FHDcrew

I just bought a Scarlet-X that I am looking forward to working with. So that's my answer to the question posed in this thread. I already had lenses, batteries, and a monitor, so I purchased:
Scarlet-X brain with mini mag side module with dual fan replacement 2.0 (important!)
2x 480GB mini mags
Side grip
Red Pro top cheese plate
Red aluminum EF mount
V-mount battery solution (pretty difficult to find at a workable price!)
Nitze top handle and monitor mount

All in all, it set me back just under $3K.

I did a lot of research on the other legacy Red cameras before making this purchase. The Epic-X brains seem prone to failure. The Dragon-upgraded Epics and Scarlets have three OLPFs to choose from: Low Light (which is basically the same as the OLPF in front of the MX sensors and offers clean shadows but more limited highlights), Skintone/Highlight (nice highlight capture but noisy shadows above ISO 200), and the "Standard" OLPF which seems to fall somewhere in between the two extremes. Ultimately, I decided that clean shadows were more important to me than extra highlight range so I opted for the older MX sensor/OLPF.

Regarding crop, the more budget-friendly Scarlet-Xs are in the same boat as the Raven. The max resolution (disregarding the 12fps at 5K) on the Scarlet-X has a 1.14x crop when compared to 3perf Super35 film while he Raven has a 1.12x crop but is limited to a wider aspect ratio at that resolution. So they are pretty close in this regard. One thing to consider is that the Raven requires the ~$1K IO module if you want to plug a non-Red monitor into it, while the Scarlet comes with both SDI and HDMI ports standard. This pushed me over the edge and I decided to go with the older camera.

I did some side by side shots of the Scarlet-X with my Red One MX and have to say that I slightly prefer the image from the older camera (which is softer, cooler, and less contrasty). My original plan was to sell the R1MX, but now I'm having second thoughts.

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting. 

£9.99 to unlock the full app.
£3500 for a decent mirrorless camera.
You choose 🙂

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then. 

As we're just going to make this now be a generic thread about old Sony video cameras that are cool, such as the "full frame" Sony NEX-VG900 (there are also the ASP-C VG10/VG20/VG30 cameras):
 

Oh yeah, that would be perfect!  
I didn't know it took RS into account, that's cool.  It makes sense because the data is all there.  
Hopefully we're heading towards a common gyro data standard, or at least a set of standards, that can be used for things like this.  I'd happily shoot without an ND, then apply stabilisation and blur based on gyro data, then apply any lens simulations, then colour grade on top of that!

Yup. Maybe the older one. There is a new G2 that just came out: 
https://www.bhphotovideo.com/c/product/1787638-REG/blackmagic_design_micro_studio_camera_4k.html 

I just saw this video where Waqas demos the OFX version of the Motion Blur effect, and it does a seriously good job - I've linked to the final result:
He's also applied a blur to counteract the ridiculous sharpening (what a great idea!), corrected for the lens distortion, and added a subtle grade.
I have no idea if the OFX version of this has recently gotten better or if it's just been there all along, but it's waaaaaay better than the tool in the UI, which is what I tried previously.
I haven't played with it yet, so this might be a cherry-picked example where it worked ok, but it's interesting and worth playing with, especially on clips with more subtle movement.

Easy!  It's that black thing with some white writing on it....  duh!

Agreed.  The program here is much more broadcast oriented than is film.  Which is fine, because through my own experience, forum-reading, YouTube watching, and real-world practice I've found I can learn and mature the skills I need without college.  I have learned lighting pretty much solely based on my own research.  There are people in this program who are seniors and want to be "film directors", but I sit back and think "what have you actually edited?  Did you ever pick up a light during your 4 years here?"  Of course, they would rather spend their time in a fraternity or some other stupid thing.

Just upscale it - people can't see the difference anyway!

