Django

@jonpais there are lotta stores doing big rebates on XT2 currently here in EU. and a lot of second hand units fo even lower as well. both are results of XH1 & XT2 approaching EOL with XT3 expected at Photokina.. well one has to admire Fuji for giving older models, new features (like 4K on Xpro2 last year). but XH1 in Fuji's eyes is mostly a hardware enhancement: IBIS, body size / grip, weather sealing, touch screen. and they still left stuff like DCI 4K/2K, 200mbps & Eterna exclusive to XH1. anyways it's a win-win for the consumer imo..

weird?!! XT2 came out in 2016... Fuji's first 4k camera... i say better late than never. XT2's can be bought for just about a grand now. You gotta spend $5500 if you want 120fps FHD at Canon. And you still don't get log! slomo is looking clean!

Again no argument F55 >>> UM4K but it's like saying: Aston Martin DB5 is a really good car. It's worth 10x the price of a Hyundai imo. I find it to be a 10x better vehicule. Maybe it's the user, but just watch "Goldfinger / Casino Royale". Beautiful stuff. we're in a BM Pocket thread on a compact hybrid forum. affordability & good value were the points being made. btw, on a side note i've been catching up on 'The resident' (discovered via this thread) kinda fun trying to guess which shots are Alexa, UMP & BM Micro!

No one is going to argue about DR superiority of the UM4.6K with 15 stops advertised instead of 12 for the 4K. It's also got a wider ISO range. All i'm saying is if you're allergic to rolling shutter and again want a 4K Super 35mm Sensor with Global Shutter then the UM4K/BMPC4K are a good deal. The F55 is literally 10 times retail of the UM4K and 20 times a used BMPC4K. Just sayin'

@mercer yeah kind of an overlooked camera.. the BMPC4K also has that exact same sensor and can be picked up second hand even cheaper like around $1600.. not bad for 4K Super 35mm Sensor with Global Shutter, ProRes/Raw, 12 stops, SSD, 5" touch screen & SDI outs!

nope it got dropped just like on the UM4.6K. here are some numbers i found pulled from bmd forum: URSA Mini 4.6k: 4.6k – 15.17ms 4k/2160p – 12.64ms 2k/1080p – 6.32ms Micro Studio: 9.9ms Micro Cinema: 13.3ms Pocket: 17.74ms BMCC: 23.62ms

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: