better profit margins. however i think you know this already 🙂
 

My daily driver is an iPhone 13 mini and that won’t change (lowkey wish they’d reintroduce the mini line, everyone I know that has one loves them). But my secondary iPhone will be getting a substantial upgrade to the 17 Pro. It’s the first pro model that resonates with me. Love the rugged unibody design, previous pro models still had that fragile precious feel I despise. 
And of course the specs. One that few seem to mention is that open gate will be supported through Final Cut Camera 2.0. And the front camera sensor is square which allows multi aspect ratios, a cool direction.
I do more and more vertical work for social and a lot of times they want the “iPhone” look not a heavy graded shallow DoF look so main benefit for that will be the cameras but I have seen impressive videos shot on iPhone Pros. 28 years later included. So who knows to what capacity all these codecs, log, open gate etc will be used.
 

Me too here, very likely. For the first time. Windows and Android user, so far.
There's external SSD recording, and they're pretty on the nano side these days, so the 256GB version is enough.

BM camera app will allow you to shoot Apple log in h.265 with very good quality. Saves soooo much space and looks great.

Anyone getting an iPhone 17 Pro / Pro Max?

Def getting there. As you said, bokek is better when it's not distracting, like in most of your recent images.
That and the very contrasty-darker frames make the image better.  I think that's it. You'd just have to add a couple of actors that move within the frame to fill the last piece of the visual puzzle.

Thank you!
From what I understand, this is how it works for both the types of raw where Resolve has the option.  Maybe sometime, I'll play with those suggestions, but it'd still be more work than just clicking a box for supported footage.  Though it's not a huge loss since the difference is fairly subtle anyway.
 
Yeah - if the info is there, there's also the option of bringing down the ISO/exposure in the raw tab and then using curves or lift to bring up the exposure in the shadows.

They mention it at 1:06:21 - below is linked to timestamp:
I must admit that if BM camera supports it then it's a step towards it being supported in Resolve.  It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet:

I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't!
😆 😆 😆

Off topic, but nice image. 

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there.  I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things.
Highlight recovery would be nice too.
Maybe more advanced controls will come in subsequent versions.
 

and also confirmed here (linked to timestamp):
 

Also, the new iPhones all use a new "Apple Log 2" profile, so that will require Resolve to be updated as well to support the new colour space:

They mention it at 1:06:21 - below is linked to timestamp:
I must admit that if BM camera supports it then it's a step towards it being supported in Resolve.  It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet:

I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't!
😆 😆 😆

I can vouch for the GH7 as a workhorse.
In terms of low light, I'd say it's fine.  Here are a couple of stills from the GH7 with the Voigt 17.5mm F0.95 lens.  I can't remember if the lens was fully wide-open or not, but I think the GH7 was at ISO 1600?
These have a film grain applied, so the grain is deliberate.  GH7 ISO tests are available online if you want to see the grain at various settings.  Also remember that NR exists in post, and compression does a pretty good job of NR as well.
The first shot is lit from the candle and the light of the fridge:

and this is just the candle:

Here's are some shots from the OG BMMCC from 2014 at its base ISO of 800, the 12-35mm F2.8 lens and shot at a 360 shutter to cheat an extra stop.  These locations looked about this bright with the naked eye, and I have excellent night vision.







You actually need far less low-light performance than most people think.
Thanks!
The issue is that you're either showing a very wide FOV, which will have significant distortions, or you're cropped in to the point where the quality is low because you're cropping out most of the data.
IIRC, If you have a 100Mbps 360 image then by the time you crop to the FOV of a 24mm lens you're down to something like only a few Mbps.  This is why I said the bitrates are what matters most.

100% agree about the size, and when compared to the GH5 the difference in the hand is a lot more than what it looks like in pictures, so it's sort-of deceptively chunky.  By the time you're looking at a GH7 "small camera" territory is so far off you can't even see it in the rear-view mirror!
Perhaps the compromise is that the GH7 has an integrated cooling fan whereas neither the R5 nor Z6 III have it, and will be a larger again by the time you add on additional accessories etc.

