billdoubleu

Worked on a shoot with a Komodo today!

I guess we'll have to just agree to disagree. 
Meanwhile films will be shot on mirrorless cameras and cine cameras all over. 
A cell phone from 2010 can look cinematic if lit and composed well. 
But modern 10 bit mirrorless cameras have closed the gap imo. 
For big productions with a need for all the fancy stuff the big cameras are perfect. But for low budget indie films or films shot in tight places a mirrorless cam is capable. 
There was a horror feature film shot on the a7sii a few years back. I saw it in theaters and couldn't even tell. 
I remember when the hollywood movie act of valor was almost shot entirely on canon 5ds? That was because of their form factor. 
I could tell they were a bit less capable, but honestly nobody else with me could tell. 
But again, that's a canon 5d. Modern mirrorless cameras are MUCH better. 

I can't remember if I already posted this, but we shot this with mostly S1. Couldn't believe the quality of the image. Truly amazing.
 

There's a saying in business - "100% of nothing is still nothing".  It's typically used to comment when people who own a business stifle the growth of the business because they want to retain full ownership and control and aren't willing to accept investment from other people.
I bring it up because I fully agree with @IronFilm about how people perceive battery choices on new products.  It is something that sways people's opinions, and you get more profit from having lots more customers with only a small hit to profit margins.
Think of how many times you've seen a review of a monitor or a battery powered LED light and how the reviewer is happy to tell you that something takes "Sony NPF" or "Canon" batteries - they light up because it's something that could be a major pain but isn't.  The comments are normally along the lines of "and we've all got a bunch of them already so we're sorted".  
Think about how the P4K took Canon LP-E6 batteries.  They lasted 30 minutes a pop, and (here in Australia anyway) were about $100 each for the genuine ones.  Want to have a small rig but be able to shoot all day?  Let's imagine you'd need 10 of them.  That's AU$1000.  Plus chargers.  That's a pretty significant percentage of the cost of the camera.  
Batteries are not a small cost, and worse still, it's got that hassle factor.  People resent having to spend hundreds of dollars on batteries.  It matters.

Just saw this, thought I would share as awesome example of creativity during this crazy isolation the world is in and a nice change of pace from camera tech
 

My wife hates opera so I make her happy by not taking her.
Then I use the savings made on the tickets to buy more lenses.

Plus lens choices for low light are getting better all the time too.  There's never been a better time to be in the market for a large aperture prime - they get faster, and better at those larger apertures, all the time. 
I remember someone talking about there being three different kinds of value: value you get from the utility of something, value you get from owning something (bragging rights, etc), or the other one I can never remember which is when you hate opera but take your wife because she likes it and making her happy is something you value.

Adrian here is the ultimate proof that people are blinkered idiots, that live under rocks. They miss long term trends and they even miss how millions of people use cameras differently to how they do.
As for professional camera for video... I refer you to the famous Canon EOS R5 marketing and PR statements!
https://www.eoshd.com/news/opinion-on-dpreviews-canon-eos-r5-overheating-test-in-4k/
Even Richard Butler at DPReview didn't absorb or register the Canon statements about professional video and cinematography use.
It's unbelievable it really is.
Why is the world so utterly full of chinless wonders who wander around the planet with their eyes half shut??

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

Speaking of Voigtlander, I'm (finally) editing the trip we took to India in late 2018 and pulled out a few hero shots and did a basic grade to get a feel for the project and to get some inspiration.
That was the first trip I took with the GH5 and Voigtlander 17.5mm and one of the concerns that I had was low light performance as the GH5 isn't known for it, but it wasn't until I got back to the hotel and looked at this footage that I realised how good the combination really is.
Here's a sample grab of the tour guide when we went to Varanasi to watch the nightly religious celebrations and see the cremations on the shore.

No idea if it was wide-open or not, but this is a basic grade, some NR, and some film grain over the top, no sharpening applied, and it's even got a small negative amount of mid-tone detail.  GH5 was in 150Mbps 4K IPB and HLG.  I can't recommend these lenses enough.

