IronFilm

You might find yourself wanting to offer real estate photography as well alongside the video (especially if you're in a small town). If so, then consider grabbing a tilt-shift lens as well (check out the Fstoppers course too on Real Estate Photography by Mike Kelly, it is really good!).

Another new adapter in 2020 of the old ARRI ALEXA Classic: https://www.youtube.com/watch?v=Y2wzDQLlDp4

The C300mk1 wasn't a direct competitor to the 1D C In the market the C300mk1 was released into back then: The C300mk1 both undercut the price of a Sony PMW-F3 full package (F3 + S-log + recorder), and crucially had a better internal recording spec than the F3 (which was a deal breaker for many). The C300mk1 was also cheaper than all the RED offerings, only the Scarlet MX was close in price but that came with a lot of negatives (not least that many clients didn't want to deal with raw). And obviously it was massively cheaper than an ARRI or higher end Sony cameras. Easy to see why the C300mk1 was such a massive smash hit with so many people owning one. I agree, fingers crossed Sony does this. But unlikely with Sony's track record. Doubt we'll even see an a7Smk3 at all soon. Yup, R&D is very expensive. Companies need to coast along with their existing momentum to catch their breath again, and recoup their costs.

https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ Please please do tell us what is "bull sh*t" with the testing by Image Engineering for color accuracy? Explain with specifics and details, I'm all ears to listen and learn. Have a read of this first: https://www.tipa.com/_assets/pdf/TIPA_Camera_Test_Image_Engineering.pdf Have you done better scientific tests of cameras' colors than this yourself?

Detailed review of the C500mk2:

The one I'm considering is an EF version

Cheapest C200 on eBay that has sold was US$4K There is a local URSA Mini 4.6K I've been considering which is for sale for US$1.75 That puts it at closer to C100mk2 prices! (US$1.5K) I know which I'd prefer

My point was that I doubt the Digital Bolex D16 would have seen even half of its (limited) success if it had been a 1/2.3" sensor instead of a Super 16mm sized sensor.

Another reason to expect less by 2025, is that in general the rate of progressing is feels like it is tailing off. Look at how much computers have advanced from 2016 to 2020, vs 2001 to 2005. Or how much DSLRs improved from 2001 to 2005? Compared to the last five years. Yes, sometimes we don't appreciate just how good we've got it now! Many people if they wrote their reasonable "dream camera" 5yrs ago would have most of these specs by today, and easily most of us who wrote it down 10yrs ago would have those specs achieved by 2020! Even via Bluetooth like Timecode Systems Ltd does would be a good second best option.

So once again, you're doing this:

This won't come even close to being a successor to the Digital Bolex D16, as its sensor is too teeny tiny, perhaps though a "Digital Bolex D8"??? This has a "crop factor" of around 5.6x S16 has a crop factor of nearly 3x, thus S8 is I guess around ish nearly 6x?? Similar to the 1/2.3" crop factor of 5.6x that this Raspberry Pi camera has. Hopefully generation v2.0 of this has a 2/3" or 1" sensor? At least then you've got a good chance at pulling off shallow DoF shots when you want to.

Whoops! What a typo. Honestly I'd be happy to see ANY camera in 20205! As I'd be stoked to simply still be alive.

I don't think Panasonic will give us all of that this year or in early 2021. Don't think the GH6 will have 8K, not even in 8bit. (but happy to be proved wrong!) Not unless Panasonic does the opposite approach to the GH5S variant, and gives us the "GH6R" with 8K as a sister camera to accompany the mainstream GH6. (and skip an entire generation entirely, and not offer a GH6S until the GH7 series comes around. This could be a smart approach, alternating between a GHxR and a GHxS for each generation, but never both at the same time) I'd really like the next DMW-XLR to go an extra step beyond with extra I/O than just having XLR inputs. And having 2x BNC for TC I/O & an independent SDI output would be perfect for many folks wanting to rig up a GHx camera in a more professional setting! Gives us a built in eND too and we'll all be as happy as a pig in sh*t.

Those air quotes around the "RAW" you said is what allowed Blackmagic to offer BRAW without offending RED's army of patent lawyers. As it technically isn't what we usually think of as raw, as Blackmagic is doing a partial demosaicing process first before compressing, rather than going straight to compressing the original raw footage.

