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In my opinion looking like best devices are... Xiaomi Mi 10 (6K RAW) Xiaomi Mi 11 Ultra (huge sensor and 5x periscope optics) OnePlus 8 Pro (I liked the RAW stills from this sensor and lens combo too) Whereas Samsung non-Snapdragon models in EU don't work properly and Huawei is a complete non-starter. Redmi / Poco phones seem to have some milage as best value for money But you can get a Mi 10 for 300 euros used nowadays.

Go to the DPReview studio shot comparison page, select those (or any) cameras at those (or any) ISOs, download the files and make your own mind up.

I have a Sony Xperia Pro-I and this new phone is pretty much the same except it has a real zoom lens instead of the 1" type mine has. So yeah I bought it because as a phone you always have it with you. But sure a Panasonic hybrid is going to be better at most things over the phone, but how often do you have it with you. And don't think these new phones aren't pretty good at low light, because no MFT camera is really very good at low light either. I have a Olympus EM1 mk II and 1600 ISO is about as low as you dare go on it. That is not a lot to write home to mother about either. But in decent to good light it has magic in it both photo and video. I bought it years ago for birding, they have great AF compared to a Panasonic camera. I have had nothing that is really better at doing wildlife since. Well maybe my 1DC but it is heavy as heck to carry.

What he is trying in a polite way to tell you is that equipment doesn't make much difference, skill and desire do. Marty is one of the best people on here producing videos with equipment most people would toss in their bottom drawer. Mattias Burling is another one of here that is great with not-so-great stuff. Talent not tools make it happen.

Strangely garish promo video:

For what its worth, I completely agree with @PannySVHS point about alternative ways to use the expenditure than on that particular phone. It is €1400 and that amount could be used in many different ways to acquire film making equipment and still leave enough over to buy a perfectly functioning phone. Again, thats not ego, its just counting.

I don't get what ego has to do with this and how "wild" is the personality of someone with a potentially different opinion or needs than yours?

Ooooh, tasty new firmware update announced today! ProRes internal at lower resolutions (C4K and 1080). Win!

I´d rather buy a GX85 for 200USD and for the my smartphone needs a used Samsung 2017 or 2018 phone for 50USD. Saves me 1000USD for a used GH5 or a XT4 or if lucky a used S5. 🙂 A Masterclass it is not and neither is there anything about Filmmaking as such with a capitol F.:)

Would be interested to see if this Android device works. It has a MFT sensor and you can change lenses! That would be the Yognuno YN455. Also the Sharp Aquos R6 with its truely 1 inch sized sensor. Latter costing 750USD on ebay US but has not been officially released outside of Japan afaik. I think closest to the Digital bolex would be a OG BMPCC or BMMCC.:) Video below was shot with the One Plus 7T Pro. It´s a low dynamic range scene but the subtle tones and "organic" textures and resolution look impressive. I had posted this one before in this thread.

@androidlad wasn't it revealed A7S3 actually uses a 48MP quad bayer sensor binned down to 12MP? That would explain the increased read noise and performance similar to A1. https://www.sonyalpharumors.com/surprise-the-sony-a7siii-actually-has-a-48-megapixel-quad-bayer-sensor/ Yup, I've done many photography events including two weddings with R6 no problem. It uses the same sensor than 1DX3.