Hello dear friends,
I've been running like a motherlicker, but I just wanted to take a moment that personally thank everyone who jumped into this thread to offer their support!
Right now I'm caught in all the extras in and around bicycle and support equipment etc. I'll update towards camera here when I get a little further along...
Until then... I'm wishing you all well in your life and cinematic adventures! 🙂

I don't really use the audio for dialogue so can't really comment on it specifically.
To zoom out and think more holistically about sound, and also a bit about getting in front of the camera, there are a few approaches.
High-quality sound on location.  
This is great but you pay for it in terms of paying for extra equipment, extra faff of charging it, setting it up, using it, cleaning and maintaining it, etc.  High-quality in-camera audio is the most convenient and the most expensive to get.  External audio makes it easier / cheaper but creates extra work to keep the audio files managed and to sync them in post.
Acceptable sound on location.
This could be through a combination of average in-camera audio and average external audio.  
The in-camera audio could potentially using on-camera mics like the Rode VideoMicro or a plugin Lav mic that don't require any power and are plug-and-forget but are dependent on the quality of preamps in the camera.
The external audio could be as simple as using a smartphone right next to your mouth, or using the integrated mic in the headphones as a short lav mic.  I've seen lots of vloggers do this in very noisy environments and it works fine.  First example, second example.
Record in post.
ADR (Automated Dialogue Replacement) is where actors re-record their dialogue in post production to match their lips in the footage.  It is so common that many films simply didn't bother to get good sound and created the audio (dialogue, sound effects, sound design, the lot) in post after the fact.  I've done this before on short films and if you take a bit or time to do it then you can get results indistinguishable from doing it on-location.
Recording in post also comes into the idea of appearing on screen, or not.  
By taking lots of notes and recording your thoughts during the trip (potentially just using voice memos on your phone at the end of each day) you can then narrate the finished film and have a significant presence in the finished edit, have high quality audio, and also take away the burden of getting great audio for everything that happens throughout the whole trip.
Narrating the film will also enable you to communicate ideas and feelings and information in a concise way with carefully chosen words, rather than trying to piece together a coherent summary from fragmented snippets of footage.
Narrating the final piece also takes a huge burden off the footage too, because anything you didn't capture can be explained in V/O so the film doesn't rest solely on the footage to be self-explanatory, which is a high-bar to achieve. 
There's a hidden mindset that you're at the cutting edge of (and being cut by), which is that the entire film-making industry assumes that anyone wanting high-quality equipment doesn't mind it being large, and that if you care about size then you don't care about quality.  I've gone round and round with people online and it's like "small and good" is a combination that somehow doesn't exist in their world-view.
This has lessened over recent years, but is still the elephant in the room.
Speaking of the elephant in the room, be careful not to lose sight of the final prize, which is an engaging final product.  I don't know how much editing experience you have, but making a doc is like making a bunch of lego pieces without knowing what you're eventually going to want to make, then designing the building, and then trying to assemble the building out of the lego blocks you have made.  Obviously those with a lot of skill will be able to anticipate the final result better, and will make better pieces, but to a certain extent the more pieces you make and the more variety you include, the easier it will be to assemble the finished product you want.
This is why I advocate for setups that:
1) you will use (giving you more footage)
2) is fast to use (giving you more footage of things that happen quickly)
3) is flexible (giving you more variety of footage)
4) is enjoyable to use (making you more likely to use it and also making the whole thing more enjoyable and more likely to be successful overall).
Remember, this person is ready for anything, but misses almost everything switching equipment, and has a hernia by the end...

You should start with the idea of just using your phone and only add equipment that will make the end result better, not worse.

To me, these are my favorite images yet -- by a long shot. I may need to reconsider my position on vintage zooms!

Nice! The contrasty light makes this images much more interesting than the previous flat ones.