TomTheDP

It definitely had a more modern look than the originals. I think the OG Matrix is one of the best action movies of all time. I was very entertained by the trailer, hopefully the movie is as good. I'd assume that, since its being made by Lana Wachowski, it'll be decent and not just homage/reboot drivel.

I mean the usual use for a LUT is converting LOG into a REC709 colorspace. What LUT were you using? Was it designed for the type of LOG profile you used? ZLOG comes with two versions of LOG, Zlog and Zlog-L. Zlog is designed to mimic a less flat log curve like C-log. So if you are using LUTS they should be ones designed for CLOG. If you are using Zlog-L you should use LUTS designed for Slog2, Vlog, or Flog. Some LUTs are better than other as its completely dependent on whoever made them.

Maybe prores in camera but will settle for small external recorder if that won't happen.

@lumbowski What were the conditions you shot the video in? I am seeing a possibility of some harder light sources. Luts can't really be one size fits all so you have to adjust based on how your video was lit and exposed. In terms of a cinematic look there are many different kinds both lower and higher contrast looks. The final image with the lut looks relatively normal to me. It's definitely on the higher contrast side but also normal looking. Yes the image with the lut is more contrasty. Upping the contrast on the original image might take you closer to the look of the LUT but it won't be the same. There are usually subtleties going on in regards to color and roll off with luts that can't be replicated by simply adjusting the contrast slider.

The Pocket 6k cannot downscale the RAW data to a lower resolution. The only way to do that with RAW usually is line skipping which the 5DMK3 does with magic lantern or the Z6 shooting prores RAW 4K. The URSA 12K does have RAW with the full sensor not line skipped at different resolutions, its using a non traditional method to do it though and has a very unique sensor.

I used natural on a Wedding recently and found it to be really nice. The S1 has really nice dynamic range and roll off even in the natural profile. Have you tried the E-shutter option? I shoot mostly with the electronic shutter these days and don't really notice a difference. aaaaaannnd I just forgot speedlights don't work with E-shutter.

I've found the S1's H264 10 bit is pretty darn good. Prores seems to look better in the shadows from the quick test I did. I think it varies from camera to camera. Some cameras have less processing in their Prores outputs which contributes to a different look. Bitrate helping the image should depend on how much motion is in the frame.

That is true. I still am not sure why they wouldn't make an interchangeable mount like the old RED cameras. @kye I think it comes down to most people will choose 5 pounds over 10 or 15 if you can get the same function. I have heard AC's complain about the Komodo being very impractical for traditional use and really being made for solo operation with the touch screen being placed where it is. The Mini with the EVF/LCD is a better solution. But thats why they are the top brand I suppose.

I'd be interested, preferably with SDI. It should be designed to use smaller SSD's as the ones made for the Ninja V are on the bigger side. I think something designed to be like a battery grip could be interesting and very compact. Prores RAW is a big advantage codec wise and Prores is nice too. Sure the advantages to prores over H264 aren't huge but if you don't have the latest PC prores is way more manageable. I also like to shoot 1080p downsampled from 4k which not all cameras do internally.

It is a locking mount which is cool. Though most people I know in the uber professional relm dislike using adapters. I don't know, all the Alexa cameras are PL mount and there doesn't seem to be an issue with lenses. Non PL mount lenses just won't be used on super high end stuff for the most part. Its an interesting choice for sure. Doesn't seem to directly compete with ARRI. Of course its also cheaper than the Mini and much cheaper than the LF. I think its a different direction for RED. Its a changing industry.

I am puzzled why its not an interchangeable mount. Would a big production want to deal with an RF mount on their A cam? Will they release a RED ranger style version with a PL mount option?

Kind of a big change for RED. They are advertising this camera as being superior to the Monstro which was released at $80,000. The RF mount also signifies they are trying to target a lower end market, as well as a higher end one presumably. I hate the fan placements on RED.

The R5 seems like a great option. Still sticking with my Pana S1.

The A1 8k is less sharp than the A7S3 4K?

If shooting in LOG definitely go 10 bit. If shooting REC709 you won't really see a difference. My 2 cents It does largely depend on the camera though. CLOG is also a less flat log curve so it doesn't really benefit from as much data.

I think you'd be better off going with the URSA mini pro as they go for pretty cheap these days. Internal ND's are a huge plus. If you get a good sensor the OG URSA 4.6k is solid though. The old 5in screen was really nice to have. CDNG is the best RAW you can get though the files are pretty big, you do have the option to do 4:1 though. You also can do HD or 2k at 444 which is great and not an option on the Pocket cams. 4.6K up to 60fps in prores is nice too and makes the camera still competitive today in my opinion. FPN isn't an issue unless you really push the shadows or if you shoot above 800 iso. I actually like the URSA size, its about 5 pounds and easy to rig up. The power draw isn't too bad either like some older cine cameras. Having SDI is nice for a lot of work. You won't have to deal with monitor lag like with HDMI. For media I'd recommend Cfast to SDD options. There are a lot of small and cheap options if you go that route. Overall its a solid camera unless you need to shoot at high ISO. I'd also spring for the Mini Pro as ND's are a big advantage in my book. If buying use make sure to test if the sensor has the magenta tone vignetting. Also keep in mind you'll want an IR cut filter when using ND's, the URSA is pretty sensitive when it comes to that.

Wouldn't opening the film door only kill a couple frames ?

I've been doing it lately. I got a Nikon 6006. The viewfinder is very nice and clear though it can be hard to see when the light gets dim. Battery powered so using it doesn't feel very vintage esque. I actually got a bunch of outdated film recently. Just finished a roll of Kodak gold 1600, really interested to see how it looks. It expired in 1993 before I was born haha. I've been wanting to get something like your with a fixed lens though, maybe even something with auto focus.

Yeah Fuji is probably the closest. 4K 60p, 10 bit, LOG are all upgrades coming from the NX1. Fuji AF is probably not as reliable as the NX1 though and I don't think low light is much better. I do love Fuji color a lot. I think the Sony A7S3 is a good option, colors are a lot better than previous attempts from Sony. However its a bit of cash to shell out at $4000. I personally think the Pana S1 is the best deal on the market right now, you just have to deal with subpar Auto focus. Colors are a good deal better than the M43 cameras IMO. I prefer Fuji color but Fuji's 4k files just feel a bit thin compared to Panasonic's.

The bad thing about the URSA 4.6K is fixed noise pattern when pushing shadows or shooting above 800 iso. The 12k doesn't have that as far as I am aware. To me that is a huge advantage, which results in more usable dynamic range as well as being able to shoot at 3200 iso in a pinch. I've also found the Pocket 6k to be significantly better than the URSA in terms of dynamic range.

This is pretty cool. Just waiting on a new release from Fuji that will compete with the S1 image but with Fuji color. Will be an instant buy for me.

Finally!! Maybe used Amira and Classic bodies will drop even more in price.

I think its really project dependent. The URSA with a light lens and light v mount can be thrown on a relatively cheap gimbal. Of course for longer shoots you'd want a support system so your back isn't dying carrying such a setup. That said you can get great handheld shots with the URSA. I've found with a camera that size, about 5 pounds, I can shoot up to 50mm with no problems. I did a wedding the other day and shot a ton of handheld on my Sony F3 which is the same size as the URSA. You don't have auto focus but I don't think that is really needed. I really only use manual focus and rarely have a focus puller. I'd want three 200wh v mounts, a charger, and a Ronin RS2 or similar gimbal. That's an extra $1400 considering you have lenses. A lot of people already have such a gimbal though. Most stuff will be tripod or handheld with the occasional gimbal shot. Really depends on the type of work you do though. Aside from that subject the price drop is pretty crazy. It should have been lower priced to begin with. I don't really care that much but spending $10k only to have the camera be worth 6k in a few months is a bad look. Definitely would make me question dropping a large amount on a blackmagic camera in the future. That's why I almost always buy used these days.

Yeah the S1 can't do all-i so you are all good. I've found the S1 dynamic range is really good even in the natural profile.

Why would you need v90 cards? V30 works fine for me in all the recording modes including 4k 60p and 6k.