TheRenaissanceMan

Don't count out the Ursa Mini 4K. No, it's not a low light beast, but if you're doing properly lit work, you'll find that it creates some gorgeous images.

Maybe you're referring to this post I made in reference to the BMPCC/BMMCC a while back. Here's a copy+paste; it's a point worth repeating. --- Re: BMPCC low-light performance, let's break it down this way.The Pocket's native ISO is 800. Using a Speed Booster, you gain 1 2/3 stops of light, effectively bringing that native ISO up to 2500. Since most of the Pocket's DR lies in the shadows, it can easily be pushed 2-3 stops in post with acceptable results. (Ctrl+F "underexposure." https://www.hurlbutvisuals.com/blog/2014/06/director-of-photography-blackmagic-cinema-camera/)Therefore, using the same full frame lenses, you can shoot the Pocket at an effective 10,000-20,000 ISO with acceptable results--the same or better than the A7S in S16 mode, according to Ebrahim--but with the added benefits of 10-bit 4:2:2 and RAW.I don't claim the Pocket is the best low-light camera out there, but it's much more competitive than sensor size snobs would have you believe.

It's a gigantic problem if you plan to show your film on a theater screen.

How does Resolve fare in this comparison? I only edit Raw and Prores, so I don't know how well it handles H.264.

Part of the reason for the rx100 iv/rx10 ii's high frame rates and feature set is that small sensors have faster readout speeds and can have nd filters in a smaller package.

The Panasonic cameras have solid 1080p too, as do the new Samsungs with the latest firmware. And don't forget the A7S and RX10/RX100 III, which produce excellent 1080p out of the box.

RX10 classic maybe? They're getting pretty cheap on eBay.

My experiences echo Cinegain's. My SLR Magic 25mm is my favorite lens-- fast, sharp without being harsh, extraordinary bokeh ( best I've ever seen, and I'm a lens connoisseur), a really cinematic color/contrast profile, 3-dimensional rendering, clickless aperture, buttery focus ring, and overall just built like a tank. The Voigtlander is excellent as well, and enjoys higher demand (ie easier to resell), less sample variation, and a wider user base (from which to learn the lens' quirks). It suffers from softness until f/2 or so (particularly in the corners) and harsher bokeh though, so look up as many samples as you can before you decide. It's also a fair bit more expensive, so weigh your options carefully.

Not with a speedbooster. That said, you're better off looking at Contax Zeiss than ZE.

And the D5500 is on sale right now for $499 with kit lens.

Have any of you tried the Natural picture style? It's worked best for me on all the other Panasonic cameras.

What lenses do you use? The C100 is a good option and offers a lot of features that compliment the GH4, but no use looking at that if it doesn't take your lenses. Also, FF would be a bigger difference from your MFT crop in terms of look, which would give you more flexibility in terms of different aesthetics you can create.

You can get an A7S classic for less then $1500 if you're willing to look.

If you've already got the 4K recorder, A7S seems like a no-brainer.

Address each other's points, not their person. No point resorting to ad hominem when there's a perfectly good movie to tear apart. You don't have to agree, but you do have to respect each other. That means everyone. Keep it civil. I feel like they could have easily cut 45 minutes of pretty scenery and "arty" dream sequences and had, if not a deeper movie, at least a much tighter one. Also, did anyone find the reveal of why Glass killed an American officer to be completely underwhelming? We already know the lengths he'll go for his son! The whole movie is about that! So telling us he's willing to kill to keep his son safe gives us absolutely zero new information. What an anticlimactic scene to lead into the finale.

Three hours of hollow, pretentious posturing with nothing of substance to say. At least it was pretty.

It's an EXCELLENT lens. As good or better than any other manufacturer's fast standard zoom.

Interesting! Maybe it's best to keep your default contrast in-camera and stretch out your DR with low-con lenses (like Canon FDs and Contax Zeiss) and post work.

If you're shooting in daylight, the 50-200 is a solid budget tele.

John Brawley is apparently using his on a big series right now alongside an Alexa, but can't release the footage yet (for obvious reasons). Also, Kholi and some of these other guys are insanely talented and putting out great samples. One of the beta testers on BMC User will be using his on a professional short in the next couple weeks, and another is planning a test between the 4.6k and BMCC . Lots of great information over on their forum thread.

Any difference in battery life with the new firmware?

Yeah, Panasonic has no idea how to create promos for their pro-level products. https://vimeo.com/105522587 https://vimeo.com/112329673

Panasonic's 10-bit capabilities, V-LOG L color science, and support for anamorphic are much more exciting to me than an extra bajillion ISO I'll never use and a super shallow DoF I'll always be stopping down to 5.6-8 to avoid. The fact is that in most production environments--lighting, tripods, rigs, talent in front of the camera--the GH4 looks as good or better than the A7S. Easier to work with, too, and I've shot plenty with both.

There's nothing in this that specifically refers to an 8K sensor for a future GH camera. They refer to developing both 4K and 8K sensors, which could mean a better 4K sensor in a new GH, which sounds like what everyone wants. They've already got the ergonomics down--all we want is better noise, DR, color (V-LOG was a big step forward, but they can do more), and compression.

D750. Probably the most versatile hybrid camera on the market right now.