seanzzxx

There is no Ursa with a dual gain sensor by the way. Also all the people here touting the ML M50 as anything other than an interesting technical achievement (comparing it to an incredible workhorse camera) I just cannot comprehend. If anything I'd say the FS7 is the modem equivalent: super well priced for the time and an all around workhorse camera that is EVERYWHERE (and to be clear, I don't really like the image it produces, I'm just commenting on its position in the field right now).

Your terminology seems confused: image density refers to how well exposed a (film) image is. A well exposed negative will literally be denser/thicker than an underexposed one, which will be thin.

This is all anecdotal but in my experience the Pocket 4K is EVERYWHERE in the low budget circuit, with its entry price of 1400 dollars and great image.

PLEASE point me to that test then, because I feel like whatever magic properties that should be inherent to sensor size should manifest in sóme way under a controlled test. So far you are just shooting down any test provided as not being rigorous enough (why on Earth would foreground unsharpness matter in any way when according to your last example provided the special properties of large format are abundantly clear in a shot that has just as much elements in front of the focus point, that is a nose, as in the examples provided by Yedlin), but if the differences were significant so as to be me

I feel like you are kind of moving the goalposts. This guy has a use case where he has shot hundreds of shots on cameras with all kinds of film backs (for camera comparisons), and somehow this does not count because his lenses are too wide? This is based on real-world experience with everything from an IMAX down to a super 35 camera. He even admits in the article that his matching is not perfect due to practical limitations (t-stops and f-stops not aligning, lenses not matching exactly to their equivalent counterparts, etc.), but his argument is that the likeness between shots is so convincing

There is an interesting post from cinematographer Steve Yedlin talking about this exact issue. As far as he's concerned, there is no unique 'look' to larger formats unless using a different format somehow forces you to set up your camera differently. https://www.yedlin.net/NerdyFilmTechStuff/MatchLensBlur.html He has some pretty rigorous testing to go with it.

The only reason I downvoted you is because I intensely dislike your post-truth, conspiratorial worldview: I think it stands in the way of productive discussion. You calling me (a yearlong, very inactive member who has basically only posted about Blackmagic and RED during his time here) a Canon shill, instead of applying even a modicum of Occam's Razor and just assuming I'm someone in disagreement with your tone and ideas, really goes to prove my point. Anyhow.

I have taken to throwing a bunch of Aputure spacelights (lantern type diffusers) that I already own and throwing them over the LED panels when necessary. They fold up so compact that I can take them anywhere and the result is quite neat.

People who confidently claim to immediately spot the difference but don't provide examples, please feel free to prove your case.

I really hope this and the Ursa 12K drive the prices of the Ursa g2's down to be honest.

I realize that, you were the one bringing up his court case. With some exceptions, all this video is doing is putting legal text next to a dictionary definition which is INCREDIBLY bad practice. Legal texts are defined in court, often in very particular and sometimes counter-intuitive ways. I'm not saying that REDs user agreement is good or even legally enforceable, I'm saying this video tells you very little about the legality despite explicitly pretending to do so. You can give a legal argument that is aimed at laymen, however that is not what he is doing.

His court case has nothing to do with his YouTube video on REDs user agreements.

I'm sorry, but as someone who actually has a legal background, you can't just pull up the law and guess at what it means. And trust me, while he attempts to sound very authoritative that is all that he is doing if you don't show your work. Show me precedent or other substantiated legal arguments otherwise this is just a complete joke. And this is coming from someone who doesn't like REDs aggressive litigative practices.

I just shot for 6 hours on an open plain of bare white sand at 25 to 33 degrees Celsius/91 degrees Fahrenheit, which I would consider a pretty worst case scenario, with the Pocket 4k. That's a 1300 dollar camera. It was so hot people could not touch the sand and external monitors turned purple at the edges. The pocket its fan became very loud but it kept going until we got all the shots. I really don't understand how Canon doesn't manage this.

I second the XT-3 or XT-30, those cameras are GREAT allrounders.