zlfan

interesting. 3d is hyper realism. then other 3d movies are realistic shows and how come many of them were shot on 24p. lol. if christopher nolan knows that some dps think that gravity is a reality show, and sandra bullock knows that she is just a real life middle aged desperate woman in a reality show. how sad will they be......

hobbit was a disaster?! lol. for what? losing money? i enjoy watching the series very much. a lot of people i know like it.

there is no point using analogy of cars. probably you just took off from a steam engine train. enjoy yourself. people may think you are a fanboy.

this whole realism vs dreamlike is just a later made up to justify 24p. avatar to me is surreal, hobbit is fantasy, titanic is epic, guess what, all were shot on 48p. when i watch titanic, i never think that this is just a real tv show, and the heroes and hero are real life like. to me, they are above life for sure. the cinematography is just stunning. not to say avatar and hobbit, although they are not dramas, the cinematography is definitely not at real tv show level. are these box failures? go check yourself. all are 5 times profit ratios. and all are good movies worthy watching even many years later. no matter what the critics say about them, these are legendary movies to viewers. there is no point denying this to justify 24p.

r1mx hfr 120p 2k is not good. r1mx is not for hfr. r1mx 24p 4.5k ws redcode 42 is the best it can have.

actually red one mx is not bad for news and events. shoulder mount is comfortable. i set up everything and don' change, only use the lens' aperture to adjust exposure. i put on a backpack with an additional gold mount battery and an additional red mag. red one mx olpf is special, the image is nicely soft. i like the results very much, more than other cams i have.

actually i did one. 4.5k ws 24p, r3d is fast, almost the same as or faster than xavc 480.

exciting

totally agree

i have a youtube channel, kind of news oriented. i use all kinds of cameras i have at 24p 30 60p and aspec tatios of 16:9 and 2.4. no viewer complains. with thew new platform like youtube, the old hierarchy of distribution of theater, network, etc does not rule. and youtube etc is very tolerant.

now, the discussion is more interesting. if i shoot a news using red one mx at 24p, isn't this a news?

you see, now a lot of practical reasons show up, not only about aesthetics any more.

also, about news. nowdays news are shot by fx9, fx6, c300 3, c70, etc. why should news be shot on 29.97p 30p? news can be shot mimicking a cinema style. with some basic lighting, interview in news can be shot s35 or vv at 24p, the same as classic drama with a lot of dialogues. what is the difference? why should a dialogue in a drama should be shot at 24p, whereas a dialogue in news interview should be shot at 30p? i think that habit or tradition determines here.

i agree with you that hollywood is just a small segment of film industry. my point here is just to extrapolate the logic behind thinking of the 60p for sports and 24p for cinema. because if this holds true, action pacted films are like sports, 24p may not be suitable for them. on the other hand, many action heavy movies are still 24p. so there is inconsistency of this logic. 24p and 60p are more a mandate thing. also, nowadays network based soap opera use cinema cams too, alexa mini, f55, not to say f5, fs7, fx9, fx6, c300 2 or 3. the choice of 24p versus 30p is just one click on the cam menu. should a soap opera be shot at 30p only because it is broadcasted on tv? how about the same program be distributed on streaming services? everything is just blurred, due to widely available large sensor cams that can do 24p, 30p, 60p so easily.

right now there is only cine pi 2, but the release of pi 5 will almost certainly help out a cine pi3. certainly cine pi cams are not as mature as the p4k etc, but the open structures make them very easy to customize. and a new generation of cam makers may come out of it, making cheap raw cams, even cheaper than bm ones.

with widely available 4k 60p acquisition tools like phones and action cams, and with ubiquitous youtube 4k 60p viewing mode, the new generation of viewers' eyes and brains are trained very differently. and the rest is just history.

his choice is rx100 7 what is yours? i know i cannot narrow down to one. if i have to, 650d/700d ml crop mood with a 512gb or 1tgb sandisk extreme pro, mke400 mk1.

you just don't get the message, like some people i know at the time of 2008 arrogantly looking at the 5d2 despisingly with an ex1 in their hands.

it is interesting to see how people are locked in the stereotypic ideas. 24p for cinema, 30p for tv broadcast, 60p for sports. right now, holly wood block busters are typically action packed, green screen vfx focused. so high res high fr are actually very suitable for hollywood features, these are more sports like than classic drama dialogue center like. the classic drama which emphasizes on dialogue is moving into the broadcast or streaming service. so if 24p is critical for this kind of drama, actually 24p should be used for soap opera on tv or netflix. in summary, the paradigm has shifted. 60p should be for hollywood feature cinema 24p should be for tv soap opera, netfix 30p is still for news.

gp12 media mod has additional audio meter and hdmi out, better than the audio module and third party cage, seems the way to go. will mount my mke 200 on the cold shoe. another cold shoe may be for some high quality small size preamp in the future. any suggestion on small size high quality preamps? thx.

smallrig has a cage for gp12, much cheaper. seems using usb-c for audio adapter. anyone has experience on this cage and audio adapter? https://www.smallrig.com/smallrig-gopro-hero-10-9-black-camera-cage-3083.html?gclid=Cj0KCQiA67CrBhC1ARIsACKAa8TN3XBU3UK7fGldDgzTDyUhD6FCi_bo3Y0i5w95qyIklK0L6mwBM3saAh2TEALw_wcB