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I also think the sensor matters a lot more than the codec. The Alexa looks great in Prores 422, but its still reading out at 14 bits and getting most of the dynamic range. One of the reasons I prefer prores to RAW is because you can downsample. This saves you data without losing much resolution. Downsampled 2k on the Alexa looks about as good as the full 3.2k resolution, but you use way less space. I have downsampled 6k to 2k on the S1H. The 2k side by side with 6k is almost indistinguishable unless you are really cropping in a lot. Shooting in 6k resolution is super data heavy. The last film I worked on we shot on the URSA 12K in 12k. Crazy data rates. I wish the Ursa 12k had an option to downsample from 12k to 4k prores. The in camera 4k RAW on the URSA 12K is noticeably less detailed than the 12k. Down sampled 12k Prores would look insanely sharp. Of course you can always shoot in whatever codec and transcode in post, but its just nice to get it in camera, throw it on your computer and it's ready to go.

Yes, I usually do that just to get decent looking 1080p when it's played, irrespective of the original source material. In case anyone is interested, this is an example FFmpeg command line to process 4:3 PAL DV into 1440x1080p H.264 at 20Mbps using the Intel QSV encoder (command should be all on one line, input=PAL_DV.avi, output=PAL_DV_1080p.mp4): ffmpeg.exe -i PAL_DV.avi -vf estdif,scale=1440x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -preset veryslow -b:v 20M -c:a aac -b:a 256k PAL_DV_1080p.mp4

I think that is about the sum of it Kye. Yep. It was more a 'can I really work with manual focus all the time' rather than 'can I work with a vintage lens' and the answer to that is I guess nope, not really. Not for what I do and how I work. The conclusion is I prefer my AF to acquire approach and then lock focus technique.

Wow, I didn't think it was possible to sink any lower with trashy reality tv? O ye of little faith! What new fresh horrors is this, deep fake AI merged with the worst aspects of "reality" tv? Yes, yes it is

I don't think we should extrapolate that to decide what is best for the prosumer market. If we compare RAW with Prores (especially Prores 4:4:4 which is sadly completely lacking from the prosumer market), then we see that: Prores is compressed, but so are most forms of RAW RAW has to be de-bayered but RAW is also frequently compressed in a lossy way as the bitrates are almost unmanageable otherwise - this is especially true considering that most implementations of RAW are at the sensors full resolution, or are a brutal crop into the sensor completely revising your whole lens package RAW is ALL-I, but so is Prores Prores is constant-bitrate per pixel, but so is RAW RAW is "professional" quality, but so is Prores The comparison even extends into licensing, where there's been frequent speculation about licensing fees being a barrier to why manufacturers are reluctant to include Prores, and with RAW the patents are also a barrier. The more I think about this, the more that I think cameras should just implement the full-range of Prores codecs (LT, 422, HQ, and 444) and forget about RAW with all the BS that seems to go along with it... the image quality, bit-depths, bit-rates, performance in post, support across platforms, and licensing all seems to be similar to RAW or in the favour of Prores.

Yeah this is what I don't understand (and would like a source link to for context). IATSE covers virtually everyone behind the camera. Crew members on a union shoot are IATSE. And IATSE issued a statement in solidarity with WGA and SAG: https://iatse.net/teamsters-iatse-writers-guild-dga-issue-joint-statement-in-solidarity-with-sag-aftra/

Aren't most SAG-AFTRA members making less than $50,000 a year? I think the anger should be directed at the studios, not the folks that are acting in solidarity with the writers. As Michael said, it's the unfortunate side effect of being a freelancer. It sucks, but none of this would be happening if the studios weren't so greedy.

I worked on medium-sized productions and have friends who worked on high-budget shows for HBO and Netflix. They only film RAW for VFX plates and everything else is in ProRes.