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Looks like a winner on the FX30. Gimbal one and done lens maybe

Test video - GX85 with Standard profile and 12-35mm F2.8 wide open. A few shots were ISO 400 or 800 towards the end. SOOC: After grade: Despite being fully manual, the shots had significant colour variation. Not sure if it was the vND or what, but colour management is critical to give ability to WB and expose in post on 709 footage.

It does have two but with it being made for broadcast it is expressed as gain (0db and 18db in this case).

Actually, here's my nomination for best-bang-for-buck camera nowadays - the Blackmagic Micro Studio Camera 4K G2 just announced by BM. Here's why: It's tiny, and fits the entire ecosystem of the previous Micro models, including battery type (Canon LP-E6) It can record BRAW up to DCI 4K60 to USB-C.... so you don't need a big expensive external recorder, you can use any old HDMI monitor you like! BM specifies 13 stops of DR, the same as all their previous cinema cameras, and up from the 11 stops they quoted for the previous Micro Studio camera It has AF (it won't be fast, but the previous BMMCC didn't have AF, and the OG BMPCC one was quite useful) It's $995! So, it's smaller and cheaper than the P4K, but appears to only have one native ISO. Interesting.

I didn't need to even wait until my next gig on Monday! I'm here at a Halloween Party 🎃 And totally unprompted, Captain America himself brought up "The Creator" and that it was shot on a Sony FX3:

Indeed and pair it with it’s even tinier 10-18mm sibling and you would have a 15-27 and 27-75 combo

It’s not just weight. It’s about balance. Where can you put the center of gravity. The lenses make it very very front heavy. You have to then push the camera way back to balance. And then you can even start hitting the physical dimensions. If the camera is too long to push back farther to get the center of gravity forward. I know some of the crew and it’s all about the director who was operating (not the DP) using the shoulder mounted ronin as a hand held / gimbal hybrid.

Yes fair enough. It's definitely got saturation coverage on the sites and channels we al look at, but I haven't seen Sony pushing it in any way. And Sony had zero influence in the production of this movie on any level. There's no way a marketing tie-in has occurred that would dictate the choice of camera. Also there was an embargo on mentioning the camera until after release, and the film bombed lol. I think the channels are just insatiably curious about what happened here and the crew are prepared to talk. I noticed poor old Atomos doing an interview with Oren though, trying to get some publicity while they stave off bigger issue like avoiding being delisted on the ASX. Viva ProRes Raw! (Ironically an Apple codec but you wouldn't know it). Edit: I could be misunderstanding the marketing comments. It has definitely played into the marketing of the film, but with caveats such as after the release. And ultimately that marketing would never dictate the choice of the camera.