Well for me the S5's time has finally passed. The lack of useable AF for the type of work that I do finally became too much to deal with. The Canon C70 has managed to meet and exceed my expectations in every possible video related area. Its AF is certainly not perfect either, but it is leaps and bounds ahead of the S5 and GH5 not to mention the integrated XLR inputs and internal ND filters has helped me set up and tear down faster than any previous camera I have owned. For my fast moving run and gun type event work I gave up IBIS just to gain useable AF and so today I am getting rid of my C200, both S5's, and the GH5 since I haven't even turned on any of them since getting the C70. I have now shot multiple events and projects with the C70 and it has performed nearly flawlessly every time (hint: AF is terrible in lowlight/backlit scenarios). I still think if you can use MF for your work or if the AF is good enough for the type of projects that you shoot, the S5 is without a doubt the best hybrid photo/video camera out there for the price and offers the best of both photography and video, even audio is great with the XLR adapter, but for me the C70 is without a doubt a better fit. I still think the S5's greatest niche would be as a travel / mini doc hybrid photo/video camera. With the S5 I was simply throwing away too much soft footage and it was always stressful trying to ensure people at events were in focus or that I at least managed to capture the peak action moment in focus. Even simple handheld interviews I found myself using ISO4000 all the time just to increase the F stop to try to keep people in focus or I would use a wider lens. In the end I found myself making too many compromises and putting in too much extra effort just to keep the subjects in focus. Surprisingly, at least to me, I still find the VLOG out of the S5 about even or maybe even slightly better than the CLOG2 I am getting with the C70 when it comes to dynamic range and colors. I know Canon's colors are legendary, and the C70's DGO sensor is supposed to be the best you can get below $10K at the moment, but there's something about the image quality out of the S5 with the Sigma 50mm and VLOG that I can't quite match with the C70. I probably just haven't found the right CLOG2 to Rec709 LUT yet, but with the S5's VLOG I could grade it by hand without a LUT and get better results.

That is true, but since I don't have high end video needs then it can be Panasonic S5 for me (at least good IBIS and AF not much worse in video and in stills it's actually better), A7 IV (great AF and ok IBIS) or maybe wait a little and see what Nikon Z6 III will look like (my guess is that it will be great). OM-1 is also fantastic (great size, lenses, AF and best IBIS but this sensor for stills gives me a pause though) I am long enough with Fuji and I know that their AF and IBIS drive me crazy. Apart from that they are pretty much great. Colors, DR, ergonomics, fun factor, size with smaller primes, 4k120, rolling shutter, 1/32000 for stills and so on.

Battery life is pretty poor. That said, we've been a bit spoiled with the GH4 and GH5S in particular. Battery life is in line with most other cameras of its type. You need about 4 or 5 batteries to get through a day's shoot I'm finding. I'm using mainly the old GH5 batteries, which offer good basic functionality.

Holy cow, Don, dear friend! I am blushing, seriously! You should see the stuff I don´t show, which for a good reason.:) Last project I did was with a S1 and a FS700 internal, the musicvideo before that with a GH5 and a S1 a BCam. So these cameras are not too shabby, too good for the dumpster for sure. 😄 I will post the FS700/S1 clip soon. I think they matched perfectly. The internal 8bit 420 image and codec of the FS700 are not shabby neither. I had tested the internal FS700 on two puny money jobs before, so I knew it was going to do the job.

You've just made me to not buy one now when the promising previous one from you had hinted me exactly in the opposite direction. This nonsense must be denounced, so thanks mate : ) On a different note, seems OnePlus 8 Pro goes in a much distinct route, isn't it @Alpicat? I have the OnePlus 9 Pro, just didn't test it yet coupled to a SSD though, nice tip pal :- )

none whatsoever

If we’re talking about video, it certainly doesn’t help that most new cameras have awful 1080p quality. Only solution is to just shoot in 4K. Though my S5’s live crop mode has fantastic 1080p quality albeit only in 30fps. It puzzles me why the normal FHD modes are so bad on most cameras manufactured in the last few years.

Correct - this was as typo; not meant to be my commentary That is fascinating, why do you think that is? That seems fair - I do like the image they've captured and created here though with the available ranges.

Tip here, Sony Phones are Not, I repeat, Not good at working with Motion Pro. I have no clue why, I guess sensor architecture??, but it does work at times and at times it doesn't. So not the best phone for DNG Raw video. They do work great for DNG Raw Photos.. When you open the app a warning comes up stating Sony phones are not really compatible.

You don't have to hand over €1400 to shoot raw on a phone would be the difference. There may well be value in it on a €300 phone but when you are having to hand over €1400 to do it then the proposition changes completely.

Again, its not the title of the video though is it? It is you that has titled the thread as it being a masterclass and that is what was being responded to. The reality is that the actual video you have put up is asking if the phone is a masterpiece. "Sony Xperia 1IV - A Masterclass in Filmmaking" and "Sony Xperia 1 IV - A Filmmaking Masterpiece?" are very different things. Although, the answer to the statement in the thread title and the question posed in the actual video are both "absolutely not" in my opinion.

