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Interesting. Maybe it's a legacy thing for adapters? I would imagine that their product design would be pretty sophisticated - they've been at/near the top for a long time!

If it's going to last another 100 years, designing it with more pins than you think you'll need, or even some spares would make sense. Who knows what kind of currently-unknown technologies will come into play during that time..

Do you think that "high resolution" means the kind of high-but-existing resolutions like the 40-50MP sensors we have already, or beyond those to 100+MP? If you were asking stills shooters what the new we-built-a-new-architecture-from-the-ground-up camera would include, I'm not surprised they'd want more MP rather than less. You have to take a lot of photos for storage sizes and write performance to be anything like we face in video, but more MP means you can crop, do better NR, and all kinds of other things which are useful in the real world. Like we talk about 4K giving the possibility to downscale or crop to 1080 but potentially having a much larger crop factor than 2. Stills is a different game to video.

I think we need to distinguish between "cash budget" and "total budget". You might have shot that film for $100, but if my neighbours kid wants to shoot a film for $100, they're going to run out of money after they buy a Chinese tripod and smartphone mount, a Lav from eBay and couple of halogen floodlights from the hardware store. And they started with their own camera and you didn't!

I'd be surprised if they didn't. The vlogging community has been jumping up and down about a "floppy screen" and great AF, but all the Sony vloggers have learned to vlog without seeing the screen, and GH5 users have learned about MF, so it's possible. Considering that run and gun docos, corporate gigs, and the like are more controlled and slower paced affairs (certainly than the grind of daily vlogging) so MF and other limitations are surmountable. People have been running and gunning at close to the same pace probably since auto-exposure. and with film there was no preview window

Article: https://www.hollywoodreporter.com/behind-screen/netflix-mode-comes-new-sony-master-series-tvs-1130621 Looks like the industry is gradually getting colour and gamma standards in place..

How many people here use natural or practical lighting vs dedicated lighting setups? Personally I shoot natural / practicals the whole way, because my work doesn't have a 'set'.

No! You have to shoot in that lane... everyone knows if you're in the left-hand-lane your skin goes all funny!

In the absence of someone more knowledgable than me replying, one thing I have heard is that for compositing (ie, combining 3D renders into the footage) you want as much precision in the footage as possible so the tracking can be good enough. This suggests rendering out of Resolve with a very high quality codec. Perhaps something like Prores 4444 HQ?

Can someone clarify the debate around the colours for me? There seems to be two kinds of comments.. the "Sony colours are bad" type comments, and the "colours look fine to me" comments. The A7III colours look fine to me, but I'm definitely not the biggest connoisseur in that department. Do the "Sony colours look bad" comments include the A7III? I have seen comments around the A7III having the Venice colour science, so perhaps it's other Sony cameras that these comments are referring to? Thanks! @jonpais thanks for that upload - the amount of detail is really impressive.. downscaling 6K seems to be a winner!

My previous offer to "store" your excess camera gear at my house still stands!!

Thanks for the update!! The way I view this camera is for high quality in relatively controlled conditions - so the lack of features like fast AF and NR seems appropriate. Pulling focus manually is the norm for a cinema camera, and the lack of NR is actually an advantage I think because you can de-noise carefully in post, using the Resolve spatial and temporal NR features or plugins, for the best possible result. The substantial crop in windowed 1080 is encouraging, as for those capturing in 1080 it gives a good extension to their existing lens collection. The more I hear about this camera the more I think that BM is going to absolutely nail it for the low budget film-maker. Bring on the Pocket2 vs ARRI youtube clips!

Makes sense... everyone knows that we are 1% slimmer in 4K FF!!

I would answer your question with another question.... Where does the money come from?

That's interesting to me as well, not because of Prores RAW, but because it's a positive reflection for Slog2.

Yep, and here's what he does with that kind of responsibility...

I think it's easier said than done finding quality channels. You can't search for people that are intelligent, edit their content well, or are highly skilled... unfortunately! I think content-per-minute is the defining factor. It's a big differentiator between UK and US TV - I've found it common for the UK to put a similar amount of content in a 6 episode season that a US show might put in a 22 episode season. (Obviously there are exceptions on both sides!). YouTubers often have pretty low content-per-minute unfortunately.

Even then, the cost of the bodies might have been cheaper than paying everyone to mill around waiting for the lighting to be moved and fine-tuned in setup after setup after setup. I remember the first student film set I was on had a girl sitting at a table in a cafe, at first alone and then she was joined by someone else and they had a conversation. There was a small vase with a flower in it on the table and it took about 2-3 minutes every time we changed camera angles to move the flower to somewhere that looked remotely natural. I think it ended up covering about half the tables surface, and we all had a good laugh when both the Director and AD swore that they would never let an art director put a flower on a table ever again!!

