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Ah, I found the reduser discussion, it's still there, just the URL has changed: https://www.reduser.net/forum/shooting-red/cinematography/94365-sleepwalking-in-the-rift-anyone-know-what-this-was-shot-on

Hello all. In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. Shot in SLOG3 and a bit of 2. Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. Fire scenes lit by fire light only and a 2x2 silver bounce. Stick around for the credits. 😊

haha that's hilarious: None of these can be mimicked on Red, Alexa, or any digital system. This is film. Film is part of the reason this has so many hits and likes. Point an MX at that low sun and tell me what the shadows look like, or the running figures if you flicked on HDR. Point an Alexa at the girl against the tree and tell me her skin will look anything like the kind, clear, rich image you see here. Nothing compares. Still I will retire tomorrow if this was shot anything but film. But I guess there is a reason why they say the Canon 5D2 started the FF Revolution. More impressive than 8-bit is its in 720p. Definitely a statement that bit-depth & resolution aren't the end-all. Those early 5Ds sure had some mojo though, my god. Makes me wanna pick up a 5D3 again and shoot MLRaw. Or maybe that elusive 1DC, possibly the best 8-bit camera out there?

Whenever I think of the possibilities of 8 bit I come back to this gorgeous short film, Sleepwalking in the Rift, shot a decade ago on a Canon 5D Mark ii. It famously fooled a DP in New York who insisted it must have been shot on film (the discussion thread on reduser appears to have been deleted, unfortunately; the colorist who worked on the footage confirmed that it was shot on a 5D Mark II).

Totally. We had a RED available for the shoot. Director wanted it and I said the Sony’s would be better. Why? Well, our crew was small and we needed to move fast as we had a day and a half to shoot. Also, we didn’t have a very good lighting budget, although I intentionally didn’t want to use lots of lighting in this video because I wanted the bulk of the shots to look natural. A lot of it was done using bounced light from natural sources. The native 12,800 ISO allowed me to use only fire light and reflectors without having to bring in and constantly move around lights per shot. The fire was burning out fast, so we had to blitz it. It worked out. Had we shot on the RED, the shoot would have been a disaster. If we shot on the GH5/6 - it would have been “ok” but very murky and noisy. The picture would have suffered. So yes you are right. The camera is crucial. In this case, the merits of the Sony system allows you to work in a way that you would greatly struggle with using something else. After various experiences, I’d confidently say the Sony trilogy of “FX6 / FX3 / A7S3” is likely the best all-rounded system on the market. You can work in a unique way. The only challenge is yourself.

So, Andrew, any news regarding the streaking problem of the GH6? And Prores update for other resolutions? If there was a Lumix S5 with full HDMI and a 15ms readout for FF and 10ms in S35, I wouldnt ask though. 🙂 @Andrew Reid A Sigma FP2 with exactly that, plus an EVF and a swivel screen, Panny 10bit codecs, now that would be a potential candidate for my favorite camera of all time! I just had a look at Geralds video archive and it´s all about buying advices for high value electronics. I enjoyed maybe ten of his presentations in regards of the structure of his reviews and his gentle voice. But content wise I am not in the mood for buying TVs so to say. Steve Huffs afterlife channel and acitivities were pretty unappetizing to say the least. I started recognizing akwardness in his reviews when all cameras were equally great just some were greater and his reviews got dull and duller. I quit reading around the A7R2 times. Gerald to me is a salesperson. Though very likeable, even moreso in comparision to the hyperbole influencers of this hyperboled planet. Planet earth is aching under the waste of oil, warmening and polution and destrucition of nature. No need for new electronics. A Lumix G7 in HD 100mbit 8bit 422 should have been all we get for the rest of times. No need for a Sigma FP2 after all.

