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The two native ISOs of the camera are 400 and 3200 so you could argue that if you are shooting BRAW in the camera's "cinema mode" then the only two gain values that you need to memorise are 0dB and +18dB. I don't think this completely negates the argument for displaying ISO values though (when using an external meter for incident readings being an obvious example) so it would be a useful and simple switchable option to include. The Ursa 4.6K and 12K (as well as the P4K/P6K of course) use ISO so it looks like a bit of a continuity error in that respect to market it as having a cinema camera element and then have it be different to those. Obviously, it won't stop you exposing the image correctly as there are more than enough exposure tools built in anyway but it would be simple enough to remedy in a firmware update. Irrespective of the nomenclature, though, it looks like a great all round camera.

Curiously the fixed pattern noise, that appears static across frames is something I noticed in one of stars wars films (one of the 2 last ones). I thought it was a bad case of adding film grain, after shooting on a digital camera. Also, strangely, it was during one of the daytime shots, and not low light ones, like Sony explains in their reasoning doe not including PDAF.

Why even write it down. Just double the frame rate as close as possible. 24? 1/48 (or 1/50 if you have to) 25fps? 1/50 30fps? 1/60 120fps? 1/240 As for gain/iso. It's the same as meters and miles as far as the end result goes. If your image is dark, turn it up, if it's bright turn it down and call it whatever you like on the process. Very minor 'problems' considering the rest of what the camera offers.

It's more that gain is a less consistent measure than ISO. Gain is essentially a volume knob (it's even measured in decibels!): you use it to control how much the camera amplifies the signal before (or in some cameras, after) analog to digital conversion. It doesn't provide any universal benchmark across cameras the way ISO does. So I can see how it would be less optimal for cinematographers who are used to ISO, not that they couldn't adapt to it. As someone who learned to shoot video on a cinema camera, I'm completely lost at first when I try to shoot hybrid cameras that require me to set shutter speed instead of shutter angle and I'd probably be similarly slowed down if I had to use gain controls. I'd learn, but if a more familiar option were available I'd use that instead.

Have you used both? The 1DXii always seemed much sharper to me, but the C300ii has a smoother image. (Soft tho, even the 4K is soft.) Those 4K 1DXii files are beautiful. The files are huge, but the resolution crushes the C300 in 60p. That being said, the C300 Mk2 is one of my favorite cameras ever. So easy to use and always looks great.

I love Panasonic, but they are missing a very important, yet still optional at a flick of a switch, feature. Hope they fix it.

@mercer Inspiring work, Glenn, hats off! Loved the choice of the black shirt BTW : ) - EAG

And a couple more...

This thread has inspired me to process some footage as B&W. Here's one that turned pretty good, I think...

Gotta say I reaaaalllly don't like that Pana 20-60. I used it on this shoot for the short bits when I was on the gimbal and next to the images from my copy of the aforementioned Tokina 28-70 ATX Pro 2.6-2.8 (which I love) it was so videoish as to render some of the clips unusable due to my inability to get them even close to matching. I also used my 35mm, 85mm and 135mm Super Taks, so covered all the bases WRT this thread!

I meant the aforementioned Sigma 18-35/1.8. And that link with the FF coverage for a part of its range. So, no idea if wide open too?

@kye Amen.

Yeah looks like 2K 60p is 422 10 bit...

Yes, 2K or 1920x1080p 12-bit RGB 444 internally but not sure if 60p, reason why if you don't need higher resolution for anything such as hybrid use to extract grabs from, towards printing or reframing at post, you're better going with the C300 MKII, especially for motion picture.