TomTheDP

Looks awesome man

Interesting, you sometimes hear things like this but then see other cameras in the BTS. I remember seeing that this one film was shot with the RED Komodo and DZO optics and then seeing a RED Monstro with an ARRI Signature Zoom in some of the BTS. Sometimes it is true though. Steven Soderbergh shot "Let Them All Talk" entirely on the RED Komodo. It was a very indie film but it featured Meryl Streep, sooo. I think it was shot with all natural light. I generally favor RED cameras over prosumer Sony stuff for cinema. I heard something about the FX30 being able to do 16 bit RAW capture from an Atomos recorder, that could definitely put it close to a RED Komodo. No global shutter but probably better high ISO performance. I would also think state of the art auto focus could be an interesting feature to have.

I think high resolution is really more for applications like 3D or 360 cameras. Storage has gotten much cheaper and will continue to get cheaper. Cropping in post is useful, not terribly useful but also why not have the option. It is sort of like shooting in RAW, it has become a why not for a lot of people as it's so easy to do now vs 10 years ago. If 8k becomes cheap enough to shoot and process easily then most people will opt for it over 6k, 4k, or HD. Now as a delivery format I don't see much practical need for anything past 4k. As more and more people become tech savvy there will be less room for companies to push BS that makes no practical sense. OR maybe I am becoming too optimistic about humanity progressing lol.

Pretty cool, sounds like downsampled 8k to 6k isn't that feasible yet. I still think 8k is overkill for both video and photo. 6k sensors are awesome.

Compared to a RED shooting R3D

Interesting. Probably why Prores RAW off the A7S3 still looks weak compared to Redraw.

I agree, it is a great setup.

Let's say you are recording in camera, downsampling to HD from 4k in camera, like the original poster did. Even though your file is natively HD I still think rendering it in 4k, which makes YouTube upload it in 4k will give you a better result. The footage itself won't look any sharper, but the extra 40mbps YouTube gives 4k makes a difference. I am not saying you disagree, just clarifying my thoughts/experiences with YouTube. my 2 cents

Were you saying that downsampled 4k to HD uploaded to YouTube in HD will look better than a 1080p sensor shooting 1080p video uploaded to YouTube in HD? I'd test that out but I don't have any working SD cards for my BM micro.

Shallow DOF makes images look higher res, which in my opinion makes that example a poor one if you are saying YouTube 1080p compression doesn't degrade your initial capture.

I haven't found the 600 to be too heavy but the 1200 is a tank. If you don't need the light you don't need it but try setting up 4x 300w lights right next to each other to try to imitate a single light source. 300x lights seem to work for interview stuff even if its strongly backlit. Trying to light larger areas is a different story or trying to push light in from outside on a sunny day.

Shallow depth of field with nice lighting and super sharp lenses is maybe not the best representation of the struggle of HD compression on YouTube. Throw more movement, shadows, longer DOF and it really starts to fall apart IMO, at least compared to 4k. 10 vs 50mbps is going to make a difference. I have also noticed some content such as big studio film trailers seem to have a different quality HD than the standard uploader.

Yes this is what I meant to say.

Looks beautiful. Downsampled 4k to HD is hard to distinguish from HD imo. I'd recommend rendering in 4k to get that extra YouTube bitrate.

I am waiting on Adorama's brand CLAR to put something out in the 1000w range. I have found their lights to be excellent in durability and light quality wise.

I would be interested to see how much the streaking is noticeable in practical situations. The RED raptor has a streaking issue due to its "stitched together" sensors.

Spoiled in regards to what people had to work with not too long ago in this price bracket. I grew up with VHS home video, which is barely watchable now. I now own probably the best digital cinema camera ever made and also have a myrid of hybrid cameras that shoot videos that are remarkably close in quality to that said camera, at least to the untrained eye. Couldn't say that when I first got into this, at least not without a lot more money.

I agree. It is definitely also important to hold companies accountable for what they make. That probably sounds privileged as we are so spoiled when it comes to cameras now. They are raking in the cash though so why not keep them on their toes. I have always been a Panasonic guy as I felt they always pushed forward when it came to image quality and new features. I have felt the same with Fuji. Sony and Canon have always felt more strategic in what they put out, in a bad way. Hard to escape from their state of the art auto focus. Nikon's current in camera RAW release is exciting though and overdue. Hopefully that pushes Sony, Panasonic, and Canon to include RAW in all their models.

The BM pocket 4k is still a super dope B-cam or budget A-cam. It's easy to match to almost any camera because you have the light 4k compressed RAW internal. You can't get anything with that capability for the same price.

I guess I don't care a ton because I only really look at the technical side of his reviews. He is sometimes the first person to post dynamic range and rolling shutter tests, although he doesn't use a measurement for RS so its not super useful.

My brothers have been binging halloween movies, they just finished the entire Chucky series lol. Definitely one of the goofier horror film series. Makes me miss the days before everything was CG though

The A7S3 or FX3 also have low RS. The Pana S1/S1H/S5 also has pretty low RS in S35 crop mode.

The difference between 3.2k the resolution being used if shooting spherical and 2.8k which is what the Alexa classic sensor uses is pretty small imo. Yes the Alexa Classic is 2k, but its downsampled from 2.8k. If you look at the difference between downsampled 2k from 2.8k and 2.8k native it is pretty much impossible to tell the difference. The benefit of shooting RAW is definitely nice, ARRI raw has more texture than prores. Of course it comes at the cost of a little more grain. I am sure the little extra info in Prores 444XQ is helpful sometimes too. To me ARRI didn't get a big boost until the LF tho. You do notice the extra detail comparing the LF to any of the previous S35 Alexas. Comparing different flavors of 3k is pretty negligible though at least in terms of resolution. I do think 12bit 444 makes a noticeable difference over 10 bit if you push the color at all, mainly with skin tones. just my 2 cents

That would suck. YouTube 1080p blows, its like 10mbps.

The R6 would be the upgrade IMO. Maybe the EOS R7 but its APSC. I'd recommend a used Panasonic S1 over the S5. Just a better body with more features at a similar price point. The S1/S5 image quality in video is far superior to the EOS R. The low light performance in both video and photo is also way better, better dynamic range as well in photos. You can shoot 6k and 4k with no crop and S35 crop 4K 60 fps. Now it isn't going to give you Canon colors and auto focus is going to be lacking compared to the EOS R.