IronFilm

No crazier the patent that RED got than the patent which exists for wearing a lav bodypack recorder with an output!! The comparisons between Zaxcom and RED are many....

B&H says it is still in the pre-order stage: https://www.bhphotovideo.com/c/product/1707911-REG/canon_eos_r7_mirrorless_camera.html Don't anybody here has shot with it if it hasn't shipped yet.

I'm guilty of that too! Heh, here is a film I shot for a Master's thesis: Ok, it wasn't shot on an ARRI, as the Sony FS700 was the nicest camera they'd let us have (still darn nice for its time back then!) but I had a full set of nice Zeiss primes too. But meh, the end result is more a reflection of how few years of experience I had than anything else. It isn't a fair reflection of what the camera is capable of.

Just google "student film arri alexa" then deep dive into finding videos with the least views! ha 🤣 As lots and lots of students have shot truly awful looking short films using their university's borrowed ARRI ALEXA.

Saw a Sony PMW-F5 go for a dollar under $2K recently Kinda wish I'd gone for that now instead of a FS7

I think more skilled DoPs were using the GH2 back then than today with the GH5. As back then GH2 was the best on offer short of spending big big time for a RED/ARRI But now, why would a professional DoP shoot with a GH5 when they can get a FS7/C300mk2/EVA1 for cheap instead?

When you look at their prices of some lenses at launch (when demand is high) vs a few years later, then it does seem they've got a fair bit of profit margin there still for themselves 🙂

Nothing like naked pics of a camera to get me feeling all hot and bothered! I think the body itself is "only" $65K-ish? But yeah, the whole package easily pushes close to $100K. Already exists. That's called Kinefinity and Z Cam.

ah fair point, I guess maybe it is quite possible they were not loaned two bodies??

My point was going to be how even an old old GH2 can look good, and we're four generations on now. And also how different the images can be even with the same camera. Although I suspect you googled (or already knew about the famous Upstream Color) and figured that out.

I wonder if the BTS was shot with the same camera (a X-H2S), if so that is a clear example how different a look can be depending on the skill / time on set / post production!

Agreed, would be so much better if it was a drop in filter! Like Canon has for RF (except theirs is VND too I think, but at least drop in filters is the right approach) Just waiting for someone in China to copy that... and make it available for MFT / X / E mounts as well

Cheated and googled if so! 😉

Eh? What are you talking about? XT1 never got hacked.

https://www.bhphotovideo.com/c/product/1566310-REG/fotodiox_nikg_fxrf_pro_ndthrtl_vizelex_nd_throttle_lens.html This adapter is kinda tempting, to fix the biggest problem remaining with a X-H2S: the lack of ND filters!!

Heh, you can get that out of a FS7/F5 for similar money as well. But they're doing 4K 12bit 444! Not 1080

yes, that's exactly how much BS that RED's so called "patent" is.

What's your thoughts/guesses to as to what each different camera might have been for each of the different videos? Yeah, to be fair, even blockbuster AA film titles with the biggest movie stars were not necessarily always getting their trailers in 2013 uploaded in 1080 (let alone 4K!) Maybe I should have shared this video instead, was uploaded just a year ago, and seems to be a higher resolution copy: Sure, but think about the context of what the video clip was for? It wasn't a movie trailer like the others, this was a promo video for a festival

Yup, shooting exclusively in golden hour can make almost any camera and in the hands of almost any idiot look good! Wise words of advice that I should listen too as well! ha (my own emphasis added) Being able to create a video that looks/feels "effortless" is extra impressive! Funnily enough, creating a staged/artificial look that is impressively beautiful is often "easy" to do than to create an unassuming "normal" looking image that is also nice looking. I remember years ago, one of the first times I got blown away by seeing a DoP's talent at work was during this 48Hour Film Festival. It was getting to be late on Saturday, we were losing light, this couldn't be shot tomorrow! As by the time it was daylight again tomorrow we'd be late into the final hours of editing before the deadline that same day. We'd got the scenes in the car driving up in driveway. Got the scenes around the car when they'd stopped. Got wide shots and the scenes walking up to the door, just! As dusk was setting. Phew! Disaster adverted?? Wait... hang on, we still need the big confrontation outside at the doorway between those who answer the door and those who are at the house. Uh oh! But all the light is gone??? Nope, our DoP lit and framed it (with all the right camera movements) so well it was as if it was still daylight. Of course we still had all the interior scenes too, often with quite big windows too. No problem, we kept on shooting late into the night, getting all the shots done. When we saw it in the theatre (we were a finalist!) it all looked beautifully "natural". That's when it really really impressed me, when I saw the final result, and I realized likely EVERYONE (except me, and the rest of the crew/cast) in that movie theatre thought we'd shot the entire film during the day time. And these were just nice pretty "natural" pictures. When in reality it was all FAKED! Everything was totally artificial. That's when I realized how much talent there is in making a quietly unassuming "nonimage". Which is exactly what the story called for. The DoP did what was right for the director. He shouldn't be bringing attention to himself and his flashy lighting techniques. (although he certainly had very elaborate lighting setups!)

Do you think perhaps that the person who uses the cheapest L Mount camera ever made vs a person who buys and uses a Canon Cinema Series camera are two very different types of people?? Could that be a greater reason for the differences you're seeing rather than the camera body itself? Anyway, for something totally different, take a watch of these (without googling them first! Or after): What do you think of each of these? How do you find them to be different from each other?

If good 8bit 1080 is enough to make you happy, why not get the C300mk1? They're an extremely similar price now in 2022 The C100 is a little under US$1K, while the C300mk1 is a little over US$1K. As the C300 can record at 50 Mbps 4:2:2 XF codec, whereas the C100's highest recording capability is 24 Mbps at 4:2:0 AVCHD codec. a BIG factor in favor of the C300mk1. Not to mention the many extra goodies the C300mk1 has, such as timecode and SDI output. (or splurge out on a C300mk2, but they seem to go for US$4K? Or $3K if you are lucky)

That's exactly what I was saying. For any non-cine Canon camera, their codecs/sensor/camera was giving a trash image, that you had to be very very careful with. But their C300mk1 / 1D C / etc were very very nice.

They're still building the Mini LF, as well as the full size one. Guess they've discontinued the SXT W? And the AMIRA etc? Or is the ALEXA 35 going to be their only Super 35mm camera? Nah, it is part of the physical stress tests! They drop it a few times in their test lab before shipping out each new camera from the factory. ALEXA 35 with the Sonosax module is pretty close to an AMIRA setup I'd say?? What are you wanting? Yup, I was saying that earlier in the thread that anybody who is not ordering the ALEXA 35 because they're waiting instead for the "new LF" version is going to be in for a loooooooooong wait! I agree, in a sane world, just discontinue the LF series! But it seems some people are obsessed with a bigger sensor. So they'll hang around for a long while.

Nah, if you get the same production, putting in the same efforts/skill/manpower, then the X-H2S / GH6 / S1H is going to look just as good / better than a R5C/FX3/etc would look.

nah, splurge out on buying the reader first!