TomTheDP

so no converting?

Magic Lantern isn't undependable. 1080p 14 bit RAW is a staple. It's just an annoying workflow.

You don't need tripods unless shooting on long lenses. Most wedding photographers are still using DSLR's with no IBIS and no tripods. OP didn't say he was shooting birds on 300mm lenses. I don't think he is gonna be shooting his child 3 blocks down the street. Fuji is my go to choice for family stuff. Small and nice looking images/video. Not great for narrative as there is no 12 bit option but for family stuff it's great.

for you

The FUJI is great for photos. Would definitely take it over a Sony. You can get a lens turbo focal reducer which I have found to be very nice for like $100. Only way I'd go Sony is for auto focus if you want that.

Get a used XT-3. A 5D MK3 with magic lantern is great. It is 14 bit RAW. You won't get that kind of image out of anything but an Alexa or RED camera. The dynamic range isn't as good but it has a certain thickness and depth that you won't find in cheaper cameras. That said you'll enjoy the clean look out of the XT3 as well as the 4K recording up to 60p and very nice HD 120fps.

@PPNS Making a film is really difficult and your frames are looking great. I am sure you didn't have a big crew possibly none at all and you probably weren't being paid much if anything. Don't be hard on yourself. Skill isn't the only factor in a film looking good trust me on that one.

CLOG 3 has more contrast. There is also a cutoff in the shadows making it appear cleaner but also giving you less information in the shadows. There is also probably a bit less highlight retention. It's good if you want to just add a bit of contrast and saturation and call it a day. CLOG2 is a more conventional log where the full dynamic range of the sensor is maintained.

The nice thing about RED is that tint and WB can be adjusted in post if you shoot RAW. I feel the Komodo is really close but I guess not quite the same. I'd be down to share some of the files if you are interested. Surprisingly it's not that uncommon to find an Alexa with a Pocket camera as the B cam. Not on super high end productions but on mid tier stuff. I am trying to see what matches best as a "cheaper" B cam. I was pretty happy with the Sigma FP but I need to post a comparison to see what others think as my eye isn't the best for color subtlety.

True but what about the more cool bokeh and unique perspective. Everything is overkill these days though. My friend AC'ed a 10 second social media ad with the fx9 and after seeing it on instagram I concluded it could have been shot on a phone.

A lot of times the Vari ND gets you the shot that a fixed wouldn't. The other option is to use a fixed ND that will give about the exposure you'll usually need outdoors and rely on the cameras latitude to fix the rest in post.

The affordable RF, L and E mount anamorphics coming out are really making mirrorless cameras a great option. Although it really makes little sense to shoot anamorphic for content that will end up online. It is an artistic choice at that point.

Bizarre world we live in. I imagine a near future where half of the content is just AI generated completely.

I appreciate that @kye In the images I attached in the post I used the colorspace transform tool to change the REDlog to Log C and then applied the ARRI Rec709 lut. The ARRI image was just as is, plus the REC709 lut. Both were shot at 5600k. I added in a +5 green tint to the RED in post as it seemed to lack some warmth. I was told now it looks too green so maybe the warmth coming from the Alexa is not just a tint difference.

Yeah I got mine for $750 and it wasn't mint condition from the AU

Thanks, if you check the comment section I pinned my own post where I show which camera is which. The give away is usually dynamic range, that or the Alexa is warmer looking. I unfortunately have never worked with the Varicam but I have definitely considered it.

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing. I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa. Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied. This is what I came up with in Resolve using the color space transform tool. ARRI on top.

In the few tests I have done the C70 matches pretty well to Alexa.

adequate There isn't much reason to comment on the Alexa 35, other than to ogle over the image. This is because almost no one here will really be using it. If you are getting a Blackmagic Pocket 6k you are grasping for whatever you can get ahold of to make your barely adequate shoots work. That is my take at least. I have heard complaints about the Alexa 35 but it's from people who will actually be using it and it doesn't have to do with autofocus or IBIS as that doesn't really exist in that space. A lot of people buying cheaper cameras have to choose between that or something else and they want it all in one as most can't afford multiple systems.

I think the benefit of 12bit raw these days is really when you need to correct for WB and skintones are in the shot. The 4k-6k coming out of most cameras is pretty stellar in terms of detail.

My view as an independent film DP and editor is that I choose the camera that is easiest to get a nice image with. I am not a colorist and whatever I am working on can rarely afford a colorist. The camera that I can simply do my best with on production and in post simply apply a lut with minimal corrections, is the one I go for. Right now that would be ARRI or RED. Blackmagic is also a viable solution as you can easily correct for WB, even though the image isn't as nice out of camera.

I was going to leave my thoughts under the video but decided not to. While Steve's approach makes sense on a big budget film with the best of the best cameras maybe when comparing 35mm film to an ARRI Alexa to a Sony Venice. But I do think the camera and the immediate image it captures is important for most people.

A good HD image makes this camera more tempting. Is HD 120p good as well I wonder.

This looks potentially amazing.

I think so. You can throw a battery and lens on and be ready to shoot. You have easy audio options too. Honestly the OG mini is not hard to solo operate but not having easy on board audio options sucks. The bad thing about the mini is it sucks for bigger productions as there is no side panel for the AC.