TomTheDP

Yeah honestly I've never really noticed rolling shutter outside of flash photography at weddings. The one time I've noticed it is shooting out of a moving car, stuff can get slanted 😂

A fast readout is an expectation these days at least for me. Yes not global shutter but fast enough where it's not noticeable is somewhat important. Its becoming a reality with the RED Komodo and FX6/A7S3, I hope the trend continues.

Might as well be a global shutter considering how fast the readout is.

If you don't care for RAW that much it sounds like the FS7 suits you more. A full fame FOV is definitely nice to have. The whole future proofing thing is kind of BS in my opinion. 95% of content is throwaway. As long as your cameras shoots 4k 60p you are good to go for the current market and I'd think you'd be set for quite a long time as least in terms of resolution. The pocket 4k/6k was used for 3 narratives at Sundance, the URSA for 1. While RED wasn't used for any. Docs was a different story. Blackmagic cameras are going to be seen more and more often no doubt. I would still say Sony is probably a better brand in terms of being a recognizable camera package, maybe.

A fuji would be great for travel/family stuff. If you want something even smaller I'd suggest the XT-30 as long as you don't need 10 bit. Fuji lenses are also nice and compact. In terms of video work I'd recommend staying in the same brand as camera matching is a pain that's just not worth it. Two XT3's would be a good idea if you are looking for a 4k workflow. 5D MK3 with magic lantern is about as nice of an image as you can get, aside from maybe a bit less dynamic range that newer cameras.

More curious to just hear how you think the footage feels, rather than anything scientific.

I am unsure of the specifics but it is pretty broad. It forced Blackmagic to get rid of compressed CDNG and invent BRAW(which is debayered hence not actually RAW). It also forced Apple to pay fees for their Prores RAW codec. Whatever the patent is, it's effective enough to conquer Apple.

I am pretty sure you wouldn't have lost any info if you shot in LOG in that shot you posted. Looked very nice even in REC709

I agree. It doesn't need to be as small as the BGH1 but I agree no need to make it bigger than it needs to be. I think full frame is a must, its definitely the preferred sensor size for the market the EVA1 falls into. A raw module made for the camera to capture prores RAW would be nice. I wouldn't mind if they went with an easily mountable V mount battery module too. Right now there is a spot to fill for a $6,000 full frame 6k camera. The FX6 takes the 4k spot, the RED Komodo is 6k but S35 and no ND's, the C70 is 4k and S35. The Z-cam F6 is 6k but its not as run and gun friendly as an EVA2 could be. The EVA1 just feels overpriced now considering you can get a full frame S1 or S5 for under 2k. I hope they don't go the 8k route, I just don't see the point outside of hype.

Very interesting. Do you think I could send you some of my S1 footage. Would be interested to see your thoughts on it. I spoke with Juan Melera on instagram a bit. He seems to be a big fan of the Pocket 6k. Enough to where he says he rarely brings out the Alexa anymore. He recommended me checking out the Sony Fx6 as well.

That's encouraging. Part of the appeal of the Alexa is how it responds to all different types of lighting though. How is the response to tungsten and mixed lighting on the OG pocket. They are both emulating film but so are all the Pocket cameras to some degree, or trying to emulate the Alexa itself. True, I've heard some very positive things about it from various trustworthy people. Internal 444 is nice too. A big downside is you have to reboot the camera which takes about 1 minute whenever changing frame rates. I suppose that's not a big deal on the type of shoots you'd be using it on. Oddly enough I am also considering the ole Sony F3.

Having to grade footage to match side by side is much different than just grading standalone footage. Footage that is pleasing to your eye and footage that matches an Alexa are two different things. I've heard a lot of people say the OG BM pocket has a very nice image, more organic than the new P4K/6K. I've never seen any comparisons of one against the Alexa though. If I ever decide to get the Alexa classic it would be a cheap enough test considering the OG pocket can be had for 500 bucks. Emotive color also has power grades for the URSA and Pocket cameras. Juan doesn't have different luts for different lighting situations which makes me think Alex's luts/powergrades are likely superior. I did just ask Juan Melara about his recommendation for a camera that could cut with the Alexa. Hopefully he'll find the time to share his thoughts with me. The OG Pocket is small but the Pocket 4k is also tiny as far as cinema cameras go. The screen is also much more usable too. A big downside of the OG pocket is it sucks to rig up, all the ports on it, HDMI etc... really suck. The micro has full HDMI fortunately and would be my choice if I were to buy one of the two, of course you need a monitor for it. Poorly shot footage always sucks but it'll look better on an Alexa than most other cameras.

