zlfan

To be fair, gp12 footage is more resistant to heavy post grading than af100. Not sure why, maybe high resolution helps? So to speak, modern mirrorless cams have their advantages too. But may not be so when compared to F3 and R1MX, because both of them can go through heavy post without much sweat, especially r1mx. For F3, internal painting is so powerful, little is needed for post, i.e., there is not much maneuver room for post.

for the modern mirrorless, i think gp12 is mature enough for me to buy one. unless gp has new cams with internal raw recording, i am happy with gp12 and will not upgrade for a long time. g9 ii is nice, but not as refined as om1, in terms of build quality and ibis. om1 still lacks in several major aspects: 1. buffer size, 120 fps can only do 1 sec. at least 2 secs recording buffer is useful. 2. hdmi raw out is cropped 4k. should be full frame 6k raw out. this is probably the biggest gripe for me. although the buffer size is equally concerning. 3. limited information about the internal 4k recording, is it subsampled or supersampled 4k, like r5c, etc? if so, the 4k iq is good enough, no need for 6k internal recording. otherwise, 6k internal is needed. also, internal 4k is only 60p, it would be nice to go 120p, as om1 can do 120p electronic shutter, and it is stacked cmos sensor. if om1 mk2 can improve on these aspects, i will buy it without any reservation. other mirrorless cams, they may be good, but i like my f3 or r1mx better, either on tripod or shoulder mount.

i like to be anonymous. otherwise, people may lurck into my home, destroying all gears, because i dare to challenge the 24p sacristy. lol. just a joke.

i guess you mean cinema cams when you say film cams. if so, yes.

from the footage i view online, latest mirrorless cams behave very similar to gp12, good resolution, sharp, can be colorful when do heavy grading, but feels thin, when comparing to cinema cams like f3. to be fair, i use cp2 50mm macro, itself alone may be several times more expensive than gp12, but still f3 image feels thick and enriched, like painting. good lens may play a big role here, but maybe something else also kick in.

use f3 as an example, on a sturdy tripod, it generates image quality comparable to the latest mirrorless cameras shooting handheld. only very few camras are good for ibis or digital is, like om1 gp12 etc

yeh, digital is, but extremely good.

from my experience, as long as don' shoot long takes, for a whole day event, it takes about 100 gb footage. so if buying 2-3 1 tgb sandisk extreme pro sd cards, will be enough for a whole vacation. or, use nextodi, buy 2-3 4tgb ssd drive.

nothing beats gopro12, for its ibis and its size. just not useful in low light.

yes, data storage is a real concern when shoot ml raw. about 300 gb per hour footage for crop mood. for 5d3, about 500 gb per hour. some people transcode to lower format like prores444, and delete the original raw files. but transcoding takes time. the most possible approach is to have several 20tb external drives.

very few bm cameras have olpf, red cameras have olpf, some models even have user changeable olpf. arri alexa may have the olpf with that high light rolling off.

i use 100d crop mood, very small size if using a pancake lens. the key for reliable recording is to have a sandisk extreme pro sd card. overclock to 240 mhz, small hacks all on, global draw off when recording, 10 bit 5.2k 1x3 ar 2.4 is continuous. very robust. you can do uhd 1x3 12 bit ar 16-9, even more robust. if you don't mind a little bit larger size, 650d/700d are even more robust than 100d and m. bilal started his crop mood from his 700d. you get an articulate screen, and optional battery grip. only activate necessary modules, if activate all modules, the camera will crash easily.

i think arriraw is 14 bit uncompressed. its log c is also 14 bit. probably at the step of recording shortened to 12 bit.

that is why i never consider sony's lower tier cams after 2014. fs7 fs5 sdi raw out is crippled.

alister chapman also has an article on the bit rate and bit depth. basically, 12 bit uncompressed raw beats 10 bit uncompressed log, and 10 bit uncompressed log beats 8 bit uncompressed rec709 or log. if compression is taken into consideration, then the codecs themselves need to be tested, things get very complicated.

I suggest post editing time for about 10-15 minutes, now it is about 1 minute. I tried many times to edit typo and add more but it is gone.

First AC is the key here. He can use remote focusing system and check on his own monitor away from you. I basically work alone, so if on steadicam or gimbal, it is hard for me to do manual focusing by myself. I think a lot of gimbal users are actually solo shooters. If work as a team, maybe dolly jib etc are more traditional.

even though bm cams have af, it is not on par with sony and canon cams, even not on par with red komodo. certainly you can use it for gimbal, but many more dps use sony cams for gimbal work.

and the lenses are nikon mount photo lenses. basically, except the f35, other accessories are really accessible. f3 is not at f35 level, but can also generate a very nice image. it is really up to the brain behind the camera.

will see how good the rolling shutter perform. if rolling shutter is fast, then this can be used as an action cam.

bm cams don't have usable af, so not very suitable for gimble work. seems ok wo bluetooth connect interface. it is good for rigging up.

i watched his doc before and was very impressed. previously i assumed he used o7q for f35 444 12 bit uncompressed. after reading this article, i am surprised that he used a bm hyperdeck for 1080p 10 bit 422 prores (hq). 422 prores can be thus good in right hands!

if this 4k g2 is coupled with a ninja v plus, the setup can record braw and prores raw uhd 60p simultaneously. this will be cool.

seems to me that u43 will revive due to this bmcc4k g2 and g9 ii.

12g sdi in and out, hdmi out, usb-c. these are great to rig up the camera using 15mm rail system. hope the bottom has an additional locking pin socket in addition to the apparent 1/4 or 3/8 socket. i experience a lot that the rails rotate due to only one socket at the bottom of the camera (mostly dslr or mirrorless, not the camcorder type body) i think this one can pair with a ninja v or v+ or a bmva 12g 5 inch, a t5/7/9 ssd, some smallrig cage specifically designed for this. at $2000, this can be very useful and low profile, good for traveling or street shooting. also importantly, u43 sensor means a lot of 43 or u43 lenses can have latest 4k raw recording capability. this one bmcc4k g2 vs g9 ii, or paired with g9 ii, can be a powerful setup for being small and nimble, yet modern and high res.