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Huh?

Sensor is based on IMX610 from α1, but with 16 SLVS-EC 4.6Gbps lanes, intead of 8. The sensor itself cosumes over 5W power. There's no DRAM. ADC operates at 14bit at 1/250s readout at all times (meaning 4ms rolling shutter in all recording modes). Later paid firmware updates may unlock 8.6K 3:2 open gate up to 72fps, 8.6K 2.39:1 up to 120fps.

https://www.sonyalpharumors.com/leaked-new-venice-2-digital-cinema-camera-with-a-new-8-6k-full-frame-image-sensor/ 8.6K 3:2 30FPS Full-Frame 8.2K 17:9 60FPS Full-Frame 5.8K 6:5 Anamorphic 48FPS Super 35 5.8K 17:9 90FPS Super 35 It shares the same 8.6K sensor IMX610 (but no DRAM) with Sony A1 mirrorless camera.

A work around is to do proxy editing with proxy files on your hard drive and keep the source file on your NAS. You'll only access the source files when it comes time to render and the network access speed won't be a big issue for that process.

Like paint, exactely. Like oil paint. "Native color temperature" for the sensor is at 5600K, right? I know, that Panny hybrid cameras love Tungsten. And BM 2.5K performed awesome under HMI, which I used as a gaffer. Itś amazing how pricey the small part from smallrig are. Guess I have to pay the good money for the tiny monitor swivel. One thing comes to mind regarding focussing motors for C-mount lenses. Seems like it could be necessary to glue the MFT adapter onto the lenses wo it wont become loose from using the focussing gear. Lets make a challenge without being challenging but being engaging and inspiring. Inspiring, what an overused word it is.:) Anyway, would love to see BMMCC BMPCC OG footage from all of you, @BenEricson@kye@mercer@bjohn and anyone! cheers:)

Bumping this thread because @fuzzynormaldeseves some exposure for the trailer of his new film and unfortunately not enough people visit the Footage section of this site...

So I gave network editing a try too. However, A few years ago I couldn't get fast enough networking transfer speeds even when my computer was hard wired to my LAN. I think it has something to do with networking data packets --and the hardware's ability to switch that data in/out fast enough. So it's maybe not just about the raw numbers with throughput? Maybe some consumer hardware is more advanced these days? I don't know, but (even if somewhat functional) I'd be skeptical of this being productive overall.

DJI is still pushing the boundaries but is beginning to take the piss with its pricing. How come its 'upgraded' smart controller has gone from US$650 to US$1100? But my biggest beef (and quite frankly it isnt just DJI) is the 'this drone has a bunch of fantastic features but you will have to wait for a firmware update in January for them to work.' It really is a huge 'pass' to claim a product does this or that when some future update arrives. And to be honest it makes a total mockery of all the youtube reviews if instead of reviewing a product they are actually reviewing what DJI envisions the product will become at some future date. 'These problems will be sorted out in a future firmware update' should read 'this product was not ready for release'....

I am a bit hesitant to suggest these since I am not sure how applicable they are to one-man band videographers. They do inspire me a bit though and I do at least learn "something" from them. Maybe the last one (Indy Mogul) would be most relevant. I really like watching the cinematography breakdowns on The Wandering DP's youtube channel: https://www.youtube.com/c/wanderingdp/featured He tends to feature higher end work, and it can be disheartening when he mentions that they probably used a whole bank of sky panels for the key. But he does at least provide alternative ideas and seems to have a good grasp of how things were actually done. Plus he is funny. I also spend some time on the Epic Light Media YT channel as well for some of their "How To" videos: https://www.youtube.com/c/EpicLightMedia/featured While they do have a fair share of product review videos, they also have a decent selection of how to videos that could work for narrative, but seem to be geared more toward commercial / corporate videos. Tangentially, studying for my part 107 drone license allowed me to get my license and shoot drone video (and stills) commercially. I used remotepilot101 for studying, although technically, you don't have to use a paid class. I think the FAA has their own "courses" on one of their websites. (They have a "course" on their Re-Current test, which you need to take every two years to keep your license current, and only after completing the course can you take the Re-current test, which is only offered through the faa safety website). Studio Binder on YT is a good place to kill a weekend or two if you are interested in breakdowns of how some of the bigger directors and DPs work. They talk not only about lenses and angles, but also about color pallets, music, and set design. And Indy Mogul did have some good stuff, but I think they aren't producing any more new videos. Some of their really good videos were covering things like how to figure out what to charge clients / how to negotiate, and how to calculate production costs. But they also have some decent lighting and audio instructional videos. Probably the Indy Mogul channel would be the best fit for one-man band or a two-man band. Hoping this helps, or at least helps to seed the conversation.

Without a doubt one of my favorites is Blackmagic Design's Davinci Resolve color grading courses. The art of color grading is excellent.

Exactly. It’s the closest feeling to grading flat color negative film. It’s like paint. I agree with avoiding the menus. I use the pocket with manual lenses, hard stop NDs and a light meter. Throw a 4 stop on there and rate it at ASA50. Just use the LCD for framing and ignore it for judging exposure.

Yes, the grading experience is fundamentally different isn't it! It's an odd thing to describe, especially to someone who might have gotten an S1 or equivalent and where that footage is much nicer to grade than other things they've been using. I guess it's pretty hard to describe how a $1K 1080p camera from a decade ago can be one (or two) steps above the latest multi-thousand dollar FF 6K beasts, but it is. I find that if you don't care about the dates on the files on the card, you can have manual lenses and a vND and you just set the camera to the desired frame rate, codec, and shutter speed, and then you don't have to navigate the menus ever - just change the vND for exposure, and aperture and focus and hit record/stop at the right times. It's also worth testing if you prefer focus peaking from the camera or your monitor. You can even use the menu overlays from the camera and the peaking on your monitor, but it will highlight all the overlays as well as your image, but you can get used to that pretty easily.

Funnily enough, I actually used the stepper app in anger last year to go through all the profiles in an FZ2500 stepping through -5 to to +2 in contrast with saturation going from -5 to +3, so there were 72 permutations in all per profile. I didn't bother with stepping through the sharpness and NR parameters as it wasn't relevant at the time as I was just looking at colour and contrast. The idea was to see if there is any unconventional wisdom to be had such as using untapped settings such as Portrait with -4 contrast and +2 saturation etc as the end goal was to make a profile that could be used as an out of camera look that would play well on its own or to create one that played well with a particular emulation LUT. I've always had this nagging thing about giving away too much colour and contrast in the capture because thats what everybody does to get a flat image and then has to add it back post capture with all the artefacts that can bring. What I found interesting is that with everything except the two Cine profiles, there were some terrible artefacts happening (particularly in the sky) in some interactions between lower contrast and lower saturation and in fact the only way they cleared was when the saturation was actually boosted to +1 or +2. That made me think that my suspicion about giving up the goods saturation wise potentially being a folly was quite accurate. The two Cinelike profiles don't seem to share these issues but, of the two though, going by trying to retain saturation in the capture, I actually favoured what I saw from the usually less fashionable Cinelike V profile. The net result was that with the stepper app, I ended up with a single video file where it was easy to see all this laid out and whilst the Cinelike V being preferable to my eye than the Cinelike D was a bit of an eyebrow raise, the process quickly let me eliminate the possibility of there being any particularly revolutionary permutations with the other profiles. It saved an absolute shit load of time and as time is money then I used the saving to buy the V-LOG upgrade for the camera 😉