I have watched this conversation play out over all the Canon R5 and now BM 12K threads, where one side gets excited and says it's great for their use-case and the other side says its ridiculous because the use-case isn't common / it doesn't align with their experience / it's too expensive / the data rates are too high / etc.
I think one thing is missing here, which is to talk about budget and the state of the art.
The state of the art in cameras is actually quite limited, and there are very very many situations where you can't get more for your money even if you had it.
Here's an example...
I make home videos and I want a small setup that won't attract attention going into parks, museums, aquariums, etc, and I like IBIS.  I use my GH5 for this, but it has limitations.  I would like extra DR.  I would like a 12-bit mode.  I would like dual-ISO.  I would like a bunch of things, but I can't have them.  At any price.  If I was a multi-millionaire, I still can't have them.
Think of how many people lament the Canon offerings, and want a set of features that is not available in any Canon camera, regardless of price.
Think of how many people would love the P4K or P6K or URSA but are put off by the reliability or QC.
Hollywood has embraced the Alexa Mini form-factor because it is portable / flexible / light-weight to the point that it enables creativity that had not previously been possible with their heavier models.  This is because none of the previous models offered the combination of features that the Mini offers.  At any price.
Big Hollywood productions don't care how much a camera costs, they rent for a very small percentage of their production costs.  If a camera cost double and did the job then great.  Triple? No problems.
This is how I see the BM 12K and Canon R5 cameras, and many others.  They offer a combination of features that previously could not be had at any price.
So, if you own a collection of S16 lenses and want to shoot 6K or at high-framerates that was previously not available at any price then why is this so completely ridiculous a concept?
I think that @JimJones enthusiasm might make it sound like the whole cinema world will implode because of this, but of course it won't, and neither did it implode when the BMPCC 2K first came out, but it sure imploded if you were a fan of tiny cameras and shooting with older lenses.

Got to hand it to the Canon marketing department.
They are fast at putting out fires.
An ability which in case of EOS R5 is useful in the literal sense as well!

PRICE
RED Helium Ranger + Monitor:
$31,400 
URSA Pro 12K + Accessories:
$11,500
The new URSA Pro is 37% of the price of RED's comparable offering. SPECS
RED Helium Ranger:
8K @ 60p (12:1 Compression)
4K @ 120p (Cropped Sensor)
URSA Pro 12K:
12K @ 60p (5:1 Compression)
8K @ 110p (No Crop)
 
ANALYSIS
The new sensor technology that allows you to shoot at lower resolutions for higher framerates is arguably the most important aspect of this camera. That and...price. There's really no reason to be in a RED at this point in time. I guess if you hated money you would stick with them? I'm scrambling to find one area that RED would beat BM in and I can't think of one. It was always codec but we might just be there with the release of this new version of Blackmagics Color. Add in the full ecosystem compatibility with Resolve and the fact that it's almost 3x the price. Seriously, if Blackmagic wanted to make a dent on the high end I think they just blew it up. RED is going to have to innovate AND lower their prices (drastically) just to be competitive again. You will have outliers and people that stay loyal to the brand for whatever reason...but if you're unbiased and just looking to make the right purchase, I don't see how RED makes any sense. As of today at least.
Seriously a crazy release and few days here. I don't know if I have ever pre-ordered>cancelled pre-order>pre-ordered new camera in a 48 hour window before. 