Any time a “newbie” student type asks me what camera to buy, I just say get a GH5 and a set of cheap vintage primes. Then learn to frame and light 💡

Sounds like You ought to practice what you preach. You do realize that this is his railroad. You are lucky it is not mine. You have to be pretty stupid to poke the guy that owns it, like him or not

Damn, dropping quicker than I though, already well under sub $30K Just the bare body? Anything else? Here comes sub $20K Minis!! Because colors, dynamic range, and reliability all matter far more than resolution or raw. (although you can shoot raw with ARRI too) lol! A ridiculous analogy, but accurate. Because their patent is ridiculous. It was excessively broad now, and it was then as well. When people were already going over 50mph with nonwheel things, and wheels were already being used here there and everywhere, then it is a no brainer to imagine one day people would go 50mph with wheels too. RED essentially just took the commonly known JPEG-2000 compression standard and went "oh hey we want a patent for doing this at 24fps"

Wouldn't it be great if the camera market was like Build A Bear and I could just order the Alexa Mini LF in a GH6 body with IBIS and internal NDs... while also having an interchangeable monochrome sensor that I could easily pop in and out when desired. Of course, it would have the Roger Deakins mode that would make my footage look better. And obviously the Amy Adams mode to make my actors prettier.

If I keep arguing about camera specs, I'll never have to create something memorable

The free version of Resolve lacks very little compared to the paid Studio version. For someone new I doubt you would need what is missing.

I actually think what camera you choose can be crucial for a project like this but not for the reasons most may think. I'm thinking mostly about budget and time constraints. A big cine cam takes time to rig, to setup. do reverse angle shots etc. It all eats up precious time. Having two or even three cameras like OP can allow multi-cam or multi-rigs speeding up down time. Then you have the crew to think about. Big cam usually means first AC, 2nd AC etc. With an A7S3/FX3 you could get away with AF on gimbal shots, handheld with IBIS, monopod instead of tripod etc. This all saves you time & budget that can be allocated to more shots, location, production value. Anyways maybe OP can share his own experience & congrats to him on the music video!

Yeah, on windows there is no Prores export as of Davinci 17. Dont know if 18 changed that. @webrunner5 One main disadvantage of Davinci free version is that it does not accept certain codecs such as the 10bit codecs from the GH5 and I assume from other cameras as well. That is not too minor imo. Another reason to go vintage and put a BMCC or BMMCC to good use in its Prores glory. 🙂

Thank you!

I would be ok with Nikon Z9 even if it shot uncompressed raw. Maybe 12bit, not 14 or 16 to save space. Maybe 2.35:1 aspect to save yet more space. And even 2.8K rather than 4K to save yet more file size. Then a Nikon app for Mac & PC which turns it into compressed RAW off-camera so you're not filling terabytes of expensive SSDs with bloated uncompressed RAW files. Hopefully Nikon can be smart and creative about this if they lose the lawsuit. And get BRAW in there ASAP too.

Nothing makes me happier than calling out their bullshit.

Red sued Apple, and won, a few years ago, because Apple wanted to use ProRes Raw, a compressed Raw codec, in their phones. That's why you only see ProRes Raw in Atomos recorders... it gets around Red's patent. So Nikon can license ProRes Raw all they want from Apple, but Red's patent still keeps Nikon from using an internal compressed Raw codec.

ProRes is an Apple product, it has Nothing to do with Red. Look at the bottom and you will see Nikon Z9 listed as licensed to use it from Apple. https://support.apple.com/en-us/HT200321

I recently purchased a tiny set of microprime (5 lenses). I've only done some minor testing though. Still I think for the price, they are very very nice. They are compact and quite well-built. The focus ring is pretty smooth. The images are beautiful, with a slight vintage feel, but the lenses are not very sharp, especially at the widest aperture. It really depends on your taste or the project.

Yeah in terms of cine cameras, bottom of the barrel. For cinema or high end commercial you pretty much have ARRI, Sony, and RED. Around here everyone like ARRI or Venice. Obviously RED gets used, Squid Games was shot on RED helium. Now the Panavision DXL2 is a different story, if you want to count that as a RED camera then yeah it gets a ton of high end usage. Off topic, I have been considering the Venice but I recently was looking at some high dynamic range shots with their REC709 lut and it just wasn't doing it for me. The Alexa would have looked better. Now I am sure with some work they'd look the same. But I'd just rather go with an OG alexa mini at that point. It is light and smaller. That said I'd probably get more work with the Venice due to its 6K full frame sensor.

