zerocool22

Well another solution is to buy 2 :). As A-cam and B-cam.

I only shoot short clips, 10 second clips. B-roll for corporate video's mainly and social media branding video's. But def want to use it on personal projects as well, and I can also see myself using it for narrative stuff as well like short films. For the last year I have shot nothing else then braw, as its as easy to edit as prores but impossible to miss whitebalance.

well at 12:1 compression not sure how much more data we are talking here vs the pocket 6K's braw.

If this turns out to be true, im ordering one!

Wow if this would come true, this would be the best news this year.

Well we need some side by side videos shot at the same time with the current new cameras so we can compare more efficiently, you really cant compare cameras between different videos.

Maybe drilling some holes in it will resolve the issue. Allthough it wont be weatherproof anymore.

Low light is indeed very good. But not sure if there is a huge market for party/concert videographers. I would be fine with a clean 100- 3200. Mostly sit around 800 anyway, any higher the dynamic range begins to fall off fast. Im gonna invest in more lights this year and 1 hybrid camera (r5, s1h, a7siii waiting on some side by side footage, as I dont have any shoots planned for the time beeing)

But why would you get it over the a7 iii which is already quite old and a lot cheaper.

Wondering if they will cut the price a bit soon due to tje bad press. Allthough the clog3 and more compression options are very welcome and at this point needed before I buy one.

Will it have an anamorphic mode? Seems like canon and sony are really forgetting about that one, shouldnt that be that hard to implement. And is quite big of a deal for music video, film and commercial shooters. (And bm is delevering that in 1k cameras)

Well its news media, they could shoot it with an iphone, it would make no difference to me. If universal studios would have an exclusive deal to only use sony cameras for example , that would have been huge. Allthough I am digging the sony venice.

IQ needs work though, if you even compare the pocket 4k and a a7 iii, there is already a huge difference in IQ in favor of the pocket 4k. (+ it has amazing codecs, I guess we cant expect that from sony as it would eat up their higher end lines, but IQ should not be forgotten even if it has limited recording times like the R5) And also a + on the stills side would be great. Allthough I use EF glass so I will probably be more tempted with the R5 anyways. As autofocus from EF to e mount is slooooooow.

Dont forget to get the sylvester stalone biceps accessoire. But seems like an reasonable result, i have done a ump rig on a dji ronin with extended arms. But was quite the drag setting it up and also the weight of the rig itself, good for a couple of shots. But for a 4 hour shoot, you def need an easyrig.

Sure but I dont think there are many of us who want to deal with external recorders anymore. Kinda dedeats the purpose of shooting with dslr/mirrorless type cameras. Woah, if you got too many of those 5-60k projects, lmk. ^^

Thats not good enough for a pro workflow though. There is no time for converting footage on a workday. Only if you can start the batch it when you leave the office and the edit is not due the same or next day. But for a lot of projects this a problem though. Then its a whole lot better buying a camera with decent codecs pocket 4k, 6k, c300 iii, c500 ii. Even when they are a lot more expensive it will pay itself back in no time. But for personal use the r5 does look like a camera that does it all for me(waiting on some decent reviews though)

Dunnow only use resolve.

Thats braw though, which is a very efficient editing codec.

4K, what about 1080p? 1080p is still enough for 99% of corporate stuff.

Yeah def + internal ND's + colour science 4 + noise improvements. Plus the ump is the only camera that has cdng, braw and prores. So I think the ump prices will not be affected.

These days im not sure what the future of camera tech should be like. I dont even need 4k, sometimes I think ibis can come in handy, but then you see some wobbly images and I change my mind instantly. For cinema uses there isnt a need for more iso options iso 800 is great. I guess most cameras have decent DR nowadays. AF is cool for gimbal work and one man band kinda jobs, but for cinema it doesnt look it will ever come. The alexa does still looks the most amazing, and thats a 10 year old sensor. So maybe the future of filmmaking lies in the innovation of lighting. Aputure set a great example in modular lighting and arri followed suit. But I guess prices and current led tech isnt quite there yet for the masses.

Hopefully sony did invest in a release film, cause all these R5 video's are unwatchable.

Good, im guessing 4k 10bit, and 120fps 4K. External prores raw maybe. But nobody wants any external recording anymore + prores raw isnt even supported in resolve. Which still comes short vs the R5 for me personally (as the R5 is an amazing photography camera).

Allthough it pisses me off when they release a new ursa mini body every year. Whenever I bought the last one and it devaluates my product. If you buy a C300 III, you know canon wont release an update in the next 5 years, which makes it a pretty safe investment.

Well thats not doable for a pro workflow is it. When you got 4 hours to shoot and 4 hours to edit on a workday.