Most of you have already seen this, but I'll post it again. Yedlin makes compelling points. Here are my thoughts: If you're under 30, you want resolution because of specs. If you're over 30, you want resolution because you were somehow traumatized by SD. In reality, 1080p is just fine. 🙂

Pixel binning reduces read noise (1 readout instead of 4), hence those 100MP+ smartphone sensors output 12MP in lowlight. It's essentially used as a locked down 12MP sensor.

It is literally not a "Masterclass" though is it ? Not even the creator of it is claiming it as such. So saying it isn't a "Masterclass" is nothing to do with ego, its just about reading the actual title of the video that you linked. "Sony Xperia 1 IV - A Filmmaking Masterpiece?"

Hahah - the types of egos and personalities one comes across on this board are beyond wild.

I think you can learn something from lot’s of different sources actually whether that be Hollywood grade colorist or more humble YouToober. I learn stuff I implement into my work all the time from multi million dollar movies and from some guy who shot some shit in his back yard with a crew of himself and a budget of jack all. The main thing is long as you are learning something…

Yup, people's actions during a shoot are very different when the post production process will be using people who are charging $100+/hr vs "someone is going to do it for free". You don't have such a haphazard approach to filming.

The other thing with Mi 11 Ultra, amazing sensor though it is (and you can record 4K RAW on the ultra wide and 5x optical periscope zoom camera too) is that the USB C port is USB 2.0 speed! The app allows you to plug in a Samsung T5 SSD or such, and record RAW video directly to that. So worth rigging one up but only if your phone doesn't do something stupid like not having full speed USB 3.1

Who cares what Jake Paul uses? Let's focus on the RAW video app Motion Cam for Android in this topic please. Thanks.

Another thing that's fascinating, and completely invisible, is that the way that cameras are used between YT and professional sets is fundamentally and completely different. Ironically, the professional process where a camera is properly exposed and white-balanced makes everything really simple and straight-forward in post, not only being super easy to grade an enormous amount of content to look consistent and also amazing. This is compared to the haphazard way that YT and other solo film-makers operate with WB and exposure all over the place, meaning so much extra work is required in post. The first time I heard a professional colourist take me through their process was a revelation because it made the whole thing radically simple, and with a properly shot feature a colourist can set everything up properly and have everything just fall into place with only minor tweaks required. One senior colourist mentioned that they like to have a viewing with the Director a few days after they have received the footage - this is when colour grading a feature with literally thousands of individual shots. You simply cannot do that if things aren't done in a standardised and repeatable way. Of course, that standard way also makes sure that each image is captured at the absolute sweet-spot of the camera/codec so not only are the results consistent but they're of the highest quality. For each hour you spend watching YT videos on film-making, you're going to need to spend another two hours later on un-learning the complete crap that they've been feeding you.

Little life hack for iOS users. Buy the Moment camera app and use it’s DNG “burst” mode. I don’t have an exact framerate analyzed yet but it’s somewhere around 12fps. Then use optical flow to fill in the missing frames to make it 24fps. Use RIFE or DAIN, state of the art AI-based frame interpolation, and the results are quite decent as long as there isn’t too much fast motion. This workflow gives a raw, DNG workflow for iOS users. Recording time, given enough free space, is unlimited, except that you get periodical dropped frames after a certain pint, maybe every 10 seconds if I guess. Clears up quick though. All camera modules work; recording is full-res and open gate. Haven’t checked but rate yet, but you can bring the DNG sequence into resolve, select linear as the color space in the raw settings, and then use a CST node to bring it into a log space like Arri log C.

Yeah the C70 sensor is a tad overrated. I'd rather have the R5C, but than you lose ND's. The C70 is definitely a good all around camera.

The Raven is a good deal these days. Seeing kits with everything for under $4k. You still gotta stock up on redmags though, probably another $1k.