Cool, so now tell me how anybody can determine which camera is easier to grade than another? (and you can't dodge the question again by just giving easy uncontroversial statements such as "ARRI is easier to grade a Pocket", as 1) that doesn't answer the question 2) does nothing to improve our knowledge to understand how to apply this judgement to a general case, such as E2 vs P4K or any of a million other matchups??) So how anybody can determine which camera is easier to grade than another? Without using an personal judgement whatsoever, as that has biases and is subjective. You can't make broad vague blanket statements such as "raw is always better than 8bit to grade". Because what if we're comparing two cameras which are both raw? Plus of courses there will always be outlier exceptions who'd disagree even with a statement such as "raw is always better than 8bit to grade"! (I'm certain there is someone out there in the world who thinks C200 4K 8bit footage is easier to grade than RED ONE M 4K raw footage!)

Exactly. (or Z Cam E2-S6 vs BMPCC6K, I'd say they have a much closer market overlap than EOS R vs Pocket 6K. Plus the E2-S6 vs Pocket 6K used to be quite close in price too, before the 6K's slash in price) @Super8 so you're agreeing with me now that color science is subjective? As if there is a way to approach this analytically, I'm all ears.

Translation: Your argument is based on an appeal to authority fallacy. Because inherently your approach is subjective, and has no absolute truth to it. Thus the point remains: "color science is subjective", you have not disproved that. (which is a pity, I personally wish this statement could be disproved!) We could have one "expert" saying a RED Epic MX has "better color science" than a Sony PMW-F55, only for another "expert" to come say the opposite. Or that a Panasonic Varicam LT looks better than a Canon C300mk2, only for another "expert" to say the reverse.

Lots and lots of people have thought external raw is ok, doesn't violate RED's patents. For example: https://www.newsshooter.com/2019/08/16/apple-challenges-red-over-raw-patent-legitimacy/ But then of course Atomos did put out that press release about a partnership with RED, but the details were skimpy, what exactly is this about?? Their ProResRAW development and announcement was long before that announcement, but perhaps RED just came late to the game and bullied them into signing. I guess changing people's opinion that it is "external only". Sony has compressed raw, their Sony X-OCN. But the compression rate is quite mild, and doesn't cross the magical 6:1 ratio covered by RED's patent.

If it is external raw then it isn't covered at all by RED's patents

That might be blocked due to RED? That might be the real reason the FS7 / FX9 had the XDCA extension back?

Apparently it isn't subjective to @Super8! Although on what basis this is determined, "who knows??"

Yes, 5 years is not really that long ago. Won't be a RADICAL leap forward in another 5 years. Assuming we see the Panasonic GH6 within the next year, then by 2025 we'll have the GH7 as the "current cutting edge model". What does that mean? Probably the GH7 will have 8K (but perhaps only 30fps 8bit) but will have the lowlight performance of a GH5S, and will have no crop 4K 120fps 10bit, with finally good AF? Might have some innovations with the body, such as 2x DIN connectors? (they're like "Mini BNC". One DIN for Timecode, and the other DIN for an independent "mini SDI" video output. Independent outputs, so you could make it clean, or with info overlayed, or with a LUT applied or not, all completely independent to what you're monitoring over the full size HDMI output. An important feature for professional sets) There will be a Panasonic "DMW-XLR2" as well, you'll have 2x full size XLR with 2x full size BNC connectors (one for monitoring, one for TC I/O), and a lemo connector too for passing DC power through. The GH7 will have 32bit audio recording as an option. There will also be a GH7S that gives us everything the GH7 has but no 8K (however its 4K will be even better lowlight than the GH7/GH5S is/was), but the GH7S keeps the IBIS, and does have eND. A Panasonic GH7S / Panasonic DMW-XLR2 would be a dreamy combo, while still (I hope!) not being a totally unreasonably unrealistic scenario to hope for by 20205.

I am starting to think that as well. As @Super8 is ignoring my questions and completely missing the point

You will likely want a cage if you want to be very sure it won't vibrate loose under extreme circumstances.

Never said that isn't the goal. But what is "best", how do you judge that? How do you assign a number to this, or is it just your subjective opinion?? (and is "best" a universal truth that is always true under all conditions? Or does the truth of what is "best" vary from project to project?) Yes, I'm sure if every production could shoot on an ARRI then they would! But often there are budget/time/workflow considerations which prevent that. How then do you determine which out of say Panasonic Varicam LT vs Sony FX9 has "best"? How do you determine which out of Panasonic S1H vs Kinefinity Terra 6K has "best"?