TomTheDP

Looks beautiful. Downsampled 4k to HD is hard to distinguish from HD imo. I'd recommend rendering in 4k to get that extra YouTube bitrate.

I am waiting on Adorama's brand CLAR to put something out in the 1000w range. I have found their lights to be excellent in durability and light quality wise.

I would be interested to see how much the streaking is noticeable in practical situations. The RED raptor has a streaking issue due to its "stitched together" sensors.

Spoiled in regards to what people had to work with not too long ago in this price bracket. I grew up with VHS home video, which is barely watchable now. I now own probably the best digital cinema camera ever made and also have a myrid of hybrid cameras that shoot videos that are remarkably close in quality to that said camera, at least to the untrained eye. Couldn't say that when I first got into this, at least not without a lot more money.

I agree. It is definitely also important to hold companies accountable for what they make. That probably sounds privileged as we are so spoiled when it comes to cameras now. They are raking in the cash though so why not keep them on their toes. I have always been a Panasonic guy as I felt they always pushed forward when it came to image quality and new features. I have felt the same with Fuji. Sony and Canon have always felt more strategic in what they put out, in a bad way. Hard to escape from their state of the art auto focus. Nikon's current in camera RAW release is exciting though and overdue. Hopefully that pushes Sony, Panasonic, and Canon to include RAW in all their models.

The BM pocket 4k is still a super dope B-cam or budget A-cam. It's easy to match to almost any camera because you have the light 4k compressed RAW internal. You can't get anything with that capability for the same price.

I guess I don't care a ton because I only really look at the technical side of his reviews. He is sometimes the first person to post dynamic range and rolling shutter tests, although he doesn't use a measurement for RS so its not super useful.

My brothers have been binging halloween movies, they just finished the entire Chucky series lol. Definitely one of the goofier horror film series. Makes me miss the days before everything was CG though

The A7S3 or FX3 also have low RS. The Pana S1/S1H/S5 also has pretty low RS in S35 crop mode.

The difference between 3.2k the resolution being used if shooting spherical and 2.8k which is what the Alexa classic sensor uses is pretty small imo. Yes the Alexa Classic is 2k, but its downsampled from 2.8k. If you look at the difference between downsampled 2k from 2.8k and 2.8k native it is pretty much impossible to tell the difference. The benefit of shooting RAW is definitely nice, ARRI raw has more texture than prores. Of course it comes at the cost of a little more grain. I am sure the little extra info in Prores 444XQ is helpful sometimes too. To me ARRI didn't get a big boost until the LF tho. You do notice the extra detail comparing the LF to any of the previous S35 Alexas. Comparing different flavors of 3k is pretty negligible though at least in terms of resolution. I do think 12bit 444 makes a noticeable difference over 10 bit if you push the color at all, mainly with skin tones. just my 2 cents

That would suck. YouTube 1080p blows, its like 10mbps.

The R6 would be the upgrade IMO. Maybe the EOS R7 but its APSC. I'd recommend a used Panasonic S1 over the S5. Just a better body with more features at a similar price point. The S1/S5 image quality in video is far superior to the EOS R. The low light performance in both video and photo is also way better, better dynamic range as well in photos. You can shoot 6k and 4k with no crop and S35 crop 4K 60 fps. Now it isn't going to give you Canon colors and auto focus is going to be lacking compared to the EOS R.

The Venice 2 has 3 different RAW compression options. X-OCN XT which is 965mbps X-OCN ST which is 660mbps X-OCN LT which is 389 mbps The RAW LT is even smaller than 4k prores 422. I am not sure if the older Venice has the same RAW options or not. I have been shooting 2k 422 a lot on my Alexa Classic. I still get the amazing highlight retention and I am not usually pushing the footage too far. It is nice to have 444 as an option though. Arri Raw in 2.8k wouldn't be terrible but it edits terribly. By far the most choppy footage I have ever encountered.

In terms of vintage glass I love the Pentax 50mm 1.2 Shooting at 1.2 isn't super practical but it definitely gives a crazy interesting look. The Pentax 50mm 1.2 is the sharpest lens at that speed I have ever used at least of the vintage variety. I love the Minolta 35mm f1.8. It's my favorite 35mm vintage lens I have used. Very sharp and really nice lens flares and color. I wish it was adaptable to EF mount but alas your L mount will have no issue. In terms of super cheap 50s the Nikon pancake 1.8 is really nice. Very sharp and super cheap. I do love the helios 58mm as well. The Pentax 20mm 2.8 is the sharpest wide angle vintage lens I have ever used. Not super cheap but not super expensive. The Canon FD 85mm 1.8 is really nice. Low contrast but sharp, just super lovely.

Have you used the FX9, Venice or FX30? I personally have never used a camera with dual native ISO that had the same noise performance at the higher base ISO. I just tested the sigma FP in broad daylight at its base iso of 100 and second base of 3200. There was more noise in the shadows at 3200. When I used to own the Panasonic S1 I always would over expose by 1-2 stops to reduce noise when shooting at 4000 iso in dimmer light. Maybe Sigma and Panasonic are different than Sony, although they both use Sony sensors.

The magic of L mount is you can literally mount any kind of lens to it with a cheap adapter. That said it really depends what kind of stuff you'll be shooting. The Lumix lenses for the S1 line are solid if you need AF.

Yeah that is probably true in regards to sensors. The motion cadence thing is definitely confusing. I am not sure how the DGO would affect it, as the Alexa does the same thing. But I guess it's more processing hence more room for issues.

I think it has more to do with processing than the codec itself. Of course motion will generally look better with ALL-I vs Long GOP due to the nature of the compression. But everything else comes down to processing. I would think aside from the manufactures choice in processing that H264 ALL-I at 200mbps in HD would match Prores 422 HQ at HD which is around 200mbps.

I mean it isn't terribly hard to throw on an ND especially with the FX6 where its built in. Easier to take away light than to add it.

The computing time made it a lot less attractive for me. Definitely works a treat though.

Guessing you are getting the two mixed up. The FX3 has the second native iso of 12,800. I have never used a dual iso camera that isn't noisier at the second native ISO. Of course this is often exaggerated as people usually use the second native ISO in very dim situations where they are underexposing half the things in the shot.

I personally have found 10 bit H265 and H264 to be a pain to edit even on my M1 chip 16gb ram Mac. RAW is definitely a huge upgrade on the S1. I found when you set the log footage to vlog it looks different than the internal codec, but maybe that was my imagination.

That is true, its technically not RAW. You might like BRAW off the Panasonic S1.

What about BRAW? 12:1 is pretty light.

Tough question. I love shooting higher bitrates with lower resolution. The Alexa Classic 2k lets me shoot in 444 without massive files and super smooth NLE experience. Sometimes I do crave 4k recording. With the relatively cheap costs of SSDs shooting 12bit 4k on the Sigma FP is doable. Still long term storage becomes a pain the more data you rack up. Maybe I just need a better archiving system. I'd say when shooting 4k its nice to have 5:1 compression option, really saves you a lot of space with no noticeable loss in IQ. Prores 422 seems to look nice and isn't too big. Of course with 8k its pretty massive, 4k or 2.8k things aren't so bad. Prores LT is a little brittle for me. But maybe shooting 8k kind of makes up for it. I just can't buy into the 6k-8k hype. 4k is a sweet spot for me and I don't mind shooting HD either.