KnightsFan

I'm not the op. I'd also like to know what @Tomda goes for in the end, and how well it works out!

Yea - an XC15-style camera with a Super35mm sensor would be great for so many uses. Hoping Fuji or Panasonic (with GH5 or GH6 abilities in it) launch something like that. 

Square ish is better than longer if you want to put it on a gimbal, or even rig it up in general. 

I hope they Release a z6 mkii soon so I can pick up a z6 for cheap.

I've honestly liked the look from decent LEDs as much or better than tungstens in my uses.
Yeah, it's bizarre. I did equipment checkout for a few semesters, and I had an entire shelf of totas with problems. Maybe someone before me had methodically ruined each one? That and the exploding one really put me off totas.
Oh wow, that's disappointing. Another strike for totas, I guess.

I'm going to investigate this, I really do hope so, it seems to me to be the best compromise I've seen so far given my budget. I admit I never heard of this brand before, at least here in France no renting company has them. I have to admit when I first saw the pictures I was a little worried by the build quality, but I know I may be asking too much
Anyway a big thanks to you all for this suggestion !

Yes.  Always use protective screens with open-faced tungsten fixtures, regardless of the level of the crew's experience.  Most manufacturers will give you a protective screen for free if you don't have one.
 
 
Well, you definitely do not want students (nor inexperienced crew) handling your cheap, delicate, re-branded LED fixtures -- they will break something on such fixtures at some point.
 
In general, non-pros handling professional equipment should be very careful, and you have to clearly and emphatically warn such folks of any potential hazards or equipment vulnerability.  I never had a problem with students ruining bulbs by touching them -- I simply don't let them install nor handle bulbs.
 
 
Well, LEDs generally don't provide the punch nor control nor clean color that tungsten fixtures give -- so there is a trade-off.  Also, LEDs generally have more weight-per-footcandle (especially if one is toting batteries)
 
Furthermore, on cold sets or on locations with plenty of AC, any heat from the lights is often not a problem (sometimes it's a benefit).
 
 
Oh.  Well, you wrote, "totas," a plural tense indicating that someone inexperienced installed multiple bulbs.  If several bulbs pop, it's probably because a clueless person used their bare hands to lamp the fixtures  -- popping bulbs have nothing to do with the fixtures themselves.
 
 
Really?  2-3?  I have never had one Tota (nor any other tungsten fixture) "buzz," "spark" nor "short."  I have experienced sockets go bad from someone who didn't fully seat the bulb.
 
If there is contact arcing on a Tota double ended bulb, it is easy to see merely by removing the bulb.
 
 
It looked like it had the output of a 300w tungsten bulb.

...and if you are using equipment that students have touched, assume the worst and never use one without a protective screen. This is the main reasons I use LED lights: if you are working with inexperienced crew on a no budget set, LEDs won't burn anyone or explode. Or cook the room.
To be fair, though, I only ever had one tota bulb explode on me. I used 2-3 different totas with electrical problems, shorting, buzzing loudly, or sparking. I never had any issues with other Lowel lights, just the totas.
Like, half as bright, or like 500w equivalent? If you got any sense from what you've seen so far.

I use both ML on a 5D3 and a Fujifilm X-T3 at the moment. I haven't used Sony mirrorless. Here are some observations. 
As far as ML on the 5D3 is concerned, I capture 1920x1080 25fps 12-bit raw with lossless compression, which is 40Mb/s (more on this later*). This bit rate is significantly lower than the uncompressed formats, and in my experience this has significantly improved the reliability of the camera when writing to the CF cards. In a recent project I have captured 200GB of interview footage over a couple of days with zero errors. I rotate on four 64BG cards and one 128GB card, which me gives ample time to empty them as we go. And as earlier commented, "oh, that image." Never moiré or stair-stepping. Note: no continuous autofocus on the 5D3.
I got the X-T3 to replace my Canon 70D, which has great auto-focus, but has a really pronounced moiré and stair stepping problem. I recorded 1280x720 raw with ML, and it was a bit of a problem child. Nothing like my experience the comparatively-reliable 5D3 on ML. Don't go for Canon mirrorless for these reasons, but do go for a used 5D3 if one presents itself!
The X-T3 is my first mirrorless camera. I like it, but the continuous autofocus isn't as good as Canon's DPAF. At 4k and highest data rate, it's pushing 4:2:0 10-bit footage at 50Mb/s onto an SD card. It requires a good card, but not necessarily a UHS-2. A Sandisk Extreme UHS-1 card also works. I have one of each, both 128GB. *That 50Mb/s is a higher data rate than the 5D3 raw, but it's actually the 10-bit color, which is kind of the big deal for this camera. If you capture at 4k and downsize to HD (which is what I do) the potential advantage of capturing 4:2:2 externally is diminished. Some have written that if you downsample 10-bit 4k 4:2:0 footage into FHD, you wind up with 10-bit 4:2:2. I don't know if this is 100% true, but I can tell you that whereas grading 8-bit 4:2:0 is way harder than 8-bit 4:2:2 (like internal 8-bit 4:2:0 versus an external 4:2:2 recorder) Grading the X-T3's 10-bit 4:2:0 has been pretty rewarding, and the detail is good. It's a lot of data to work with. Note: 30-minute recording limit on the X-T3.
The X-T3 is better as regards moiré and stair-stepping than the 70D, for example. It has better rolling shutter performance than the full-frame 5D3. OTOH, the 5D3's low-light performance is far superior to the X-T3. Also note that if you shoot in F-Log (I find it to be very good) you have a minimum ISO of 640, so be prepared with ND filters if you want to shoot wide open outdoors.

