zlfan

super 16 mm / 1 inch dci 4k prores raw hq 60 p. this is really something. finally, a 4k raw s16 cam is available to the general public. I am itching to pull the trigger now. either gh7 or om 1 mark ii. probably gh7 first, then wait for om1 mk iii.

is 15-stop dr easier to win a Oscar than 11-stop dr?

r1mx kind of olpf integrated on prosumer cams will be big features. how many prosumer or hybrid cams have good enough olpf? how many do they have something like olpf?

I can color grade GoPro 12 footage to surreal colors, and impress many viewers. but still it is no r1mx, f3, 5d3ml. experienced viewers can tell the differences.

if someone say the latest prosumer video cameras are better than r1mx, epic-x mysteries-x, 5d3ml, f3, I really doubt his judgement, no matter what kind of achievements he has. you can say the latest prosumer cameras are sharper, more dp, more convenient, but are they really better in the whole image quality? I seriously doubt so. for the latest top cinema cameras like Alexa35, that is another story. but prosumer cams? hybrids?

if you talk to some experienced dps like David Fischer, if he has to choose two cameras, either c70 or r1mx, will he choose c70? I have to shake my head, when people blah blah showing their ignorance and try to shut up real knowledgeable people, even by attacking them personally. yeh, you don't agree with us 24pers, you are from Egypt, you are a shoddy md, or double mds?! if you are in our camp, you are a good guy, worthy padding on the shoulder. politics is every where, even on camera forums. lol.

it is funny that people claim that they are abreast of the curve, yet they don't even have extensive first hand experience on the latest ml firmware, mlv app, and the whole workflow. a lot of issues complained here have been solved during the past 10 years. now 5d3ml 14 bit 5.7k anamorphic 1x3 and 3.5k 1x1 crop modes are very robust. if you use 14 bit, you don't see pink color or banding even after heavy cc. I just sigh and walk away when I see people arguing about something about ml that they don't even have hands on experience and don't even update themselves with the latest tricks. if you point out, they will show their "knowledge" and look "down" at you. lol.

people are funny that they can define "cinematic" or "filmic" by trend. r1mx's olpf was tuned to mimic the film which was the standard in Hollywood at the time, and now reviving again. so r1mx is much more suitable for cinema projects than the latest breed. for the resolution, r1mx 4.5k 24p ar 2.4 is enough for commercial theaters. if you want to challenge the r1mx's filmic character, you are challenging a whole generation of experienced dps, including David Fischer.

I am sorry if my tone was too strong. I did not intend to offend you.

i understand that you have made significant achievements using 5d3ml. i never doubt your professional quality. but ml is improving, it is amazing. i test all of my video cams by my own hands. i try to optimize each one, but 5d3ml is the best in terms of iq. as i said before, ml cams have severe rolling shutter, dr is lacking. but if you can control your shots, 5d3ml generates extremely beautiful color. some of my 5d3ml footage is no less than any hollywood level features in terms of iq. of course, my footage is just landscape, not comparable to the hollywood features' storyline, constume design, art design, etc. but iq wise, i am impressed with my 5d3ml footage more than amazon prime, netflix, or local theatre movies. i am not joking.

ml improves significantly during the last 10 years on 5d3. you need to have the latest ml firmware and mlv app, and learn the latest tricks to make it wonderful. it is fun to me, as i like this kind of continuous improvements, instead of begging for company controlled limited firmware updates. many times, the hardware potential is just wasted, which is to the best interests of the camera manufacturers.

there is something wrong with your workflow. color of 5d3ml is second to none. i don't have alexa ev and f35 to test by my own hands. according to what the footage i see online or in theatre, i seriously doubt that alexa ev is better than 5d3ml in terms of color. dr and rolling shutter wise, yes alexa ev is much better. f35 is ccd so it may be even better than 5d3ml in terms of color. but think about other things, f35 and alexa ev are much larger and hard to handle. also 5d3ml can go to uhd 1x1 10 bit crop mode continuous recording, aps-h size, resolution is much higher. the battery life of 5d3ml is a breeze comparing to the gold mount bricks on alexa ev and f35. i'd say it is given and taken, instead of one side win.

"The main thing to differentiate a pro DP from an amateur, IMO, is knowing how to light. Choice of cameras like the Alexa tends to be due to a feature set designed for a large crew, reliability, and having the most flexible image to hand off to professional colorists who also spend 80%+ of their time working on footage from the Alexa. This is one of the reasons that a lot of stuff was still being shot on 2.8k Alexa when RED had 4, 5, 6, and 8k sensors available in their cameras. " totally agree. the latest cams are very sharp, with a good dr, but kind of thin. if you compare to f3, r1mx, 5d3ml, you will feel it. lighting is actually the key here. alexa ev is enough for most of the hollywood level features, not to say indie shorts.

i seriously doubt that c70 has a better iq than 5d3ml. i think c70 is not as filmic as r1mx or epic-x mysterium-x. yet those two reds cannot compare to 5d3ml.

some trends never go. size matters. small sensors only bring to the table with the convenience, but not ultimate iq. in still world, people will laugh that aps c will tread 135ff or 645mf.

I doubt about your work flow. did you try mlv app for cc? resolve cannot give you the same color as mlv app. i can generate extremely good iq footage due to its color depth and full frame. i really doubt that modern prosumer cams can do it. think about it, full frame 14 bit color depth true lossless raw vs crap codecs. if you say alexa lf or 65, maybe they win. for others, i really doubt about your conclusion. i think you need to test the latest ml firmware and mlv app workflow, optimize your workflow and skills, then decide.

D200 is good. Also D1X D1H. D2H D2X are good too, although not ccd, but not cmos neither.

5D3ML IQ is never dated, is still the best of the video cams I have, better than R1MX and Epic-X mysterium-X, only F3 may reach its level. Magic lantern cams have strong rolling shutter, so some of the moving shots have to be controlled. Also only crop mood cams have real time high resolution preview for most high res modes. 5D3ML has good preview in 1080p full frame modes, not in high res crop modes.

good. terminator2 actually has this cold color fill and warm key or vise visa style. it is nothing new.

I used to use mpeg 50 mpbs 8 bit 420 24p 2k on well regarded f5 for news/events. I was really disappointed why the iq was not as others said. now I use sr444 10 bit 444 30p 2k . the only issue is the memory card is easily filled up. but the codec holds up well for slow panning.

it is necessary, but not a necessity.

Yes

https://www.youtube.com/watch?v=Zai08FOZ0fU

camera is not a limiting factor now.

yeh, i understand your point. this is why hollywood pros only use several top brands and never explore (there are exceptions, like shane hulburts). my point is, an amateur who wants to get into the video world, may start an indie short film with 5d3ml, and the camera limitation is almost gone, even facing the big boys like f35 and alexa ev. this is thrilling, even now, not to say in 2015.