Django

AFAIK the only BM cameras that don't have any RS are the BMCC4K & Ursa Mini 4K both of which feature a global shutter sensor. UM4.6K/UMP etc do exhibit RS even if on the moderate side:

My guess is BMD were considering ProResRaw support during the NAB launch but may not anymore. First of all as mentioned, BMD already supports Raw & ProRes. Adding ProResRaw isn't as simple as just adding an extra codec to the camera. ProResRaw works primarily on the NLE side ( Demosaicing and processing are deferred to the time of playback and are performed by application software.). This means BMD would have to also develop and ensure full compatibility with Resolve, which they have just released a new version and probably aren't eager to mess with. I also suspect Apple have developped ProResRaw in an attempt to sell/convert more editors to FinalCutPro as the official ProResRaw white paper specifies: Final Cut Pro includes a streamlined and GPU-optimized demosaicing algorithm designed to meet the performance demands of real-time, multistream video editing. So it could also be BMD aren't eager to support a codec that may make their Resolve users switch to another platform and/or hinder current Resolve performance. Unlike other camera manufacturers, BMD's hardware is very tied to their software package. In addition there may be high licensing fees both for camera & software dev tools that BMD just aren't ready to deal with on both ends..

ok well i think the issues you may have had with the video you posted and perhaps others had way more to do with the grading quality than inherent cinematic or anti-cinematic properties of the camera. it also makes a big difference if you're shooting RAW. let's not forget about lenses, those zeiss super speeds s16 are a great pairing but it's worth noting the full prime kit will cost you 5-10 times the price of the camera! but cine glass will take you a long way towards achieving.. cinematic footage. In the end what makes BMD cams special and different from the hybrids is ProRes/RAW, no OLP filter, no NR/Sharpening, Film/Log profile, color science. Basically the ingredients you'll find in much more expensive cinema cams.

ok so on the one hand you claim the video you posted is "fairly representative" of the pockets IQ but you've now suddenly realized through the above video that "the operator is 99% responsible for the image quality"... ? so basically you're whole point about the pocket was moot?

why are we comparing footage from a FHD camera released 5 years ago with a S16 size sensor to an upcoming camera that shoots 4K with brand new M4/3 size sensor, 4th generation color science and featuring dual native ISO? the only thing the original pocket & the upcoming pocket 4K share in common is the "pocket" moniker and even that is misleading imo. if anything the IQ will be closer to a GH5S without NR/Sharpening, and with BMDs Film/Log profile, color science & pro res / raw recording support.

yeah well that's a sore subject.. irony is i did get my XT2 stolen.. at the airport where i least expected it and let my guard down. rimowa & pelican case surely didn't help. lesson learned.

Fuji XT2 is pretty inconspicuous. Especially with F2 WR primes. I've shot with it in parts of India & Morocco where a bigger or more digital looking camera might have got me in trouble. A lot people thought it was an old film camera. XPRo2 would probably be even better in that regard. 5D3 is definitely not the most discrete camera and with lack of EVF/tiltscreen it yells i'm shooting video. I found D750 way more discrete for street shooting. If you are going to use a DSLR mask logos etc with black tape. Use pancake/short lenses to make it look a little more point & shoot. How you dress & act in public is also key for this type of shooting imo. Gotta blend in / look amateur

@Juan Melara Gear Porn alert!!! seriously that's sick AF.. super clean setup mate. keeping the ARRI dream alive for us small folks!

Yes it's quite a leap from a 5D to an Amira/Alexa, hence my skepticism towards means of affordability.. especially for hobbyists shooting kids!!! FYI most current ARRI cams are in the hands of rental houses, hollywood studios & tv/film/production companies. sounds cool, care to elaborate?

wait what... tons and tons of content gets shot on ARRIs for YT.. ?! who? where? how? if IQ isn't "that important" as guy above states.. and for "no budget festival-oriented narrative video" why are we talking a $40K 10lbs body exactly?! above all.. in a "guerrila shooters" thread that states "can't have a setup that looks pro" Am i missing some kind of sarcasm ? Are yall pockets even that deep? or are we on some E.S. BS here again ?? *confused*

@HockeyFan12 bro we're talking $150 / monthly in countries like Vietnam!

Looks like it outputs 1080p max via HDMI period. it's a bit an odd limitation but then again with internal RAW/ProRes, not much reason to record externally so it seems the video out is there mainly for external monitoring purposes. I hate HDMI, it's unreliable on the field but hey can't have it all at this price point!