Have you looked into the Z Cam E2? It has a multi-aspect M43 sensor like the GH5s, and it has a S16 crop mode. With a speed booster, you can get full frame or S35, or you can use the crop mode for S16. And it shoots 10 bit 4:2:2 internally. It's $2k for the body, so more budget friendly than an FS7 or URSA. The downside is that it requires an external monitor, though you can use a smartphone for wireless monitoring and control via wifi. I do not have first hand experience with one yet, unfortunately.
I can't think of anything else in the price range that can go up to 35mm with a speed booster, and has a dedicated 16mm crop mode, and 4:2:2 10 bit internally.
I would stay away from ML for pro work. It was too finicky when I used it extensively  on the 5D3. It was a phenomenal image, but I wouldn't be confident in it working 100% of the time (even due to user error, cards filling up too quickly, etc).

Also, remember to adjust the amount of grain you're applying so that it looks good in your final delivery file.  Compressing video really kills the grain, especially YouTube or other online streaming services.
I'd suggest making a test project with a series of shots with increasing strengths of grain, output it, upload it, then look at it and dial it in from there.

This video was shared on the CML list and a poll was conducted too.  The poll has closed now (I just saw this today) but it's still interesting.
The 8 cameras are (in no particular order): 
The Arri Amira, Red Raven Ursa Mini Pro (G1) Sony FS7 Panasonic EVA1 Panasonic GH5s Kinefinity Terra 4K Canon C200 Here's the video - the answers and poll results are in the comments.
 
 

Have you looked into the Z Cam E2? It has a multi-aspect M43 sensor like the GH5s, and it has a S16 crop mode. With a speed booster, you can get full frame or S35, or you can use the crop mode for S16. And it shoots 10 bit 4:2:2 internally. It's $2k for the body, so more budget friendly than an FS7 or URSA. The downside is that it requires an external monitor, though you can use a smartphone for wireless monitoring and control via wifi. I do not have first hand experience with one yet, unfortunately.
I can't think of anything else in the price range that can go up to 35mm with a speed booster, and has a dedicated 16mm crop mode, and 4:2:2 10 bit internally.
I would stay away from ML for pro work. It was too finicky when I used it extensively  on the 5D3. It was a phenomenal image, but I wouldn't be confident in it working 100% of the time (even due to user error, cards filling up too quickly, etc).

Have you looked into the Z Cam E2? It has a multi-aspect M43 sensor like the GH5s, and it has a S16 crop mode. With a speed booster, you can get full frame or S35, or you can use the crop mode for S16. And it shoots 10 bit 4:2:2 internally. It's $2k for the body, so more budget friendly than an FS7 or URSA. The downside is that it requires an external monitor, though you can use a smartphone for wireless monitoring and control via wifi. I do not have first hand experience with one yet, unfortunately.
I can't think of anything else in the price range that can go up to 35mm with a speed booster, and has a dedicated 16mm crop mode, and 4:2:2 10 bit internally.
I would stay away from ML for pro work. It was too finicky when I used it extensively  on the 5D3. It was a phenomenal image, but I wouldn't be confident in it working 100% of the time (even due to user error, cards filling up too quickly, etc).

That's a good idea. A few versions ago, Resolve's H265 output seemed to be poor quality, so I would export DNxHD and then convert to H265 using ffmpeg.