at least you can be confident you are in focus

Maybe not most underrated but the Panasonic S1 is definately underrated outside of this forum. It's giving an FX9 quality image for peanuts. I would say it could compete with the C500 MK2 and C300 MK3 as well. The C500 can see into the shadows better by 2 stops or so, but it doesn't have dual native ISO. The Panasonic S1 can do 4000 iso with 4 stops of headroom in the highlights and a couple in the shadows. That punches the C500 dynamic range in the gut at the same ISO.

Yes, the varicam lT seems to be pretty nice, but it's a bit clunky to use, and I would prefer an Alexa at that point. Not big on the FX9, I think my S1 delivers just as good of an image. My use for it as a B-cam would generally be in somewhat controlled environments for interviews or narrative work. For me it looks way better than any other lut I've used. The contrast and highlight roll off it gives is hard to mimic manually. I'd want a Ninja V to get RAW out of the Panasonic tho to get more fine tuned adjustments. Getting the wide balance right is critical with the Luts, which is why I think a Blackmagic camera would be ideal. I'll definitely consider the Pocket or Micro as a B-cam if I do decide to get an Alexa. It's nice to hear it cuts well with the Alexa from Charters. Cinema DNG is definitely the best codec. Maybe I'll get one and send it to Alex from emotive color to construct a lut for.

I get spoiled with the Panasonic S1, I forget not all screens are created equal haha. Thats where you have to dig deeper than the spec sheet.

It's definitely a step in the right direction for Sony. If they get internal compressed RAW they'll have it in the bag.

I had an Alexa in the bag but I put a hold on it. Going to decide tomorrow if I want to push the button or not. I was actually heavily considering an F35 as it has a much lower power draw and is actually cheaper, but I don't want to be limited to PL mount lenses. I love film personally but don't have the budget to shoot on it for most projects so I wanted what's second best. I think the F35 and Alexa are the closest you can get in the digital realm with the least amount of work. If you check the emotive color website he has a lot of comparison images though of course I am curious to see if I can obtain that same match that he does in random situations. Thats what the lut was designed for though, matching a cheaper B cam to an Arri. At some point being an owner/operator of a RED or ARRI was a big help in one's career. Looking at Sundance this year more and more higher profile projects are being shot on Blackmagic, still not the majority but it's changing slowly but surely. The benefit of owning a high end camera is getting less and less.

I am sure the colors are nice but color matching two different cameras/sensors is always a pain regardless. I am confident with my S1 as emotive color does the work for me 😅. Probably would like to get a P4K or 6K at some point for the RAW though, a bit easier to match WB. I like the Micro body over the OG pocket camera. The screen on the pocket cam was just kind of terrible and the micro HDMI was really brittle.

Yeah I like the OG GH2, very nice image if you don't need more than 24p. Very nice downsampled HD. About as sharp as any native 4k sensor.

not much upgrade options past an Alexa 😅

Yeah 4K isn't noticeable unless its showing on a giant screen. Great footage, always wanted to get this camera but it won't really matcha as a Bcam to my current A cams.

It's a little worse in Open gate but probably not noticeable for most people. The 4k S35 mode is probably acceptable rolling shutter wise, though its still noticeable. The 1080p S35 mode is really fast, Alexa level, but the HD on the S1 is pretty sucky, especially in S35 mode. I know, it would be an instant buy for me. Or more like an EVA2 as I feel the Panasonic S1H is too consumer of a sensor to put in a varicam, even though its incredibly good regardless.

Maybe that is for stills? I know on the Panasonic S1 for stills 100 iso is like native (highest dynamic range) where in video its 640. 14.6 stops would be Alexa level probably beyond depending on how pleasing the noise is. The thing that pushes the Alexa above the rest is not dynamic range but color science especially in terms of how pleasing and accurate the color is when over and under exposed. Even if the Alexa is noisy asf at -5 exposure the colors are still pleasing and the noise is pretty nice. Either way sounds like a great sensor. Would love to see it in a fuji with internals ND's and raw. 🤩 or a new Samsung camera??

Any experience using third party apps with the iPhone? Or is the stock codec that good?