filmmakereu

For sure, cinema is a combo like every artistic medium, requiring technology, is : ) Let alone the more complex ones... (EAG :- )

There isn't any confusion at all involved because math isn't applied. Perception doesn't need to be less scientific than math.

These guys are right. No math involved logic and perception are the cinema.

Thanks for sharing

Saw lots of Iceland volcano footage online lately, reminded me of this shoot. Straight from the source. No color grade. Play guess the camera with this one:
 

For sure, reason why it makes little to no sense to deny 4K and above don't bring anything new as I've read here a few times... ; )
So @Andrew Reid is also on the spot with his 80% quote over the look : )
Even though, to couple "space", cinema is also and mainly "time" where stuff such as cadence, frame rate, shutter etc., play a no less relevant role (EAG :- )

Of course its about lenses.. AND how they interact on a sensor size.
Going FF for the Ozark DP allowed him to rehouse and use Leica R glass with the same feel as on 35mm film. 
No need to hunt down an impossible to find 23mm f0.95 equivalent just to get the standard 35mm f1.4 FoV/Dof look.
And yes I know all about Voigtlander but that is just one speciality lens maker.
Speedboosters are another common trick to achieve FF but then we're really talking "faux-full-frame".
Going FF opens you up to fast wides from all popular lens makers from all periods of time.
And like I said earlier it's not just about DoF. A 23mm has more distortion than a 35mm. Both in FoV & perspective. 
In the end it's subjective, again I am not a FF elitist when it comes to video/film. I also love Super35 and the thousands of modern classics shot on Alexas, REDs, Varicams etc..
But there is a convenience of just popping on any FF lens and the focal length aperture is what it is. no math involved.
 

Love your reflections, mate! < 3 Art is all about that, in a word: perception :- )

If the digital stabilization is anything like Sony's, it can be much better than IBIS in many cases - with the crop caveat.
Disappointed no internal ND's. But looking at the spec, heat management is really holding the R5 back LOL! If this was available when the R5 launched, I would own one and a regular R5. I was ready to switch until the overheating reared its ugly head. Oh well...
Chris

here is powered over power bank 
 

Why is not an Arri Alexa in this body but with AF and 8k 240 is beyond any logic.... for this price it should be the minimum.
 
Why people don't download some CRLs 8k and try in Resolve before complaining that is not workable. Of course if you want to record hours and hours you will not use it but then there is finally XF-AVC in this camera that will do it, but you want to squeez out the max you can really work with CRL especially the LT version.

No camera is perfect. I think this is certainly a better effort than what Sony did with the FX3. There is Cinema RAW in there at roughly 3:1, 6:1, and 10:1 compression. There is DPAF v2 with object, face, head, eye detection. Oversampled 4K from 8K up to 60p. 8K60p RAW is there but with need of external PD power via USB-C (not ideal but it is there).
The R5C is an imperfect step forward but one in the right direction imho. It’s a proper cinema camera in a Large mirrorless form factor. The FX3 doesn’t even have shutter angle for fucks sake let alone false color. So here we are: the non-overheating R5 everybody wanted WITH full fledge EOS Cinema mode and people are still not happy.
Perhaps it’s the S1H people wanted without the garbage AF?…With internal RAW to boot and even better exposure tools? No IBIS but I’ll take that over out of focus footage or being stuck to MF for everything.
I’m excited. Let’s see what Sony does. Let’s see if Nikon can actually pull it off with Z6/7 mark 3. MF cinema from Fuji? PDAf from panasonic? Hell will freeze over but we can dream right?

Emanuel is right. Are you comparing the digital digitalization in-camera of the new R5C with Resolve from footage of a different camera? This will lead to different results all around.

Back again to your post, I think any people's complaint on IBIS or lack of IBIS should end here in this video test, thanks for your post BTW even though anything may not surprise me there from what I've already tested myself using one and another but it's always interesting to know some other people are arriving to the same conclusions of ourselves : ) People cannot expect the best of each worlds. IBIS or digital stabilization helps SHAKY hands (IBIS wobble is connected with a physical solution, as simple as that : ) -- Period.
Other than that, buy a gimbal and stop whining. End of story :- )

Do you already realize this is the first camera full hybrid?
With the C label under the $4,500 mark?
Let alone RAW video (RAW light), 8K 60p, 4K 120p without overheating...
 
This is no less than such a milestone!
 