Have they ever??? Even when REDs were more popular on production, a few years back, it was still easy enough for producers (especially in big markets such as LA or NYC) to demand the latest. Because there was a big oversupply of RED shooters vs jobs suitable for a RED. Their RED Raven and RED Komodo pushed them rather close to consumer territory RED even at the best of times never really gained heaps of traction. Their market segments were: 1) RED fanboys 2) cutting edge experimenters, who would dabble with the the RED ecosystem when it was new. Probably got burnt by RED. And would move along to abandon RED as soon as something better was available. Be it a Sony PMW-F3 / Sony FS700 / ARRI ALEXA / or whatever. 3) people who needed a compact cinema camera , be it for a drone / gimbal / crash cam / whatever 4) people who want "higher quality" but can't afford the best. (i.e. ARRI ALEXA cameras, or Super 35 film, or something similar-ish such as Sony F35 or F65) #1 has been in decline for years. #2 has completely disappeared. #3 got very gradually chipped away at with the likes of better mirrorless cameras + BMD's BMCC & BMPCC. But the release of the ARRI Alexa Mini almost completely demolished this niche for RED. Then the P4K / VENICE / FX6 / etc killed whatever small teeny remaining niches RED might still have in this market. #4 initially this gap for RED to live in used to be very big. As when the RED ONE was released the ARRI ALEXA didn't exist at the high end, not even the Sony F35 existed yet. And the HDSLRs didn't exist on the low end. So RED had all to themselves a massive huge market between the likes of Panasonic DVX100 etc on the low end and shooting on Super 35mm (or perhaps the Sony PWM-F900R) on the high end (which is VERY expensive!). Maybe RED's most direct competition was Super 16? (it's a middle ground between DVX100 vs S35) So it was easy to make a strong case for RED. But within a couple of years things very quickly changed: ARRI ALEXA & Sony F35 etc got released, which meant the very high end for digital was no longer RED's. HDSLRs & HD camcorders such as the Sony EX3 got released so that the low end HD was no longer RED's. But as each year went by, it became worse and worse for Sony. As quickly you got RED being squeezed and attacked from all directions: 1) HDSLRs / mirrorless got better with 4K and even 10bit, killing even more of the low end market for RED. A filmmaker that in the past might have been happy to financially overstretch themselves to the max to try and get Scarlet-X for their thesis film, is now happy to shoot it on a newly released Panasonic GH4 with an Atomos recorder. 2) Mainly Blackmagic (but to a lesser extent ZCam/Kinefinity/AJA/etc as well) killed off a lot of appeal for RED in the low end raw/ProRes niche of the market. And even attacking them hard in the mid range once the URSA Mini came out. Plus once the likes of ALEXA XT etc got released, making older ALEXA Classics increasingly more affordable to rent, then that too killed away the mid range for RED> 3) The low/mid end for slow motion got killed by Sony FS700, and once the Phantom cameras came out they killed the high end for RED. And with time this just got worse and worse for RED, as more and more cameras could do better and better slow motion. 4) compact cameras (for gimbal / steadicam / crash / cranes / etc) on the high end got killed once the ALEXA Mini was released, and had already been chipped away at by the mirrorless and BMPCC on the lower end 5) the low/mid range for documentaries / corporate / advertising / etc got massively eaten away at with the release of the Canon C300mk1 & C100, and then full on demolished once the Sony FS7 came along, almost no point for using RED at all. What was once a big area for RED between S35 level vs DX100 level filmmaking when the RED ONE was released has shrunk now to almost nothing. Remember too, that the camera rental is a very small part of an overall budget for a production in many cases. The difference between renting a RED Gemini vs an ARRI Alexa Mini is a rounding error for them. So why choose the RED?? And if someone is super strapped for cash, will they want to splurge on renting a RED Gemini or will they be happy to settle for the likes of an URSA Mini Pro or a Sony FX6 or Canon C300mk2 etc? (and probably, these cameras will be even better suited to the nature of this type of filmmaking) Indeed, you might have missed the boat on getting your hands on your dream camera! They're unaffordable now. ah right, two totally different sensors Would make more sense to compare a Epic-X vs Scarlet-X that are both using the same MX sensor.

Yeah boot times don't bother me too much. I am used to them with older red cameras or Alexas. 2k 444 is ideal for me codec wise. Should be pretty nice if its downsampling from the 4k sensor. Rolling shutter is a bit annoying but 15ms is very usable. I have honestly never noticed rolling shutter ever across my life shooting videos, other than for strobe lighting.

Sure, we're seeing oversaturating as we're people who post on EOSHD but it is leaking out to a wider audience. If I tomorrow at work asked around "hey have you heard about that new blockbuster scifi film shot on a mirrorless?" then I'd probably get a few bites. Plus it is a "hook" that even mainstream channels might spur them to write a report on or do a video on, even if that aspect is only a glancing mention in the overall reporting. Yes, but how much worse would it have done with even less press? "a pretty compelling story" Isn't there is another name for that? 😉 It's marketing! There is rather little difference in weight between a stripped down FX6 and a stripped down FX3, plus when you're using heavier anamorphic lenses like they are, then it makes it easier to balance the gimbal if your camera is a little heavier rather than weighing nothing at all

Sony did this ten years ago with their QX range such as the QX100 which was an RX100 sensor and lens. A year later, they even released the even lesser spotted APS-C E mount version. Unfortunately, they all absolutely tanked. I've said a few times that they were ahead of their time and maybe if they were released now they would fare differently. Whether it would be Sony themselves who do it is debatable and if they did it would likely be an exclusive with their own phones but maybe BM could be a candidate.