Yeah, from what I've seen it offers video-paths similar to the old Grass Valley switchers.  Intuitive, but also deep in certain ways.
Also, I like how the old half-million dollar equipment is now ridiculously cheap.  Of course, who wants NTSC? but still...kinda neat.
https://cutt.ly/FwEfAsoc

The camera integration tips the balance for me towards the ATEM family, particularly with the release of the new Micro Studio 4K G2 camera.
For under $4000 you can have four of them that are timecode locked and they can be fully controlled from the ATEM not just for colour and exposure but focus and zoom (with the inexpensive powered zooms from Olympus and Panasonic).
With the integration with Resolve, the ATEM ISOs and these cameras give you three products to sell to a client from one job.
The 1080p live stream The 1080p master recording of the live stream. A re-cut version of the live stream in either 1080p or 4K. The last one is interesting because with any manufacturers camera you can just bring in the ISO recordings and re-cut them in Resolve (as the ATEM generates a Resolve project with the cuts in it) but with the BMD cameras gives you the option to bring in the 4K BRAW recordings from the cameras own recordings.
When used with the ATEM, the BMD cameras can provide a 'video mode' output through the HDMI for the live switching whilst simultaneously recording their own 'cinema mode' versions to SSD.
This is a great option for doing live videos for bands as they get the 'video' version for the live stream and the possibility of a more cinematic looking version from the recut BRAW files.
The ATEM Mini Pro ISO is a bit limited so I would definitely recommend going for the ATEM Mini Extreme ISO not just for the extra four channels but also the additional media player and the SuperSource function which offers a lot of creative and practical possibilities.
The drawbacks with the ATEM are in the animated CG and video player aspects.
The former you can get around fairly easily with software such as Uno Overlays etc and the latter can be addressed using BMD's HyperDeck record/playback devices.
The cheapest of these, the newish HyperDeck Shuttle HD, is interesting in the role of producing live sports as with some inexpensive additional hardware splitters you can coax it into being a very decent instant replay system complete with tactile jog/shuttle control.
For around $6500 then, you can have an eight channel switcher with ISO recording and streaming, four timecode synced RAW shooting 4K cameras with full remote control and three channels of instant replay.
Unlike the Tricaster TC40 that I used to own (which was nowhere near being even half the functionality of this system let alone how much more its modern equivalent will cost) it will also all fit comfortably in a Peli 1510 case rather than an 8u flight case and is a fraction of the weight ! 
Another thing that people tend to overlook about the ATEM Mini series is that it has an excellent fully fledged Fairlight mixer in it with EQ and Dynamics on every channel including the Master channel.  Its mind boggling really how much of a value that is as they didn't really need to make it that comprehensive !
Don't get me wrong, the ATEM system isn't perfect but it is a very good eco system to start a business around.
And you never know, maybe one of these days someone might release a product that integrates a few more things to make it even more useful......

Indeed. I work with 3-4 cameras, 2 of which can be static any time, 2 lights, 6 audio recording devices, shooting video and stills 100% (or as close to as makes no difference) all day long.
But only because of 3 essential ingredients.
1. Practice practice practice, starting simply and building up over time, adding and eliminating elements that work or do not.
2. Having a game plan in advance based on an understanding of what is going to happen and when etc. Advance knowledge is key.
3. Determination/hard work.
4. Bonus element, being organised and having a system.
My environment is weddings and at one level they are ‘all the same’ but at another, they are all different and people do random stuff. But it’s rare for there to be enough random stuff to make a difference.
It’s not rocket science and there are limits so it’s a case of knowing those limits and working up to what is possible but without it totally frying your brain.
It’s more weird for me if I am doing just video or just photo and the latter feels like I am doing just 20-25% compared with both and the kit level is tiny by comparison.
My brother by comparison gave up working in the video industry because he couldn’t work alone or make more than solo shooting viable. 
We must have different genes!

Very true a lot of them think they can sit around and just graduate and magically make it. Classes barely teach what you need there is so much I’ve learned about cinematography from YouTube that no one in the department will ever learn if they themselves don’t take advantage of online resources. Also they all shoot on crazy old canon vixia camcorders. And I’m over here shooting full frame mirrorless with a bunch of light. 