It always is... The patent may seem broad, but it is very specific to their use. Others have gotten around it. Either through licensing or design. In this instance, I'm not so sure N-Raw is the problem based on TiCo Raw's claims about their product. I think the issue may be internal ProRes Raw. But I haven't read the full complaint. With that said, this does suck. The Raw video out of the Z9 looks amazing. And I would consider downloading the firmware if I preordered a camera or had plans to buy one soon. Hopefully they come to terms and Nikon uses the codec in future models. I'd love to see a Z63 with internal raw. Instant purchase.

Hallo Kye, why do you cite me in connection to your post above? I find it misleading in connection to what I actually wrote about the beautiful GH6 piece that I posted for all of us to enjoy or not to. I wish for a bit more consideration from all of us to each other, to what our posts actually emphasize and mean. So let me repost and enjoy this video.:) This is what I wrote: "Some splendid colour. They went a bit overboard with grading, especially the red cloth of the suit is oversaturated as oversaturated can be and some bluish tint is showing the joy of grading a bit too much. But as a visual sketch and indication of what the GH6 is capable of, this is really something. I cannot comment on the voice over style as I am not a fan of it. But a lot of talent and visual taste in this piece and great showcase of what to expect from this powerhouse of a camera. I hope Panasonic gets the streaking sorted out and follows up on Prores for all filming modes this SUMMER, please! Anyway, one of the best showcases of any prosumer camera and its image quality I have seen."

Unfortunately, looking professional does matter to some clients. They have to look for something to justify hiring an "expensive" videographer. But I also believe it is more important to have a camera set up that works for you. Rigging up the camera to impress at the cost of usability is stupid, IMO. I don't really have this problem because I usually bring my FS7, but I've seen people rig up their mirrorless camera to a point where it is absurdly big and heavy to use properly. The client may be impressed by his look. I highly doubted the client will be impressed by the video he made though.

You can shoot BRAW with the BM video assist.

The only thing bad about Resolve is that you can not do Pro Res with it. You have to have an Apple computer and Final Cut Pro to do it. And the latest FCP is pretty damn expensive. And you really need the new M1 apple stuff to edit well in this day and age.

@leslie is right. You would be amazed what difference a high end lens makes on a camera. Buy a cheap camera and a heck of a good lens. Any camera made in the last 6 years or so is all the camera a newer person needs. I have owned just about every model iPhone since they have been out and a lot of the Samsung Note phones, and I did a test with my wife and son when he was over and I, and them, liked the old Apple iPhone 6s plus shots better than any phone I have ever owned. So that can tell you that we have reached a peak in quality and we are sort of wasting our time buying the latest and greatest. Now granted phone photos are pretty hyped colors and saturation, Olympus cameras were like that also OOC, But the average person really likes that look. The picture below my car with the wooden roof is from my 6s Plus in Arizona. And that has not much editing done to it.

I'm well aware of all this. Worked with steadicam operators on BMD cams and Nikon AIS glass up until about 2016. Every single shoot these days where we hire a crew, even super low budget: 1st AC is on wireless focus system, sure. This isn't news to me, and I'm not debating any of that either. However, surely you realise that outside of the film crew bubble you're in, there is an entire world of amateur, hobby, influencers and pro solo operators. I'd even say that is the main target of most of these mid-tier hybrid cameras. And while one can get around contrast based AF or MF, that doesn't negate the fact that latest-gen AF can be a strong asset for certain applications. Just like IBIS. Nobody waited for IBIS to shoot videos with their DSLRs, but we're all glad to have it standard on-board now on our MILCs. Well you'd hope so, the FS7 came out in 2014 ! The main point here though is that Canon, Nikon or Sony autofocus (FX3/FX6/FX9) puts Panasonic DFD AF to shame. I don't think it gets compared to Canon's DPAF specifically. The reality is that all mirrorless systems expect Panny have more or less caught up with DPAF. They are by far in last position as far as AF. So sure, AF is a major concern there, I'd even say it's the main hurdle keeping many of us from switching over to that system. That said, it seems like a portion of Panny users have simply accepted their fate and work around it. That's cool, doesn't mean its not a deal breaker to the other majority.