Yes and it's 100% not relevant to the RED Patent on compressed RAW. The Dalsa used an off board recorder for RAW. Equivalent to using an external HDMI recorder today. The RAW was also completely uncompressed. Says right there on your Wiki link: "The camera outputs raw data to an off board storage unit at a rate of approximately 400 megabytes per second"

But I respect your opinions on here, I know you go to a lot of work on sensors for our information. We are probably, maybe each half right. That way it makes us even. Heck, I don't know, but we are lucky to have what we have. All I know is what I have experienced over a lot of years and a lot of research myself. But I am no engineer.

Honestly the "or more" part is the only bit I really take issue with. Once Elon Musk reaches Mars, he should patent transportation devices that can go 133 million miles or more so he can collect royalties when someone else invents interstellar travel. If he specifically describes "any device that can transport 1 or more persons" that would even cover wormholes that don't technically use rockets! If the patent had listed the specific set of frame rates that they were able to achieve, like 24-48 in 4k and 24-120 in 2k (or whatever the Red One was capable of at the time), at the compression ratios that they could hit, that would seem more like fair play. That leaves opportunity for further technical innovation, Which, by the way, Red might very well have been first at as well.

But that's not at all what I'm saying. I'm saying their patent for 24fps should not exist, just like if they had tried to patent 9fps (or 23fps, or 25fps, etc.. the number they used doesn't matter! Any number would be wrong) that also should not exist.

First Digital camera I ever owned was a Sony Mavica and I think they were a 1/2mp. It was pretty damn good believe it or not. https://en.wikipedia.org/wiki/Sony_Mavica#/media/File:Sony_Mavica_FD5_4040.jpg

Most 1080p Cine cameras, the Sony F3, Canon C100, Panny Af100, etc. only had sensors of say 3.5mp or less. It is pretty amazing how little you need for video.

Remember the Nikon D1X (over two decades old!!!) is "only" 6 megapixels and a hell of a lot of billboards got shot with the D1X back in the day! https://www.dpreview.com/reviews/nikond1x

Amen! Simply unbearable. Those are channels that I wouldn’t watch even if you paid me to watch them.

The S1 can also be found for close to 1100 to 1200 versus 4600€ for the FX3. You can’t beat the S series for bang for buck. Here are a couple of videos a friend and I shot last year on the S5 and S1:

I love the output from my 16MP Gx85. If it had 12MP with anything else staying the same I would still love it. Most mft lenses dont resolve more than 12MP. A lot of affordable FF lenses dont resolve more in their center crop. The Oly Pl1 is one sharp 12 MP cam due to its lack of an Oplf filter. Can be had for 30 bucks i bet.

Our own @Mattias Burling recently showed what one can do with a 6.3 megapixel, 19-year-old Canon 300D: Gunpowder!

Didn’t watch but yes. Easily. I recently upgraded from 24 to 47mp cameras for my stills work because purely for myself, I like max quality, plus ability to crop hard (partly because I shoot shorter focal length primes). But could easily go back to a camera that ‘only’ shoots 12mp for client wedding work.

Absolutely 12MP may well be enough depending on what you want it for. I even did a project during lockdown where I sent 6MP cameras to people and asked them to take self portraits which I then cropped and THAT was enough resolution for Instagram. We have all this resolution and then we end up looking at pics not too much bigger than a postage stamp!

I think putting the handles and matte box is as far as I'm going to go when it comes to trying to spiffy the camera up for clients. I'll add a monitor for functionality when I need it. To me, I want a compact, simple set up. I see "rig build" videos on YouTube and 90% of them are just way too much for me. 5 years ago I'd of had a totally different opinion, because I'd have been impressed and slightly jealous, but honestly the last thing I wanna do these days is spend more than 5 minutes setting up my camera rig and then have to lug this big thing around for a simple sit down talking head shoot or my friend blowing glass. LUMIX S5 + cage + Panasonic XLR helmet + Azden SGM-250CX + SmallRig HSR2511 right grip with record trigger + NiceyRig left grip with Arri Rosette + Mini Matte Box Lite = enough!

I agree, the Fujinon XF 18-120mm F4 LM PZ WR Parfocal Hybrid Lens is more exciting! First ever collaboration too between the two branches of Fujinon vs Fujifilm.

it's the long awaited sequel: man taking a hat and looking out the mfin window