webrunner5

Man for that kind of money that is damn tempting. https://www.43rumors.com/new-z-cam-e2c-will-start-shipping-out-this-month/

A C200 is Not on Netflix list. No Timecode and no middle 10bit Codec.

Yeah I loved the NEX-VG10, 20, and 30, had all of them. Even the special zoom lenses for them. Never had the Sony NEX-VG900, I got burned out with them by the time it came out. The Z Cam E2 is getting pretty close to a GH5s in a Cine form right now. And for less money! It is damn tempting. If you aren't into Anamorphic, it might be a great alternative.

If it is not on the list you aren't using it pretty simple, recorder or not. Now if you are Steven Spielberg maybe you get by with a Arri Mini.

Yeah that is a hell of a good short. Amazing really, and on a camera that cost nearly nothing.

Yeah now that one is really nice. And you can sure see how well it is doing in the DR department. Pretty impressive.

Yeah I agree. The EVA1 has a better output, but the FS7 is just a true workhorse. But some are put off by it's size. And true about thinking about the ecosystem. You are probably going to have at least some B footage, maybe even more.

A lot different look than the older BM stuff. But still a good short for sure. Nothing really blown out. Trouble is to me I would be hard pressed if I didn't know what it was shot on to guess well...what it was shot on. ?

Didn't answer my Budget question. That pretty much determines the whole ball of wax as they say. Cheap ass like I would have to go, or balls to the wall, big boy production?

Well since I am not too good at reading Flemish I will sort of just pass on any judgement. I don't see what makes a crap if they had 20 Million Euros, they decided what to use that particular camera. It was their call, not mine or yours. Seems like they made the right decision.

So you are going to rent a Arri LF, and throw it down that hole, and wear it on your head and control it from above that hole..

I am glad you are a mind reader of the people that did that short. And tons of people use Warp in Premier, are they all perfect at it, well probably not, and we have no clue if that really was the case., let alone what their intentions were. And I doubt there is Any short or full blown movie without mistakes. And if you Have No money there is none to save. You act like these people are suppose to be Steven Spielberg. They may have had a budget of 4 Pizzas, and used the only camera Any of them owned, and from the looks of it all they needed. That, and a shovel to dig the hole, and some water.

Who ever they are they seem to me to have talent. So I am sure they have considered different camera options. As far as I can tell it took them a long time to shoot this. And if you are renting you can't afford to do that very long. And any camera that shoots Raw, if you want to do that, is way out of the price range to buy for normal people. I just don't see how the problems you are bringing up Really detracts from the film. Like I have discussed and what @anonim suggested is it may have been intentional? I have always been a super big fan of BMD camera output. And for the money they are just pretty amazing. They are a poor mans Red. I think they put the BMMCC to great use. I would kill to produce something that good. What other camera you going to hang off your head lol? Sure maybe a EOS M, but they didn't do ML then on it. And would it have been better? I think they knew perfectly well what they wanted and did it. And it looks to me they intensely used old lenses to get that character you seem to dislike that I do. Old C lenses do have that look.

You didn't answer one of my questions. Just complain. Typical.

I have just the opposite problem lol. ?

Yep my mistake. DPAF up to 30p in 4K.

Yep you are right. Was thinking of the other film. But pretty much the same camera sensor wise in a different form factor, and had 1080 60p for Slo Mo. Mercer had one of them, I never had one of those. I kind of always wanted the BMCC MFT, but the price just seemed too high for them. 2.5K is really nice on them. The BM Production 4K was interesting for the Super 35 Sensor with Global Shutter. I don't think the CS was as good, but for what you can buy one now pretty amazing. I think Zak could make a Barbie Cam look good.

I think you are completely right, It adds to the emotion of the whole movie. The fear, the excitement. It is about as good as it gets. Amazing for who shot it, and the budget. A near Classic. A case study for any young, or hell, old film maker. ?