If you can find one talented persons work, which you like, then i would suggest in the background,, is a lot of blood, sweat and tears over a number of years to get to that look. Canons do have nice colour. A lot of people like canon colours, then there are others who like sony, and the other brands. My point being is personally, i don't think you can go wrong with any of the latest makes of camera. Its more about the finessing that you need to apply after the image / footage is taken to get a result you like. Lots of people out there are happy to throw on a lut and call it a day. If your not happy with colours sooc Then you, my friend have definitely fallen down a rabbits warren. There is no one perfect camera that does everything spectacularly. If there was then there would only be one camera brand. You do your research and pick the camera that does most of what you need it to do and then compromise in other areas. I would suggest before you throw any money around get the free version of resolve. With resolve and some free luts and whatever log files, canon has on your camera. Start exploring, learn resolve and throw all sorts of footage at it from your camera while your learning. exhaust every option you can pursue in finding a look you like before spending too much money. It will be time well spent and helps to define the look your after. There is a chance your look may even come back to a lens choice or filter perhaps. There's a bit of a learning curve to resolve, but that can be said of everything. There are truckloads of tutorials available on youtube for resolve. There are probably more than a few ways to skin a cat in resolve ( metaphorically speaking of course ). Like kye said there are basic steps to follow. Once your comfortable you can probably tailor your workflow to suit your look for a minimum of effort. However you first need to expend some effort to realize the look your after.

It's a good question why they don't add those modes. I've noticed on looking at the specifications sheets on sensors that have been shared over the years that often Sony (it's always Sony) will have a full-resolution readout of the sensor up to a certain frame rate (eg, 30p) and then a lower resolution at a higher rate (eg, 60p or 120p) but don't list any lower/faster modes than that. For example, they might list 6k60, 4k120, but not 1080p240 (which is actually half the number of pixels per second as 4k120). Let alone faster readouts for 720p or 480p. Obviously the tiny sensors for smartphones and the 1" ones like the RX100 (and GoPro?) etc do have those fast/lower-res modes, but maybe they just don't include them on larger sensors - not sure why.

Of course that's part of it, but you also need a generally dumbed down society like ours is becoming, and millions of willing participants. Oh dear we are taking pot shots at me now I see. I haven't been very active in 2020,21 and so far 22 has been building up well to shooting more in Berlin, but like many other people I am not at the top of my game after the global pandemic of 20-22 and it will take years to get back to full motivation with new collaborators in this new phase of life and of my career. 12 years is a long time to be shooting and doing what is just one long project, EOSHD. Especially when the audience is as thick and as nasty as people like you, who don't appreciate it even after 12 years and even though they take advantage of the knowledge on this site and of others on this forum. By the way I don't seek the great guru Gerald's work. If he did some commercial shoots I couldn't care less about watching it. I just question why he hasn't even got a single photo to his name let alone a video. It is deeply disturbing to me. Because you would think a camera expert would be interested in actually using cameras. When he has finished making money from YouTube reviews, it is sad to think all these cameras, lenses and hundreds of accessories just get boxed up and sent away or put on a shelf. That is bizarre to me that someone with privileged access to $100,000s in equipment literally has zero interest in using any of it! I am not even expecting a movie from the guy, anything will do - any evidence whatsoever of a talent, stills or moving, maybe not even evidence of a talent but at least the willingness to try shooting at all. He just doesn't seem to be motivated. Or willing to even bother, and that is a major red flag for me when it comes to a supposed "guru" of filmmaking tools. So that willingness is not there, the bare minimum of images from him aren't there most likely because he makes his living selling cameras to gullible sheep like you instead. It's a far more lucrative line of business. If you want to know just how gullible the masses are, go and look at Steve Huff's pivot to the paranormal world of complete bullshit, and see how that is doing in terms of the subscriber numbers and viewing figures versus camera reviews. We're talking 13 million plays on a single video. iPhone app sales likely in the tens of millions of dollars. This is the sort of bollocks people like you would probably consider a "success". Whereas I see it as a symptom of a horrible cultural disease. Oh you agree with me. OK. You had me confused there for a moment. I would agree 110% with you on that, but do tell me what have you done exactly to push back against people like Bloom, as there are a lot of them in particular hiding in plain sight all over social media and YouTube, especially in the narcissistic ego driven world of filmmaking and photography. Collective Western society has decided that an entire economic system should reward the marketeers and salesman turned 'content creators' instead of artists and filmmakers. And the theatres are full of franchises and Disney shit for the basic bitch general public. I just sense from you a kind of resigned acceptance and at the same time kicking me for good measure, claiming you can't find what you imagine I seek from Gerald or whatever. 9.5K sensor in the Fp-L. 1.3x crop mode is a full pixel readout from 7K (approx.) crop of the sensor. The camera supersamples 4K RAW data from this 7K RAW data to give us more RAW data. DCI 4K 12bit Cinema DNG RAW to be exact. This RAW video format is not debayered or compressed. It is stored as RAW pixel values when it hits the card as Cinema DNG. So yes it's real RAW. At 9.5K full frame it pixel-bins. That's real RAW as well. Any more questions?

