IronFilm

Yes, if timecode is working then syncing should be instantaneous. Also all those times that trying to sync via the camera audio track which might have failed? Such as if it was too windy for the camera mics, or the camera was too far away, or on the other side of a window. Timecode cures this. Also it depends on a person's usages, just doing a couple of hours of interviews indoors? Not a big deal at all if missing TC. Doing an entire feature film across dozens of locations? This would be saving a major post workflow headache!

Are those images from the K Pop guy?

URSA Mini 4K / URSA 4K / BMPC4K all share the "same" sensor. The newer ones fixed an issue or two, and allowed high speed thanks to the bigger bodies. But more or less, they're the same with mostly the same pros/cons like global shutter or poor low light.

Soooooooo........ we learned in the first one second, the EOS R has horrible horrible sound? ha

Could the brown-muddiness be IR pollution, tried shooting them with an IR cut filter? Ah whoops, I see someone else replied with exactly my same thoughts.

"everything you see I shot at 1080 and upscaled to 4K" Oh gee.... Come on now, how can he be saying all of this with a straight face? Did it takes tips from the Silicon Valey guys as to how to maximize how many ***** he can **** off at once?

Ha! The good old 1D C and C500. Yeah, they're awful. Look at the noise in the image! And the motion cadence. Ugh. And the colors. Ugh. And that highlight roll off. Ugh. Of course the way forums are.... no one can tell if I'm being serious or sarcastic ? And 54 of those subscribers came along after he uploaded the new BMPCC4K footage! :-P

I feel like it is fluffing around on the edges for marginal if any improvements. Just get a Rode VMP for on camera audio, and a Zoom F4 + boom for when you need better audio. The one real use the F1SP / DR10SG / VP83F is for cameras like say the Sony a5100 / RX100 / Panasonic GX850 / etc which completely lack any mic input whatsoever but you want some kind of better but rough scratch audio "on" camera?!

It would stop me shooting ProRes with my BMPCC! ha As 97% of the time my BMPCC is in ProRes, not raw.

When there are so so many other "raws" (like you just listed! "ProRes RAW, Canon RAWLite, Redcode RAW, etc.") then to "compete" against them in the buzzword marketing world then BMD kinda had to include "raw" in their name as well. I bet braw is why Grant was so lukewarm about committing to implement ProResRAW in DaVinci Resolve or in BMD's cameras. Hopefully a gyroscope/accelerometer will be included in a future camera, and this will be added into the metadata as well for VFX. Very awesome! So long as their computer is fast enough, all you need to do is tell them to install VLC. (which many people already have anyway) Same boat here! The BMPCC4K is undoubtedly a very attractive camera, but it had a few downsides, but now being able to shoot braw at half the file size of ProRes LT that just removed another objection to buying a BMPCC4K. Those all reasons which will keep the secondhand URSA Mini 4K prices depressed on eBay

Your argument is that a single F1 is a better buy than a DR10L + DR10X, well I guess, perhaps if you're extremely cost conscious?! But I'm not sure if even then that the math would stack up! And I know in the long run I'd much prefer DR10L + DR10X over a single F1.

It looks more than fine! Often the challenge of a low budget feature film is keeping up the quality level from start to finish. (not just the snippets in the trailer) If that has been done, then very good work indeed!

Whoops! Didn't see yours already shared in this sub forum, I'd posted it already in this other thread:

Please do! Even comparing both with a rec709 profile burned in to each would still be an interesting A vs B comparison to hear your thoughts about.

But were they at over 8000 ISO?

I dunno. One of the primary features of a bodypack recorder is small size. The F1 is substantially bigger than a Tascam DR10L, yet costs more??? I struggle to see why the F1 would be a better buy for me personally. And no dual record?? Just an extra kick in the guts for the F1. Nope, nope, nope. Not when the DR10L is even cheaper! However with the price drop, the F1 still isn't the right choice for me personally, but at least it isn't quite as objectionable.

Deals: Zoom F1 Field Recorder with Lavalier Microphone for $169 - https://www.bhphotovideo.com/c/product/1385361-REG/zoom_zf1lp_zoom_f1_field_recorder.html Zoom F1 Field Recorder with Shotgun Microphone for $199 - https://www.bhphotovideo.com/c/product/1385362-REG/zoom_zf1sp_f1_field_recorder_with.html Zoom F4 Multitrack Field Recorder with Timecode, $449 https://www.bhphotovideo.com/c/product/1260110-REG/zoom_zf4_f4_multitack_field_recorder.html

Only for those cameras you want to record 10bit from and/or use a fantastic monitor with. For the rest, you can attach an Ultrasync ONE to (which cost roughly the same as a Tentacle Sync E does).

In terms of pure image quality? Quite probably not. In terms of extra functionality/specs/workflow? Yeah, the Terra probably is indeed "worth it" for some people.

Obviously if you need an external audio recorder for a shoot (say for recording various dialogue) then of course you need one. But if you don't? Maybe you're shooting a music video or whatever else it might be, but still rolling multi camera. Then no, of course you don't need an audio recorder purely for the sake of supplying timecode. Your TC boxes can do that stand alone. ` This is assuming of course people would already be buying a Ninja V for their Nikon Z6 or Panasonic GH5 (to get 60fps 4K 10bit) or etc But even if not... no problem! Just buy TCS Ultrasync ONEs, which cost around the same as a Tentacle Sync E anyway.

Remember though it was shot in the middle of the night with only ambient light!

When there are so so many other "raws" (like you just listed!

Quite likely, it is possibly that BMD's owner/founder Grant feels like he is "rich enough" and is happy with more medium levels of profit growth if in exchange he manages to make BMD be a name that goes down in history as a major influence and game changer to the entire film and medium industry. I could imagine doing the same if I was in his shoes, as while I'd certainly first of all be seeking the all mighty $$ (especially as if you're a teeny company you can't make much of an impact anyway, you need a certain amount of capital investment built up behind you to achieve some of the R&D goals you'd like to accomplish), after a certain point is reached I might be more looking at the legacy I'd leave behind. And without the pressures of public shareholders, you're free to do this. Fingers crossed Kinefinity can take up braw as well!

Came across this footage by Sigurd Neby. 80% of this footage is Kinefinity Terra 4K, the other 20% is EVA1