@jonpais With an average salary of $145 for a Vietnamese worker, somehow I feel it is going to be easier to find qualified help. anyways glad it's working out for you down there mate!

well for me personally that's not an option. I like to keep sets at a dead minimum possible. Anybody that isn't vital and hence experienced/trustworthy shouldn't be present imo. Not to get all Christian Bale-ish, but the amount of amateurs/onlookers etc that have slowed down, straight up ruined a take/scene or worst wrecked equipment is catastrophic. I'd rather carry the extra weight, take the extra time with a tiny crew i trust 100% then hire a bunch of help that will be loitering or worst during the day. that's just me though, some people love the god syndrome of a overpopulated set! of course if it's a hobby or indie project, you'll often take anything you can get.. nobody is going to argue that.. they're in a totally different category period! but compared to Alexas it's pretty obvious Arri's marketing them towards a more high-end ENG market: Amira boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions. • Quick start-up – ready to shoot • Optimized for the single operator • Sliding dovetails – perfect shoulder balance • Internal ND filters (0.6/1.2/2.1) • OLED eyepiece and fold-away LCD monitor • Multi-channel audio – easy-access controls Not for everyone obviously, but for who can afford them and want that ARRI look handheld (e.g. NFL Films, high-end docus, action/war movie scenes etc) it clearly has it's purpose

damn.. usually not a fan of gimbal shots but that was really well executed. surprised the AF held up so well & slomo not displaying any artificacts (although probably slowed down in post).

^ Nothing wrong in getting volunteers but i suspect your location may help. Here in the west, nobody seems to work for free and students will want at very least an internship. Anyways, this being mainly a small camera forum I'm not surprised at all by the general consensus/bias towards them but to claim "Anything bigger than a dslr is too complex for a solo shooter" is highly innacurate.. I'd like to argue cams like Cx00/FS5/EVA1 are actually less complex then their DSLR/MILC counterparts with proper ergonomics, dedicated buttons & dials, ND filters, bigger LCD, better battery life etc.. once you rig up a DSLR/MILC it can become a lot less intuitive & balanced to operate imo.. ENG cameramen have been operating heavy duty cams single handedly for decades.. a proper shoulder mount kit can go long ways.. Just so happens in most bigger projects requiring higher end cine cams (RED/ARRI), the budget usually allows for a crew. and is mandatory anyways in most narrative work. That said i know several DPs that (occasionally) work fine solo with Ursa Minis, REDs etc.. it really isn't that monumental to set up tripod/slider/lights. and if it's just a product/beauty studio shot they don't necesarily need an AC or even assistant to operate.

Sadly it isn't just AWB.. Sony are still experimenting & trying to figure out which way to go with their overall color science. It seems the latest series is favoring a magenta push perhaps in an effort to get closer to Canon colors and get rid of the previous series yellow skintones but now the blues are all purple-ish lol..

I know I'm repeating myself but in the Canon vs Sony video, once again all the tests are done in daylight conditions (as indicated by their WB settings). Sony works fine in daylight imo. It's in more complicated lighting situations (mixed/artificial) that Sony cams start to struggle. The best video showcasing & explaining the dreaded Sony WB/color issues imo is Andrew's own EOSHD Pro Color samples vid:

CCD sensors definitely got that "classic digital" mojo and better yet are mostly global shutter. it's kind of a shame no one recently aside from digital bolex has done either still/video cams using a CCD in favor of CMOS due to the race in DR & high ISO performance. I'd love to pick up an old CCD cam just for fun but problem is theyr'e usually SD resolution & using obsolete formats like DV/Firewire etc.. I did find the Panasonic AG-HMC150 which is actually built around the aforementioned cult DVX100 but shoots in 1080p (upscaled) and records to SD: IQ looks amazing imo & nails that vibe, but sadly camera seems real hard to find if not impossible here in europe

I've had A7, A7II, A7III, A7S, A7SII. I think I'm pretty familiar with the whole A7 series!! I'd trade any of them for a 1DX2 in a heartbeat. Although kind of apples & watermelon. I like Nikon too, they've just been so behind in video, especially AF and no peaking in like the 2 cameras that shoot 4K.. pity really. D750 had awesome sensor/color science. As for Luts & resolve.. I enjoy it when i can grade creatively.. hate having to fight with every clip just to get normal colors/skintones. Drives me nuts & often time is money.

all these examples are in daylight conditions.. skintone issues start to arise in mixed/artificial light if you're not super careful with WB/Color settings..

I've had access to an A7III for over a month. My opinion stands. Same 8-bit 4:2:0 100mbps XAVC-S codec. Hot pixels. Motion issues. Even more convoluted menus. AA filter. strong NR at high ISO..etc ..so I'd disagree with "significantly better than their predecessors in every way possible".

I wouldn't switch now, especially from a 1DX2 + $6K Canon glass. All rumors are pointing towards a FF mirrorless from Canon probably announced around Photokina. Also 1DX2 is a beast and imo destroys the A73 in terms of IQ. The file sizes might be huge but they produce super thick imagery with that cinematic intra-frame motion. The A73 AF is good, but nowhere near Canon's dual pixel reliability & smoothness. Let's not even get started on color science & WB..

The most hype man in fashion this year, Virgil Abloh (who recently made headlines after being appointed creative director of Louis Vuitton) held a fake press release for his collaboration with Nike, shot on throw away point & shoots and retro digital video cams: ..on the right there is the Canon XL2 series zoom, released in early 2000s. always loved the look of that camera from shape, ergonomics to color scheme.. Had some pretty cool features as well for the time including 3CCD, 24p, cine gamma & even film grain feature! https://youtu.be/tsz4asyrmjs