Here's an idea for Apple to take over the lower-end of the cinema market: Now that the iPhone 15 Pro/Max have USB-C ports, how about creating an Apple standard to connect external lenses and sensors to the iPhone? This might seem dumb to do, but here's where it gets interesting: The makers of these third-party accessories now wouldn't have to deal with user interface issues (the iPhone and third-party camera apps would take care of that), or storage issues (the iPhone would handle that), or video/audio encoding issues (the iPhone would also handle that). Essentially, the iPhone would become an add-on to these third-party accessories where the iPhone does all the heavy software lifting, and the hardware would only be in charge or sending the image (lens) and storing it (sensor). The sensor would send data to the iPhone as a standardize RAW stream which Apple would then convert on the fly to whatever format is needed. This would reduce the cost of such a device (minus the lens) to only a few hundred dollars (under US$500 or even US$300 is entirely posible) and all you'd need to supply is the lens (say, Micro Four Thirds, Canon, L, etc). Heck, Apple itself could provide such an adapter and then it's up to you to simply provide the lens. Let's call it the "iPhone Professional Camera Kit", which would also come with HDMI output, XLR inputs, Timecode, etc. And you could use am iPad mini (or any iPad) if you want a larger monitor.

My thoughts exactly as in who buys or is likely to buy something like the FX3 in the first place?! ’Us’. Folks that would know about or be interested. And some of us may even believe that because we bought ‘Tool X’, we could also create something similar because if they used X and I use X, then…

So the old RED cameras don't get any credibility anymore? Wow.. considering how great the image is, and considering RED was never perceived as a consumer brand, it's a pretty fickle attitude! However did you guess?!?! ❤️❤️❤️ Actually, after recent releases, the second hand market for them might have gone vertical!

Did you grade the FX30 to match the Alexa, or the other way around? I see differences, but they're subtle and not significant. IIRC it was Steve Yedlin that talked about the idea of the "cut back" test for camera matching. Ie, if you were to have a shot from camera A, then another shot, then CUT BACK to camera B, would you notice that A and B were different. I think this is a good test because in real film-making you don't normally cut directly between two cameras showing the same scene from the same angle, so there is some distance there, and so in A/B testing you shouldn't cut directly between the same scene and angle because it's too stringent a test. Yes, in theory you would cut between two angles of the same scene, but in lots of film-making you'd be changing the lighting setup between filming those angles, so getting a perfect match isn't relevant in these situations either.

Colors looked like a overly graded GH1, muddy bloody hell. I had to stop the video after the 1st half. Why? Please don't ask. Too many things.😅 But thanks for posting, so we can reflect on it.

Of course, there is a third option beyond smartphone and normal camera. That option would be to leverage its existing tech but compromise on the thickness of the device, and include multiple cameras with various different focal lengths, light the Light L16 did. (The L16 tried to stitch the camera images together, which didn't work well, and isn't what I'd recommend. But it did show that you can get 16 smartphone sized camera modules into something very compact, with potentially spectacular dust and water-proofing.) As we saw from the Venice video I posted yesterday, the main camera is broadly a good option but the other cameras tend to suffer significantly from lack of light. If they had extra thickness they could use the same size of sensor for all the cameras, and combine it with faster lenses. There are F1.4 smartphones out there, but we all know that lenses can be built much faster than that. Imagine a device that's sized like a large smartphone but with the thickness of a modern camera body without the lens, and has an array of cameras including 16mm FOV, 24mm FOV, 50mm FOV, 100mm FOV, and 250mm FOV, all capable of 8K60, and all at F0.8. Shooting all resolutions and flavours of Prores in Apple Log of course. If Apple made a dedicated camera, it would have to be completely superior to their flagship phones, and would also have to appeal to the masses who want improved imaging and are willing to pay for it, BUT would have to fit the Apple philosophy of being elegant and simple to use. I don't think an FX3-ish or Alexa-ish device with Apple written on the front would do that.