For Vimeo, I usually export 2k H265 for projects shot in DCI 4k. That gives the most quality per MB, which is good because you get limited upload space on Vimeo. I'm not sure if you can export H265 in the free version, though.
If you wanted 4k, you could export UHD. You'll get small black bars on the top and bottom, but significantly higher resolution than 2k.

You need the full version to export 4K DCI. You can go up to UHD in the free version.
You will get black bars if your delivery resolution is different from your timeline resolution. What is the resolution of your vimeo delivery?

If you're coming from layers, it might help to conceptualize nodes as being similar to analog audio systems. Say you have a mic going to the input on an EQ, out to a compressor, and then to a speaker, like:
Mic -> EQ -> Compressor -> Speaker
You can stick headphones in at any stage and you hear the audio signal at that point. You aren't applying EQ to the mic, you're placing an EQ on the signal between the mic and compressor.
That's how nodes work, too. With layers it's often like you are "applying color correction to an image," whereas with nodes you're "piping the image signal through a color correction operation." You can use the viewers in Fusion like you'd use headphones on that audio path, to see what the signal looks like at any given point in the chain.
I don't know if that helps at all.

Nodes are certainly much better for composites and fine tuned control of effects that don't change much over time. Layers are generally easier for motion graphics, or effects that take place over time. Just for fun, I did a recent motion graphics bit in Fusion which I would normally do in AE. It wasn't too bad at first, but it was a nightmare to retime things. I think that with a few small changes, Fusion would be almost as good as AE for motion graphics though, while keeping all the benefits of a node based compositor. Some of these may be possible already, but I just haven't learned about them yet:
- Easily make collapsible node groups / nested node graphs. You could then sort your "layers" into collapsed node graphs. This would solve the problem of a massive, un-navigable node graph
- Merge node with unlimited inputs. PixaFlux has this awesome merge node with unlimited inputs. Each layer is just composited onto the next. It saves SO much space on the graph.
- Sensible, intuitive merge options. What does an apply mode of "Normal" with an Operator of "In" mean? I have no idea, so I have to memorize what different things do. It would be so much easier to just have "Add" "Subtract" and "Multiply."
- Nodes with multiple outputs. How about an RGBA split and combine? Or keyer nodes that output the image and the matte as separate outputs?
- I still haven't figured out how to manually adjust tracking markers, or how to redo a portion of a track.

Hello! I recently made a tutorial in covering how to make film halation and grain in Resolve!
I used two methods. One using the GHAlex LUTs for the GH5 and another way using Color Space Transform. 
This is my first ever video tutorial so I apologize if it's a little boring and long.
Tutorial - https://www.youtube.com/watch?v=20epDbE9Adc
Here's some examples using this method - https://www.youtube.com/watch?v=luaGcO-nzd8
https://www.youtube.com/watch?v=XNQMeGqoM7o
If you like this, feel free to download the Power Grades I've provided on my website and experiment with them.
Thanks!
 

I'm not sure if it's because I've finally upgraded to the paid Studio version of Davinci Resolve, but my NX1 footage plays flawlessly... YES! No more transcoding to DNxHR and ProRes... hot damn. This frees up a LOT of Hard Drive space.
I'm using Davinci Resolve Studio - Public Beta 2
 
I maybe late to the party here, but this is great. My hacked NX1 with NX-L speed booster still holds up great in 2019. The dynamic range is a little weak, however the detail retention is awesome.

Ah, the old "it's bad, but intentionally so." Solo was too dark in many scenes, and it wasn't a question of not calibrating my TV, or watching on an ipad, or even compression. I saw it on blu ray on a 60" TV that is within reasonable calibration, in a dark room. It's funny because the Godfather, a movie famous for "underexposure," is so much easier on the eyes--because it's not about darkening a scene, it's about lighting it so that the viewer gets the impression of darkness.
...is exactly right.

You're welcome! Reaper is an incredibly flexible tool that has more features and capabilities than you see at first glance. Kenny Gioia's reaper tutoroals on Youtube are a fantastic place to start also.

Yup, who here wouldn't rather shoot with an Arri Alexa in 1080 than a RED ONE at 4K?
 

Ah, the old "it's bad, but intentionally so." Solo was too dark in many scenes, and it wasn't a question of not calibrating my TV, or watching on an ipad, or even compression. I saw it on blu ray on a 60" TV that is within reasonable calibration, in a dark room. It's funny because the Godfather, a movie famous for "underexposure," is so much easier on the eyes--because it's not about darkening a scene, it's about lighting it so that the viewer gets the impression of darkness.
...is exactly right.