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Hundreds of thousands of euros??? Oh no, I bet ARRI spent tens of millions on development of the new ARRI 35 camera! Wow, digital has become (when done right) "more filmlike" than film itself!

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro. No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc but it will be interesting to see nonetheless. It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years. LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own. Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not. Full details of the new iPads here : https://www.apple.com/uk/ipad-pro/

Only if you have a seriously powerful computer. A quick google gave me two sources that said that h265 requires 5-10x more processing power than h264. It likely is the processing, but unfortunately you don't get to choose any/enough options on that. Most cameras that offer Prores treat the image with respect and most with h26x do not, so the codec acts as a proxy for the intended market and therefore the level of molestation the image will have gone through.

I think it has more to do with processing than the codec itself. Of course motion will generally look better with ALL-I vs Long GOP due to the nature of the compression. But everything else comes down to processing. I would think aside from the manufactures choice in processing that H264 ALL-I at 200mbps in HD would match Prores 422 HQ at HD which is around 200mbps.

There have certainly been advances in the last few years. The LONG GOP 4k @ 160mbps looks so damn good on the Canon C70s. It's pretty hard to tell the difference between the two.

For the past year or so I have been shooting almost everything in ProRes Raw on my S1, (the normal mode, not the HQ) I think it is somewhere around 2 Gbps, which is pretty insane, but shooting with one of the 2TB Angelbird SSD's to my Ninja V still gives me more than enough room, even over multi-day shoots. I used to shoot with Red cameras quite a bit, and I did get used to the easy flexibility of the R3D files, so the ProRes Raw was such a huge upgrade for me on the S1. I love being able to dial in ISO and WB in post, and the image just has a thickness and creaminess to it that I just don't see with the internal codecs. Granted it's also generally quite a bit noisier, and completely unsharpened, so it all requires more work in post. The only time I don't use ProRes Raw is for interviews — the internal 5.9k hevc does the trick, and is nice and small — or for certain anamorphic shooting where I prefer the 6k, 3:2 open gate recording, for better use with my scopes, a mode that sadly doesn't have external Raw support. I've also been using it a lot lately for social media work, when clients know they want both vertical and 16:9 versions of edits, the extra headroom of the open gate makes the reframing so much easier. I back everything up to my Unraid server — it's sitting at 60 TB right now, with six 12-TB HDD's, and 4TB of SSD cache for really fast writing to the server, this is probably the most economic way of storing data. If you're okay with a little tinkering, I highly recommend it. Easy to just buy used PC parts, and Unraid has a ton of community support. I run a 10gbit thunderbolt 3 connection to either my 16" mbp or my M1 mini, and I just edit straight off the server without a problem. With Unraid, unlike other storage solutions, it's very easy to just keep adding new drives to the array as necessary, so I'm really not too worried about space. In the long run, I may end I'm just batch-exporting archived project B-roll to hevc or something similar, but I'm not really too concerned about it right now, as I still have oodles of space.

Yes, same here, I wish the camera companies would be brave enough to do some intermediate resolutions/frame rates between HD and UHD. A 2.5-2.8K option would be a really great choice for finishing to HD while having some room for cropping and having a bit of oversampling for that nice sharp-but-not-sharpened look. It could also help fill gaps in the spec sheet for marketing, for instance the A7IV (and my S1) can't do 4K60 at less than an s35/APS-C crop, but if it could do 2.5-2.8K at ~1.3x, or even full-frame, that would be a lot more attractive, while still keeping some distance to the A7sIII, A1 etc.

I would love an internal 2.8K RAW codec around 300Mbit. A good balance of image quality and practicality. I have moved on from 1080p but 2.8K never got the attention it deserved. It's a big step up from 1080. As the original BMCC showed! Closest at the moment is the 6K C-RAW from EOS R3 in 24p mode at 720Mbit. Or ProRes LT on the X-H2 which I think stands up very well to some of the lighter RAW codecs and BRAW. ProRes RAW file sizes are a bit silly so won't be rushing out to buy an external recorder any time soon! Canon RAW lite seems to edit quite fluidly on my MacBook Pro 16" (m1 pro) It's a shame EOS R3 cannot downsample the RAW to 2.8K and 4K in-camera as I don't particularly need 6K.