As there are so many threads on R5,R6 and 1Dx III I thought is better to have a dedicated thread for editing perf.
Machine used for the test is a gaming notebook i9 10980HK, 2070 Super Max 8GB Vram, tested with files coming from internal M2 SSD and directly from the CFexpress card (no difference in the result).
Resolve 16.2.4, NVidia Studio driver. 
Very simple grade, 1 node for LUT, 1 node for LGG, 1 node for color boost, saturation and mid tone detail.
RAW: 
5.5k RAW 30 -> 5.5k 30 timeline realtime
5.5k RAW 60 -> 5.5k 30 timeline realtime
5.5k RAW 60 -> 5.5k 60 timeline 30-35 fps
5.5k RAW 60 -> 5.5k 60 timeline realtime (half res RAW processing)
8k RAW 24 -> 5.5k 24 timeline realtime (half res RAW processing)
8k RAW 24 -> 4k 24 timeline realtime (half res RAW processing)
8k RAW 24 -> 4k 24 timeline 15 fps
8k RAW 24 -> 8k 24 timeline 15 fps but not usable as you get gpu out of memory
h265 10bit:
4k 120 all-i -> 4k 30 timeline no realtime
4k 60 all-i -> 4k 30 timeline no realtime
4k 60 ipb -> 4k 30 timeline no realtime
4k 30 all-i -> 4k 30 timeline no realtime
4k 30 ipb -> 4k 30 timeline realtime
Observations:
- RAW is much easier in perf than h265 10bit, afiak no HW acceleration is currently supporting h265 10bit 4:2:2 only 4:2:0 or 4:4:4
- Thanks that you can set half res RAW (you can even set quarter res) on the decoding setting you can work in real time and then switch to full res for final rendering.
- Very strange that ipb can playback in realtime and all-i not, it could be a Resolve issue
- You need to disable Intel Quick Sync in Resolve preferences if not you cannot view h265 files, this seems a bug as they could detect that is not compatible with quick sync.
- 8k timeline with 8GB Vram is just not possible in Resolve. So even frame grabbing becomes an issue. 6k timeline works for frame grabbing. Did not test the limit here. 
- It is a very powerful notebook but no where near a powerful workstation... is a tad slower than a i7 9900k 1070 machine.
Hopefully both Resolve and CPU/GPU vendor will better support h265 10bit 4:2:2.
Bottom-line what you save in storage in not using RAW you will spend in time converting the footage.
Would be cool that other reports their experience in this thread and also with other NLEs.

Untrue; active cooling and weather sealing are not mutually exclusive.

Sigma designed a heatsink and attached a camera to it.
Seems they had some sort of intuition that full frame cameras in small bodies might run a bit on the warm side.
Considering the gulf in price between the R5 and the nearest camera with a comparable spec, I'm sure some enterprising company could make some money rehousing them into more cinema camera style bodies with a proper cooling system.
If this thing was £2K dearer and didn't overheat then I'm sure no one who wanted 8K RAW would baulk at that price.
People have been cinevising stills lenses for years so maybe its time to do the same with bodies.

Just finished a first pass on footage from a trip late 2018.
Over 18 days I shot 3024 clips totalling 5h37m, but somehow after I've gone and pulled my selects into a timeline I for a minute there I thought I still had 1984 clips totalling 2h35m!  Using the Source Tape view in The Cut page of Resolve it looks like I was half way through when I marked an in point but didn't mark an out point and then did an Append to End of Timeline and so I appended every clip from my in point to the end of my footage to my timeline.  Oops!
After fixing that little surprise, I now have 839 clips totalling 41m - much better!!  I was thinking how many of the really cool shots I was going to have to cut and getting quite sad about it!
I must say that I am really enjoying the new Cut page in Resolve.  Especially the Source Tape view (despite the above snafu) as you can just use the J-K-L keys across all of your footage without having to manually go to the next clip.  Combined with I and O and then P to append the range to the timeline I can edit with one hand and have a drink in the other 🙂 

For a two line post about the possible, albeit impressive, spec of the EVF of an as yet unannounced camera, the sheer quantity and absolute earnestness of the comments that have been generated underneath it is mind blowing.
People are fucking insane.

Quick Screen grabs from Lens testing Today.
Superb Kipon Mamiya 645 Speedbooster with the Mamiya 55mm F2,8. 
All handheld wide open.
LUIX S1/Iso 1000, 4K 10 bit. VLOG

Every now and then I stumble upon something that it useful from a film / cinema / video / technique education perspective.  Maybe you do too.
Let's share them here.
To start, here's a course I've just started watching, it's an MIT film and cinema history course, which (so far) appears to be the videotaped lectures.  The presenter is very passionate and lectures seem to be quite engaging.
https://ocw.mit.edu/courses/literature/21l-011-the-film-experience-fall-2013/index.htm

Working on a long documentary in Resolve and previously did a 25 minute doc in Resolve. Really all about organizing the footage and tagging as you shoot in the media page. I've gone all in on resolve at this point for projects. Just got the editor keyboard and it is awesome.

And here is my entry for most ridiculous Micro rig, the competition that no-one asked for and no-one will find useful.

Micro, FD-MFT adapter, Canon 2x TC, Canon FD 70-210 f4.
Might be one of the cheapest ways to get 1210mm 60p RAW that exists.  Beyond that, not so useful!