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Didn't think this would work at first. Turns out it does, and then some! The 9.5K sensor in this thing has enough left over for 4.8K in 2x crop mode The Ultra HD is oversampled from this 4.8K and we have our nice looking Cinema DNG internal to SD card. Something the Micro Four Thirds cameras can't do. So it is basically a Digital Bolex at this point. Frame grab: The form factor is also perfect for these lenses being so small. It feels balanced as a Super 16mm handheld candid camera. It has one over on the Sony a1 for c-mount as well... The 2x crop is sticky, between Cine and Stills, and is remembered every time you turn it on. Whereas the Sony clear image zoom keeps getting reset when you power down or switch modes. So yeah, I think my Digital Bolex D16 itch has finally been scratched!! It's also perfect for bunny pics

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made.

Just found this video outlining a bunch of new features in Baselight (the other worlds best colour grading platform) and it confirms exactly what my thoughts were about sharpening and blurring, starting at 31m: He set up a frequency generator that starts at low frequencies on the left and goes higher towards the right, then uses the waveform monitor to show the amplitude, essentially showing a frequency response plot. The plot looks like this before any transformations: Adding sharpening to the image increases the amplitude of smaller frequencies: and a simple Gaussian blur reduces them: which is what we want to counteract the effects of in-camera sharpening, as well as replicate the decreasing response of film: I'm HUGELY encouraged now that I've worked out that a blur is a reasonable approximation of a more analog look, and that it also reverses sharpening. Another thing he demonstrates is that by increasing contrast on the image, you are amplifying the contrast of both the fine detail as well as the lower frequencies, so you're changing the texture of the image in ways that may not have occurred had the scene been lit with a greater contrast ratio. At 46m he shows an example (from Mindhunter, which was graded heavily in Baselight, fun fact!) with this being how it was shot: then you might add an effect in post like there was an additional light source: which has the effect of amplifying the contrast on everything, including fine details (ie, what sharpening does), but then he uses a special tool they've developed that only adds contrast to the lower frequencies and doesn't amplify the finer details, and voila: Now it looks natural, like that could have been how it was on set. I suppose you might be able to build this operation using frequency separation, but in Baselight it's just a slider. I guess that's one of the many reasons why instead of buying Resolve for $299 you'd buy Baselight, which is more of a "mortgage your house" sort of thing. The rest of the talk is excellent and worth watching, and this one that is more recent has some new stuff that is also fascinating:

I suspect it could have been because it was small and they didn't want to get too much attention. "so his crew consisted of just his actors (Scoot McNairy and Whitney Able), a sound tech, a line producer, a translator and a driver. Edwards operated the camera, grabbing footage guerrilla style whenever they came upon a compelling location while traveling through Central America." I'd imagine that security might have been a concern in that region (maybe I'm wrong on that) but combine that with not wanting to draw attention from local officials who might hassle you for permits etc. Also, if you're bringing equipment into a country and are going to leave with it again you will need to declare it at the border (so you don't have to pay import taxes - I can't remember what this is called) and this process is a huge PITA for documentary crews etc, so getting around that would be a huge time advantage (I've seen docos where it takes the better part of a day for each border crossing because of this).

I doubt Sony is put out much by these numbers. Sony has never been that much of a 'camera' or 'lens' manufacturer - the 'camera business' is just a show case for their sensors. And in the sensor business they totally dominate (do Canon even use their own sensors anymore?) Of course Sony's really big market is smartphone image sensors. There was a time that a smartphone had one image sensor - my latest phone (Xiaomi) has '5' (all Sony) and including a 1 inch sensor. So I would reckon Sony are pretty ok with Canon dominating what is essentially a declining niche mirrorless camera market, Sony have essentially capture the fastest 'growth' area of the photo industry...

Thanks! It is a tricky thing that basically every piece of technology faces - how do you cater to entry-level, intermediate, and expert users all with the same product: - If you make it too simple then the experts complain about lack of customisation (which is what Apple has done here - there aren't enough options). - If you make it too complex then the entry-level people can't work it out or end up setting things wrong, then blame you for the bad results. - You can't even make a "pro" mode because half of the entry-level people who don't know anything think they're "pro" and will screw it up and blame you for the results out of embarrassment alone.

Black magic app and iPhone 15 could replace travel cameras

Personally I’d still go MotionCam RAW as it’s still more organic of a look, plus it’s achievable on less expensive android phones.

That SSD via USB-C is crazily driving me to there... DR looks improved too. Let alone BMD camera user interface, well, it is hard to resist, isn't it? ; ) If I'd be them, I'd hire people like you @kye as consultant in less than a fraction of a second, that's the only part of the puzzle they need, no more no less :- )

There's a breakdown of production costs for the hit indie-movie Pi, here. Cost of shooting this movie was $60,927 Post-production costs matched this because it was shot on film. Today, that could be reduced. Pi made $3.2 million in US cinemas; despite limited release (68 theaters). That's excluding later DVD sales and foreign distribution etc. More interesting still: Pi is not a horror movie, it's a psychological-thriller. It demonstrated how good-story transcends everything; and that a $60k budget, good script, and strong team can propel you straight to the upper echelons of the industry. As Darren Aronofsky discovered.

I just don't quite understand why a filmmaker such as Edwards used a FX3, when much better cameras for productions such as Sony BURANO (or back then, the FX6) are available cheaply. Camera gear is shockingly cheap to rent. I'm working on a low budget / self funded short film right now, which is using an ALEXA 35 with Panavision anamorphics. You're not saving that much from the overall budget by shooting with an FX3 instead, it just feels a bit gimmicky, like when people want to be able to say we "shot it on an iPhone" purely for the sake of the marketing aspects for driving the film out there to be seen by the audiences. After all, would we even be talking about this film at all today if he'd chosen an ALEXA 35 for it instead?

Dealing in coke is the way to go to able to afford cooke

Started by buying an EM5 cuz it was small. Then Bought a GX7 cuz it was small. Bought a GM1 cuz it was small. Bought two GH1's cuz they are small. Bought an EM5II cuz it was small. Bought two Gx8's cuz they were small. Bought an EM10iii cuz it was small. Bought GH4's and Gh5's along the way as well. They are not small. I like the smaller cameras better in my hand. Too bad the small cams didn't have the same features/specs. Andrew is onto something by saying there was a missed market there. At least in my world that market exists. Doesn't take too much to wonder if OM can make a run at that market with trying to niche their way through the wildlife photographers. M43 for super long lens stuff is a relatively small kit. (Not the body, however, but the lens) Is it enough to keep the format viable? Probably not, but here's hoping.

Do guys think sony will charge $5000 for Open Gate license on Burano? ( its $5000 for unlocking open gate on Venice )