I don't think they were trying to prove anything. And at the time they started it the BMPCC was just about one of the best camera you could buy for any money short of a Sony F35, F65 or an Arri which you can't afford, and if you could you were not going to use it in that mud hole. It is just a Movie that friends helped make. And they started Way before any of this IBIS, Gimbal stuff was popular. Actually if they had used it I think the film would have been worse. You are Suppose to get the feeling you were there with them in the pit. Perfect shots would have sucked. Hell it is not about the technique, it is about the story. Who gives a shit about a little wobble. Did you see how they even shot it? I am amazed it was as great as it was. Here is how they made it. Sort of more interesting than the movie. And yeah, that is the camera rig strapped to his head. There has been some pretty amazing stuff shot on a camera that at one time, was only 500 Dollars for a while brand new because they couldn't sell it for the 995 Dollars they wanted. I would not doubt half or more of the old timers on here have had one at one time or another. I know me and Mercer have. Probably I might buy one again soon. Only weakness in them was the damn HDMI port.

Yeah but the EOS-R doesn't have DPAF in 4K. So that is the reason I am not big on Any of the new cameras out. They all seem to have some goofy thing that just makes you want to pull your hair out. Why everyone one of them has to half ass some feature is just crazy. I will cut Nikon some slack as it is their first big time effort but.. It just seems to me if Someone would come out with everything but the kitchen sink, the best there is available in one they couldn't make them fast enough. The GH5, PK4 is the only 2 that looks like they tried to do that. Well the Fuji X-T3 looks like a nice effort, forgot about it. And the PK4 by not having good AF and no IBIS does not appeal to a broad audience. Lots of normal people bought them, but they won't keep them long. Well there is the Olympus EM1 X, but that is crazy money, maybe rightfully so, but they won't sell 35 of them. The new cameras are getting better, but now the big boys have screwed the pooch by changing their mounts. So they are still a shit pot full of money if you want to go that route. It never ends how they scheme to get your money.

You are not going to be able to have a camera on a bracket with the main camera. Hell there is no camera that can consistently focus that close even if you hold your arms out straight. Why do you think everyone has a GorrilaPod or a selfiestick, unless you want pictures of your Nose Hairs. Other than using Just a 360 camera it Ain't going to work.

I don't think anyone can argue that the Color Science is bad on the S1. It looks like it is their best effort to date. Not counting it is really clean looking, the current trend. As to size, sure it's bigger, but that adds to stability, and not everyone has hands the size of gnomes. I found my Sony a7 series cameras way too small for me. I had to buy a battery grip, or a body extension to use on everyone I owned. I had the same problem with all the Olympus bodies I ever had. Now the Panasonic GH2, GH3, G7 I had were about right. Small is not always better for everybody. I would rather have a video camera that weighed 10 pounds over one that weighed 2 pounds if I was big into Run n Gun. Every movement you make is magnified on a lightweight camera. There is a reason big time ENG cameras Still weight 18 to 20 pounds, even today. Part of the reason is controls are easier to operate, and the batteries on them are pretty huge, but that is for balance as much as anything to overcome the B4 lenses on them, which are heavy also. You spend more time running backwards using them than running forward lol, and you would be hard pressed to ever see any movement for them. Court Trials were the hardest thing to cover, standing out in the cold, freezing your ass off, or in the rain waiting for it to be over lol.. Man when the trial was over inside everyone was running to the exist, especially the person on trial and their lawyer. And back then there was no wireless stuff, so you could Never get very far away from the reporter you were with because you were pretty much tethered together. Moving backwards down courthouse steps was an OH MY God moment. It was exciting to say the least. And you were not alone that is for sure, every local station, even the big boys from the Networks were there if it was a nation wide event They pushed forward hard because they were granted first interviews. Talk about no second chance. Now That was Run n Gun!

Well according to this video Sony was first, Canon last. CS is more bullshit than anything. And Sony cameras Dominate Broadcast and and semi Pro productions. All those people can't really be wrong. Sony FS7, FS5 probably the 2 hottest Cine cameras going for anything we could ever afford to buy or rent. https://fstoppers.com/gear/canon-fuji-nikon-and-sony-go-head-head-color-science-battle-304099

Sounds like a Osmo Pocket.

Wow the footage in that video really looks nice. They have picked up the pace on CS in it. Looks more EVA1 ish than GH5 ish.