I wrote, the GH6 piece shows some of the very best colour I have seen in any DSLM promo video, despite that red of the cloth was oversaturated imo.:) My main point and emphasize is the beauty of colour coming from the camera and showing in this tasteful piece. It does not look unreal neither to me, as my perception of colour is very much connected to an emotional response, which does give me a feeling of something real. May that be real-ly dreamy or whatever. It is not realistic but of real suggestive power and giving an instant and real response relating to reality. So my two cents regarding perception, realism, realness. Not a third cent more though from my side regarding these complexes.:) Imo there is a thickness and lushness achieved thanks to the cameras capabilities just as well as from the film artists and teams side. I have not seen any spectacular unlit examples with painterly colour interpretation of reality though. Still looking forward to it. For BMD cams fi there are plenty awesome video examples of great colour in unlit settings. cheers and good night. 🙂

So I guess dealing with 1:1 4.6K RAW is worth it over using a RED camera just for the compressed RAW. I have no problem with RED's innovation and them making money off it and protecting it. However, the way that patent is written is complete and utter bullshit. It's like someone claiming they have exclusive rights to any vehicle using round wheels going over 50mph. It's excessively broad.

Because people 1:1 4.6k RAW is no problem for a big production I guess. I am sure ARRI would have a compressed RAW option if it wasn't for RED. RED is sometimes used on big production though like Guardians of the Galaxy 2.

You’ll be surprised how many idiots there are in this world. Surprised?

Thanks so much for all your comments and for reposting @PannySVHS! The colour that comes straight out of camera on the Sony RX100 VII and ZV-1 cameras is great using standard colour profile. Haven't really tried the s-log formats as couldn't work out how to colour correct. Standard profile has terrible dynamic range but the colours look absolutely fine - good enough for me. 1000 fps on these cameras isn't good though, and it's cumbersome to use. You have to set focus, focal length and exposure in advance, and lock those settings before you can shoot. Then if you want to change the settings, you have to get out of locked down mode. @Owlgreen You have a 1 second record time with the ZV-1 and a 3 second record time on the RX100 VII in quality priority mode at 1000 fps. You can double those times if you select "Shoot Time Priority", but I'm guessing that halves the quality. I haven't tried that mode - the "quality priority mode" is bad enough as it is. After you record, you have to wait a long time for the camera to save the footage. For example if you shoot for 1 second, you then have to wait for 40 seconds for the camera to save the clip (i.e. if shooting at 1000 fps and saving to a playback speed of 25 fps, that's 40x slow-mo). Don't think there are any affordable interchangeable cameras that shoot at such a high speed? It would be nice if mirrorless cameras had such an option, even if cropping into the sensor a lot. @projectwoofer the Roland JD-990 is nice, you're lucky to have one! Was looking into get one but they're quite expensive nowadays. I've recently ended up with a Roland D-550 rack though which sounds very impressive too. Below are two more 1000 fps videos I did, without using the vhs filter this time. I did use however use Topaz Video Enhance AI on these videos... otherwise the quality is awful, especially in lower light. This video was a 3 second or so clip of a plane landing at Stansted airport using the RX100 VII, which turns into 2.5 mins of footage when played at 1000 fps: And this one is combination of normal speed and slow motion, again with the RX100 VII:

This BTS is interesting

Probably easiest to use for Slo Mo is a Smartphone. Better quality than the above video. Some are listed below. Some are using computational math to clean it up. I don't understand why they don't add it to mirrorless cameras. https://www.smartprix.com/bytes/best-phones-to-capture-slow-motion-videos/

Absolutely! That's what so many people miss! It's not just about the camera, it's about what you're filming and all the pieces that go into it. When you put that much effort and skill into what you're filming it doesn't matter all that much what you're filming with.

It is because if people admit autofocus is not that important for some folks/uses, then they'll be forced to admit that Panasonic would then be their #1 choice. And Panasonic has been so the #1 leader for years and years.

Yeah, it's a really good sensor. The reason I went for the Fp-L over something like an S1R is as follows: Storage is getting cheaper and M1 Pro absolutely flies in Resolve now. I will jump back on the Uncompressed RAW 4K wagon. 500GB T5 SSD cost me £59 brand new. The Fp cages and SSD mounts are really small and light. The 61 megapixel sensor is a step up from the S1R sensor which is already cutting edge. If you don't mind a slight 1D-C style crop to APS-H (1.3x) you get an oversampled 7K image in RAW video mode up to 30p. That's going to look very nice in 12bit Cinema DNG. Better than BRAW. Real RAW. Huge sensor. So a clear upgrade from the original Fp which was pixel binning the RAW from 6K. It is tiny, with an EVF and runs off a GH2 battery. Can't say the same about RED or Blackmagic stuff!

Funny this. One person did say “why are we shooting this video on just these small cameras, why not a RED?” My response was “although you’re underestimating their image, this project is not about the camera….” It was great to have the crew but it was still stretched. However, you can still achieve a lot with few resources.

Nice! Anything is usable as long as it's aligned to the creative aesthetic. Footage from any camera can also be a disaster, regardless of how technically good it is, if it's not a good fit for the aesthetic.

The great innovation is "using common image compression algorithms before debayering"?, the world should worship RED forever.

I totally agree. I'm travelling between continents at the moment and don't have access to a calibrated screen but on my phone it looks great. The reds thing is interesting. I don't mind a certain amount of oversaturation of reds (you get this with classic Canon and also with Noritsu film scans) as it contributes a lot to vivacious skintones, which we also see here. But if it were me grading this I would have tried to pull the suit back a little bit using masks. It's interesting to see forest scenes here. I often think Panasonic fails spectacularly with the greens and greys of woodland scenes, making everything look quite drab both in stills and video. It's not as pronounced in this vid but I still see a hint of it, I think. Overall a great video from a visual standpoint and miles away from the usual dross that gets posted using the standard profiles or VLog + Pana lut. It would be interesting to know which lut they used as a starting point for the grade.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR. Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close. The 28-70F2 is a jewel of a lens ($3,500). Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project. So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC. I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

One is for fan boys, the other is for fan girls:

Cage with a grip, rods and mattebox will do the job and a good tripod. Last corporate gig I had my FS700 with a speedbooster and a Canon 24-105mm with me and my S1 as BCam. 🙂

When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag. When they see me pull that rig out of the bag, they think they think I am a total pro!

I use the original UM4.6k (not the pro) fairly often, but honestly, it's a pain in the ass compared to the pocket cameras. given the choice, I ALWAYS take a Pocket 4k over the UM4.6k Unless you can find one with the EVF and shoulder mount kit, I don't think it's worth picking one up. The ONLY thing I like about it, over the pocket line, is physical audio dials to adjust the input levels. That said, when I shoot with the Pockets, I shoot Braw and enjoy playing in post. When I shoot with the UM4.6k, it's for in-camera results in ProRes, and the footage goes straight off to an editor. It's far from a bad camera, and the prices are very interesting. But I think you'll be better off waiting a little longer for the first generation of the Pro 4.6k to come down in price. At least then you also have NDs and a few other treats. Around here, they're going for about the same price as a brand new Pocket 6k pro.