Not really sure what the last few pages have been about? Are we trying to justify an APS-C sensor as being good enough for a Netflix or Theatrical release? Maybe Arri should weigh in here on why they would have spent hundreds of thousands of euro on developing a new S35 camera that is not good enough for the big time. Maybe every rental house I know, that all have ordered and received their new S35 sensor Arri camera could also weigh in here? With so much $$ at stake, you'd think they all would have done some research to learn that nothing less than full frame is really acceptable today. If only Arri, the rental houses and top DP's watched YouTube reviewers .....a lot of money could have been saved by not buying or even developing a useless 'crop' sensor camera. 😉

Yeah that's kind of the story by my username haha

Username checks out 😉 Honorable mention to EOS R3 with 6K C-RAW (24.00p/23.98p): Approx. 720 Mbps That it is actually quite a nice data rate for 6K RAW compared to most other cameras which are 2000Mbit+

Tough question. I love shooting higher bitrates with lower resolution. The Alexa Classic 2k lets me shoot in 444 without massive files and super smooth NLE experience. Sometimes I do crave 4k recording. With the relatively cheap costs of SSDs shooting 12bit 4k on the Sigma FP is doable. Still long term storage becomes a pain the more data you rack up. Maybe I just need a better archiving system. I'd say when shooting 4k its nice to have 5:1 compression option, really saves you a lot of space with no noticeable loss in IQ. Prores 422 seems to look nice and isn't too big. Of course with 8k its pretty massive, 4k or 2.8k things aren't so bad. Prores LT is a little brittle for me. But maybe shooting 8k kind of makes up for it. I just can't buy into the 6k-8k hype. 4k is a sweet spot for me and I don't mind shooting HD either.

I’m liking oversampled 1080p Prores HQ, bitrate around 220mb/s but with that Prores mojo and editing performance. I use a Nikon Z6, special HDMI settings, and an Atomos Ninja Star to achieve this. Really an underrated format though, capturing that oversampled video directly. 1/4 the file size but detail loss is not massive compared to 4k.

If you are doing a multi-camera shoot, first put the grey/white card and color chart together, lit by the dominant full-spectrum light source of the scene/event. Flag other light sources from hitting card and chart. To avoid glare, the light source should be at about 45 degrees (or less) to the plane formed by the card and chart. Position all the cameras side-by-side as close as possible to each other, about 6-8 feet directly in front of the card and chart, and perform a custom white balance on each camera. Then, record about five seconds of footage of the card and chart with each camera. If the dominant light source of the scene/event is intentionally not full-spectrum, perform the above procedure using a separate full spectrum source with a color balance that is close to color of the dominant source of the event/scene. If you are shooting at separate times/locations with each camera (not a multi-camera session), do the same procedure above at each time/location with the one camera. Of course, if you are shooting raw, the white balance will not affect the captured image, but having a custom white balance should provide a decent starting point for your NLE and for color grading software. The footage of the charts will help in more finely "dialing-in" the color correction in post.

Ciao Andrew, this news really touched me a lot, believe me it really makes me angry to hear about cancer at a young age. I'm very sorry. I'm sure you won't like what I'm about to say, feel free to insult me or kick me out of this forum . What i am about to say doesn't fit your beliefs and many others here. Many people are dying during this time for cancer and heart diseases. Many of these die because of the Covid vaccine, all this obviously is hidden by the politics ,media and especially by doctors. I understand that this is unacceptable and that not everyone has the means to discern this type of information. Did your sister get the vaccines? If I were you I would dig it more on this topic.