EAG :- )

On the other hand, we have the shills, not exactly here but spread nowadays on YouTube who kill all the valuable information we are used to find on a few places like a brand agnostic voice as EOSHD still is. I believe that's why this discussion is yet possible between both sides and you're not exactly flooded with the customary paid BS. At least here.
That said, I don't see anything wrong on taking ARRI ALEXA as parameter : ) Just committed with a couple of feature films shot along 1x Classic and 2x Mini for some good reason. Even though, in one of them, basically RED Dragon as preferred capture device other than the ALEXA Mini, mainly used for low light but not because the RED was not able to perform well as actualy was. Factually for narrative exigence, the circumstances were restricted to low light footage during the night time.

The latest page to the PDF is attached. The problem, I believe, is that GH5 VLog L footage has an unusual full luminance flagging for video footage. This was corrected to read correctly in Adobe programs in May of this year. The key for VLog L and LogC footage is that full white (pointed into overblown light source) places below 768. If its above 768, the levels are set to video (which need to be set to 'Full' or 'Data' in Resolve)
I can't give away my secret sauce

I obviously agree with everything you wrote, Marty : ) No new sensors will change that once the revolution is already made in the meantime. No need to say this place is the proof of it. Nothing will change the need of funding and distribution.
The point is that both are much different today. Digital age has opened many other gates you could only dream before. Hey I speak by myself, started more than 25 years ago into old school film and look at where I am now with many international productions running at the same time : )) That was rather impossible just a decade and a half ago :- )

I rarely shoot music videos but I made one for a friend a couple of months before the pandemic. Shot with GH5, with Pana/Leica 15mm 1.7, 25mm 1.4 and 42,5 Nocticron. And two Aputure HR 672s. No pre-production, no storyboard, It's was all improvised, a very stressful couple of hours so bear with me 🙂 I used Emotive color v3 when editing. 
 

Hi, I know this forum has been quiet for a long time, but I did not want to miss the opportunity to share this teaser of my next movie. All shot on a GH5 using GHalex.
This film began to be filmed in the middle of the pandemic, and now it is in post production to be released in 2022. I cannot help but thank @Sage for his work in creating this color matrix that has made my life easier.
Cheers!

Yeah, I'm afraid the whole transformation of this business is putting too many heads upside down. On the other hand, I think arthouse has gained much more than losing jobs anyway and affordable technology is kicking asses and taking names as ever before : ) You don't need to kiss someone's ass anymore to shoot at the mainstream film look as it was then.
The time has come with or without double stacked sensors on small form factor devices ;- )

I was itching to make another short film about 2 months ago, but I'm not much of a writer.
Then I found "Script Revolution". A webiste where you can get free scripts offered by the writers.
I'm glad I found this website. I found a great little 3 page script by writer Robert Bruinewoud.
As luck would have it, I found out about the Rode Reel contest, "Make a short film 3. minutes or shorter" right after that. 
Mine ended up being 4 1/2 mins.  So I made a cutdown version.
I'll be releasing the longer version to film festivals around the world.
Shot on the BMPCC 4k using voigtlander primes, Kowa and Moller 16 Amamorphic scopes.
Check it out if you want to.
Vote if you like it.
https://myrodereel.com/watch/12720

I think it can work for computational acquisition and all the remaining stuff... : )
But they still have to work hard to mimic our exposure triangle properly as you fairly say. They're a pain to use today other than the pocket small form factor : X
Let alone the production values mantra which will stand no matter the tech evolves ;- )

Basically Grant Petty (Blackmagic CEO) said it becomes a 6K camera when you put an EF, PL, or F/G (Nikon) lens on it, and they're delivering it with an EF mount thrown in. He said they got tired of waiting for backordered sensors for the old Ursa Broadcast so took the opportunity to redesign it around a "new" sensor. Since the specs are so close, everyone is assuming this the same sensor as the Pocket 6K, including its not-so-great rolling shutter.
I agree that this looks like a really versatile camera for documentary and indie filmmakers although it sounds like there may be a few limitations compared with the BMPCC 6K (e.g., no cinema 4K modes or 2.8k slow motion, plus you have to use gain to set exposure, which is something broadcast people are used to doing but not cinematographers). Still, I find this form factor more compelling and if I ever upgrade from my current cameras this will be near the top of my list of considerations.
Grant said existing Ursa accessories would be compatible.

Any word on the 6k and 4k recording modes? What about the compatibility of the accessories?