TomTheDP

How good was the copy of the film? A lot of times compression destroys low light scenes that would probably have been beautiful otherwise.

Yeah if shooting with vintage glass its a great budget option. There aren't many super wide lenses for 35mm film cameras as you don't need it, but with APSC 24mm doesn't quite cut it on the wide end. For cinema lenses you have tons of options as S35 has been the standard for most of film history, not that any of us can afford a S35 cine lens haha.

it'll happen eventually

From my personal experience it is amazing at around 28-40mm. Its a little wonky on the super wide end like 20mm or less. 50mm is good though iffy for moving shots, past 50mm starts to get iffy in general. The boost mode IBIS works great for locked down looking shots even at longer focal lengths though.

Yeah I am pretty mad at Canon for not offering a RAW output on the C70. Pretty much every other camera company is offering a RAW output or internal RAW these days. I'd rather shoot on my S1 with an external recorder for half the price of the C70. The C300 is a nice option but they should have went with an RF mount. I guess its nice that they used the same sensor as the C300 MK3 in the C70 at a much lower price point. Product segmentation is just such a ridiculous idea when the customers are aware of it.

Yeah not so much for a cine camera but auto ISO can certainly be helpful for event shooters. The Arri Amira was designed more for doc, TV, or event stuff ENG style, so I don't see why more modern features would be a bad thing for even an Alexa camera. I kind of ignore Canon but the C500 MK2 and C300 MK3 seem to possibly be the best options outside of Arri for overall color consistency and dynamic range. I guess at some point you get what you pay for. It is cool to see what you can do with a $1500 Panasonic camera though.

The power draw on the Mini is also less about 60w and 65 on the mini lF. I assume it's just more modern tech. I was interested to know what exactly they did to reduce the power draw but couldn't find any information on it. After further testing of my S1 it definitely doesn't like underexposure. Not only do you get banding at some point but the image quickly becomes pinkish. Keeping skin exposure around zero to +2 gives you a lot of room to work though and still affords you multiple stops in the highlights. Emotive color's luts actually have exposure adjustments for -2, -1, -.66, -.33, +.33, +.66, +1, and +2 that adjust for color shifts. He doesn't have anything for ISO shift unfortunately, though sticking to the native ISO's and just adjusting gain in post seems like the most consistent option. But yeah I agree and don't see why camera manufactures don't have this built into the color science, just seems lazy. The Pocket 6k is the only camera I've seen outside of the Alexa that maintains almost identical color from -4 to +4 exposure, not sure about in higher ISO's though.

True, I will say the image looks beautiful even at 3k 60fps. I was never impressed by the specs but I can't deny the image just works as long as you aren't shooting with tungsten lighting.

Yes although digital grain can be pleasing depending on the camera. For the Oscar nominated film Lady Bird they used the grain from the Alexa sensor as an aesthetic choice. They shot in 2k and would underexpose the sensor and normalize in post to bring out the grain.

I think the issue is film generally reacts nicer to over and under exposure so noise is more acceptable.

Brooo that is who I am getting the Alexa from.

Just noticed the Venice has compressed RAW options which look really nice. The same guy AG DOK has tested the venice and the S1 seems to come out ahead in Dynamic range, could be a flawed test of course but I wouldn't be surprised if its true. Yeah the power draw is a bummer on the classic. My RED MX has a 60w power draw which I find very manageable. 85w which is the classic is a good deal more though. The Amira 50w power draw is really attractive. I'd love to get an Amira but not sure if I can justify it over a RED gemini or Helium, I just hate RED. Yeah I'd love to have it just to see what the hype is about. I pretty much exclusively use the emotive color Alexa lut with my S1 and I really love the look. Maybe the magic would be worth the hassle, probably not though lol. The package I am looking at is $6600 with the Odyssey recorder and two 500gb drives, plus a few extras (ef mount, quick release plate and matte box). 1500 hours on the body. It's not a lot of money but it's still a good bit of money at the same time. Yeah would be nice to see the test with braw or prores RAW. The banding is really weird, I've never seen that in my footage.

Yeah the MX is a bit outdated. However if you want RED its a very affordable option and the body itself is light enough not to hold you up too much in any given situation.

Nice, I've seen that video before too haha! Yeah I am not terribly impressed by the Venice. Global shutter is certainly nice but the dynamic range and low light performance aren't the greatest. The rolling shutter on the S1 is probably the biggest downfall but its rarely noticeable in real world use, at least for me. Motion in general isn't the greatest on the S1 but its a pretty subtle thing to be able to notice. I recall the motion cadence on the Alexa much nicer than the RED Komodo for whatever reason. I am really debating getting an Alexa Classic. Do you feel good about owning the Alexa Plus these days?(pretty similar to the classic)

Eventually AF will get so advanced it will replace manual and of course be way cheaper than hiring a reliable focus puller and there is no such thing as a 100% reliable focus puller either. Touch to focus is already a thing and works pretty damn well. I personally still prefer manual and use it with no issues even on solo projects.

The RED one is a heavy guy. The Next up Scarlet MX is much more manageable though. No ND filters or high ISO performance either but REDraw is very nice to work with.

This dude, AG DOK, on Vimeo does a lot of nice dynamic range tests. Really interesting to see how close the Panasonic as well as other cameras come to Arri. Have to go to vimeo to watch them. Pretty much concludes my findings being able to pull back all the info from 4 stop over exposed shots. Per the video at 5 stops the Panasonic starts to lose information on the face, I noticed the Arri seems to lose a bit at 5 stops too though but not as much as the Panasonic. Its harder to judge shadows, they both have similar amount of noise but the Alexa retains color in the shadows better.

I didn't realize the Sony F3 was almost the weight of a RED, a bit lighter. 5 pounds is a good weight though I think. Definitely helps to having something DSLR size for one man crew stuff though.

I definitely will, should be a fun camera haha. Try lugging around the 14 pound Alexa 😆 I was considering the Sony F35 or F55 as well but they don't carry the same name as Arri.

I'd assume if you over expose by a stop or so it would be clean but I haven't played around with it enough to know. I usually over expose the S1 by 1-2 stops, sometimes even more, just with the internal codec. I've found the S1 can hold close to 5 stops over exposed, but doesn't love underexposure.

From my testing the Pocket held more in the highlights by about a stop. It also does better in the shadows as the URSA falls into an unusable fixed noise pattern when under exposed. The URSA G2 is better for handheld. In terms of rigging I think its a toss up. The Pocket is way easier to put on a gimbal.

The URSA has SDI out and will give you monitoring options without slow latency issues. If you are a solo shooter the P6K pro is definitely superior. Smaller and gives you everything you need. Super bright sharp built in screen, EVF if wanted, 6K, 3200 iso, internal ND's. If you need a camera that is suited for a more professional environment the URSA is superior. It's just made for that purpose. The P6K has only a single HDMI out. Rolling shutter is another issue. The P6K has pretty noticeable rolling shutter where the URSA has a super fast readout, like an Alexa. You also get 4k 120fps on the URSA. Handheld on the URSA looks much more organic but you can work around that by uses stabilized Canon lenses on the P6K. The Pocket 4k is a great camera if you can get by without internal ND's. Its got a fairly fast readout so the rolling shutter is much less noticeable than on the P6K. You actually get a wider FOV with a speed booster on the P4K as well, close to full frame on the .64 metabones ones. You save some space with data on the P4K and 4k is a bit easier on the editing software. Color is better on the P6K, the low light performance is a bit better, it also has more dynamic range. The Pocket 6k actually has better dynamic range than the URSA, tho I think the URSA looks a bit more organic.

Yeah at that point almost any camera would be fine.

Yeah for me even with a Ninja and v mount the Panasonic is still pretty damn small and a little weight helps for movements. I was applying the vlog lut and then using the Emotive color lut, maybe that was my mistake.

Sounds promising.