Actually, @Oliver Daniel reminded me that often on other forums they have an "anything goes" type of sub-forum which is for the hot topics. In audio there are lots more hot topics than in cameras.. things like cables, ABX testing, etc. At least here we all agree that Mojo and Motion Cadence are real things, despite there being a complete lack of technical explanation ???

I have to laugh when I see the lowlight of these cameras. For years I have been using cameras that start being pretty shameful, even for home videos, at ISO 3200 or 6400. Nit-picking these cameras at ISOs this high feels like being judgemental of someone that won bronze in the olympics!!

Great responses I agree with most above and think that it is what people make it. I've had the most gratification with content where there is no dialog. Channels like Primitive Technology and many of the "maker" channels like Laura Kampf's early videos are excellent - I think it's easier to edit footage with no dialog, and it makes storytelling elements easier to see, so videos are more likely to be well paced instead of rambling, tedious and self-absorbed. Channels where people talk but the emphasis is on making something other than a video is probably the next most useful ones. I watch a lot of videos by people that have made their own log cabins, who restore old mechanical devices, or do wood or metalwork. Partly because it's fascinating seeing how people make beautiful things, partly because I'm living vicariously, and partly because the emphasis is on making something rather than on the creators typically unfocused thoughts that make most videos way too long. In terms of how people monetise videos, I notice a distinct gap between two different approaches. The first approach is to encourage people to buy something after watching the video, and so the temptation is for this to have vested interests skew the content, and to do tricks for views. The other is people who are paid by sites like patreon where making videos is the point rather than making sales or whatever. There are some who attempt monetisation via the former method but state that their views are entirely their own, but it's hard to keep credibility and not many manage to get it right.

Intersting overview of mirrorless technology aimed at people who aren't familiar with it, but he goes into all sorts of things we talk about on here, like AF, flange distances, sensor sizes, m43, etc..

I was surprised by a lot of the negative comments about YouTube and YouTubers in the Casey Neistat vs Logan Paul thread and wondered what the overall vibe actually was on here. I wrote deliberately polarising options in order to separate out the luke-warm opinions from those who feel very strongly about it. Please vote and share your thoughts

I agree that people are unlikely to change their minds on the subject. During the aftermath of the US election I read a couple of excellent articles that really gave me an insight into the thinking of people who voted differently to how I would have (I'm not a US citizen) but unfortunately most of the content / discussion on such topics does nothing to increase understanding or empathy of people with views that differ from your own. In addition to the freedom of speech aspect of art, I think there's also the impacts to the industry and people's livelihoods. I'm not familiar with the specifics of it, but things like globalisation, immigration, etc are likely to be relevant topics to those who are industry professionals.

Thanks @John Brawley - fascinating stuff! I was trying to work out the disk space required but there appears to be some confusion online around Prores 444 vs Prores 4444 which seem to be referring to the same thing? Assuming 330Mbps for Prores 444 the 12 hours of dailies would be around 1.8Tb/day I count there being 6 other master-quality copies of the footage made, which equates to over 12Tb per day, or 100Tb per episode of total storage for all involved..... ouch! (please someone double-check my logic / maths here...!) When you shoot with the BMMCC + BM Video Assist 5" what codec do you shoot then? BM doesn't list Prores 444 / 4444 on the tech specs. Perhaps 422? Otherwise I suspect transcoding would be required. Is there any discussion around what would be required if the network switched to airing 1080? Obviously the goal is to master in a higher quality than what is aired, but would the increased dynamic range and bit depth of your current capture be sufficient, or would you have to switch to a higher resolution as well? If so, I'm imagining that means 4K capture, but you could likely get away with a much more compressed codec in order to avoid the data rates jumping by 4X. Many years ago we tried encoding SD and 720 footage to h264 with the same bitrate and the 720 was the clear winner, so I suspect that the codec (but not bit depth) could be compromised substantially and still downscale nicely to a 1080 output. I think it makes sense commercially that studios aren't interested in 4K to future proof their productions, and I think this is where the prosumer might differ from commercial TV shows. I know one of the reasons that I shoot is that (I'm hoping) the family videos I make will be kept and referred to by future generations. If my grandparents and great grandparents had made home videos I would certainly be interested in them. Certainly its an excellent argument to justify camera upgrades to my wife!!