First of all, hello guys!  It's been a while since I've posted, and honestly I haven't kept up with this forum as much as in the past.  Looking to get myself up to speed on what I missed lol.  Changes?  Honestly passion focus.  My main career will be corporate video (in college right now, got scholarships so it's cheap for me).  But I also love broadcast and lately have spent a lot of my time trying to learn more about that workflow, getting reps and networking with people in the field.  My goal is to direct or technical direct either live sports or corporate events.  Sucks cause those positions are very hard to get when it comes to bigger venues.  Smaller venues, more local corporate/college/high school sports events, it's definitely easier.  I've also considered starting my own production company upon graduation, trying to network and build clients and do smaller scale events.
 
Currently building my own video switcher, and for the work I do I need something much more advanced than a basic ATEM Mini.  At the university I attend we use a Newtek Tricaster 460.  It's a very interesting unit; in essence it is a PC running windows (windows 7 actually!) and Newtek's own proprietary switching software.  In essence this unit is a lot like a vMix or OBS PC, but using Newtek's own software.  I do really like the unit; it gives the flexibility of a software switcher with the workflow and familiarity inspired by a hardware switcher.  It has multiple M/Es (mix effects) which are essentially all layerable sub-switchers that can be used in tandem with the primary preview/program bus.  You can also use them as separate switchers within the actual Tricaster.  This, for example, allows one to cut a live-stream feed independently from an IMAG feed (IMAG stands for image-magnification; so displaying output on a projector at a venue).  You can also use these M/Es to create compositions, such as picture-in-picture, and hot swap the contents of the composition live.  Super useful!  These are all things you can't do to the same degree on an ATEM Mini.  I will say that the ATEM Mini Extreme is closer in functionality.
The Tricaster also has built-in media players and graphic banks, all of which are a lot more capable than ATEM units.
I've been trying to build sort of a DIY-Tricaster, using a PC I have on hand, as well as a Blackmagic Decklink Quad SDI (4 SDI input, 4 SDI output capture card).  I have been working on tweaking and configuring OBS to operate in a similar fasion to Newtek's software.  With the right plugins, macros and custom combination of features, I've been able to get OBS to work in a very similar fashion to a Tricaster, both in terms of functionality and workflow.  I can make sub-mixes for IMAG outputs, use downstream keys (overlays on all of your output), preview/program switching with multiview, custom transitions, and more.  I even bought a Tricaster control surface (a legitimate switcher controller with t-bar) and using software called Central Control use it to control OBS.  So the workflow is super nice for me.
 
Downside of software switching is the latency.  An ATEM uses FPGA chips to run everything, so your output latency is wayyyy lower than any software solution, be it vMix, OBS, or a Tricaster.  This makes them more useful for live venue feeds, and as such I will probably purchase a higher end ATEM switcher at some point.  Thinking about the ATEM Constellation 2 M/E, which gives me the ability to make a submix just like the software solutions, but with the low latency and reliability of a hardware switcher.
 
Word vomit.  Lolz.  Broadcast has really peaked my interest as of late.  I kind of need to re-ignite my passion for cinematography; feel like I haven't grown in lighting or color grading in a while.  Definitely have been complacent, so @kyemaybe you can whip me into shape!
 
I'm still using my Nikon Z6/Ninja Star kit.  It's doing the job, and since I'm investing in broadcast gear right now, I'm kinda in a standstill regarding any camera upgrades or even grip gear upgrades, which I do want to do at some point.  The Nikon ZF is insanely tempting; 10 bit internal, full-frame, nice and small, and I can use all my existing lenses while using the Nikon Z6 as a b-cam.
 
Looking forward to reading these posts and catching up!

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

Personally I’d still go MotionCam RAW as it’s still more organic of a look, plus it’s achievable on less expensive android phones. 

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

This is awesome. Finally a cheaper Nikon option with internal 10 bit. Might be my next camera. And I could keep my Z6 as a b-cam. 

Yeah that is the biggest hurdle with iPhone video.  No matter what app you cannot undue the horrendous oversharpening.  And the "log" profiles feel very fake with no real benefit.  I've been tempted to switch to Android for both the increased OS customization as well as the DNG RAW video which trumps anything the iPhone does.