TomTheDP

now I am scared 😅

Almost all theater stuff ends up on streaming, sooner rather then later these days, sometimes immediately. They are technically different sensors but it is the same exact same tech, just bigger. Aside from the size of the noise which obviously decreases as the sensor becomes larger, the images are identical. Any other company is using completely different sensors in their S35 vs full frame cameras, which is incredibly apparent when shooting side by side with them. Maybe its not an intentional statement but anything ARRI does is a statement in the industry by default imo. Most content is going to end up in the trash so the idea of future proofing is extremely silly to me. Content is more disposable then ever. Consumerism is driving most things rather then necessity. All the hype over 4k and I have never even noticed a difference between IMAX and standard theater projections. But my opinion doesn't matter and if I was shooting for Netflix or any major studio I would be using an LF not my Classic. Confirmed to be 4k. About YouTube its more of a bitrate issue then resolution from what I have noticed. 2k videos uploaded in 4k look much better then 2k videos uploaded in HD. It's always been an annoyance for me, where the original capture looks much better then the compressed or shitty screen you are viewing it on. Internet compression hates saturation, noise, and shadows.

True however ARRI had no choice but to make the LF 4.5k and the LF 6k. They use the same sensor in every camera and that was the only way to do that. Their new S35 camera is a brand new sensor and they chose to go 4k over 6k or 8k. That to me is a statement and I don't think anyone will question it. Of course they might now put out a full frame 6k and large format 8k camera. That will be interesting to see.

To be fair they are mostly Netflix shows which rarely use ARRI. But the question is how necessary is resolution if you are just going to soften everything. At the end of the day though more resolution is the way forward. Arri is finally going to put out a 4k camera. That to me is a statement. If ARRI is good with 4k that kind of speaks for the narrative industry. 8k is oddly more useful for doc style stuff or run and gun shooting, though as shown here it gets a lot of attention for high end narrative. To be fair if RED put out a 6k full frame camera I think it would see just as much use as the Monstro. The Monstro is RED's best camera in terms of dynamic range and color reproduction (maybe topped by the Raptor??). So its kind of the natural choice to go with it for that reason. I am still content with 2k capture though my style is definitely classic cinema.

I think Canon color science is lovely, right behind ARRI. However they've never really made serious cinema cameras. ARRI is certainly the best with RED, kinda. Most people doing high end work look down on RED. Honestly the Sony Venice seems to have a much better rapport than any RED camera with high end stuff. I've heard a ton of good things about the Venice while RED is constantly hated on. I was kind of warming up to the R5C. One big benefit of the camera is the fast readout for low rolling shutter effect in 4k. Dynamic range isn't as good as the C70 though and the micro HDMI makes it a no go for me. How can you sell a $4,500 camera with micro HDMI. I still have yet to see a camera that can really do anything against my Arri Alexa, besides resolution. I just don't give a damn about resolution. The Netflix 4k thing is pretty dumb IMO. Almost all big hollywood stuff is shot in 4k anyways and Netflix productions are big money. Renting an Alexa LF or other 4k cine camera is pennies and dimes compared to the cost of the entire production.

I suppose that has always been a thing with digital cameras but it rings very true with the C70 more then others. I recently saw a comparison between the R5, C70, and FX6. The C70 had about two stops more in the shadows and about the same in the highlights as the other two with the R5 maybe a 1/3 stop ahead and the FX6 behind. I do the opposite with the Panasonic S1 usually overexposing by 1 or two stops. The S1 has about 5 stops in the highlights and two in the shadows, though with RAW the shadows can be pushed way further.

I can definitely do that.

I've not shot the C300 MKII and C70 side by side before. I feel the C70 has more dynamic range. Not so much in the highlights but you can really push the shadows far. I think the ticket is underexposing and boosting in post. Nothing beats ARRI in highlights, the C70 doesn't even come close. However ARRI is pretty noisy underexposed, though the colors hold up nicely even under a few stops. It isn't a cheap camera so I am not in a hurry to buy it. It would also be nice if the 4k 120p mode utilized the DGO capability. ARRI is still the better choice for 120p for me, even though its only HD.

Yeah the benefit of the 444 version as well is being able to do 60p out of a single SDI. The Sony menus are a pain but the files are amazing to work with. It doesn't like overexposure but it's phenomenal in the shadows. The camera is truly amazing in low light. I honestly would pick it above newer full frame options. The color and noise is so much nicer.

I just tested the color between the C70, Alexa, and Pana S1. The C70 was very close to the ARRI. I was surprised how great the color and roll off were. This was using mixed lighting too. The rolling shutter and dynamic range aren't as good as ARRI but I am very tempted to buy one now. I wish it had SDI's and a less plasticy body, but that's nitpicking.

Could be interesting but I've found the R5 dynamic range lacking even in RAW. The lack of ND's and the uselessness of 8k just make it an overall no for me. I'd take the C70 any day especially considering it will soon be able to shoot RAW internal and hopefully externally as well. Not sure how the color on the R5 compares but I recently tested the C70 against the ARRI alexa and found it the closest match color and roll off wise I have ever seen in a "cheaper" camera.

Yeah its definitely a bit easier to get a clean image on the S1 with the dual native ISO, at least in situations with little control of lighting, which is increasingly common.

S35 still gets a lot of use but all the high end stuff in my area gets shot on the LF or maybe a full frame RED. Most high end cinema is the LF as well. The lower end market seems to be obsessed with full frame. I guess BM is targeting the middle of the two ends. Yeah I know they said a full frame camera is too expensive to do. Every other company is doing them though. I guess BM is a smaller company. Of course I can see why the in house design would be too pricey with full frame.

The 12k is definitely a great offer. I can't help but think a full frame camera would have flown off their shelves. But I do love the 12k sensor tech. Hope to see more from them with that sensor technology.

It's hard to compare unless you are shooting same situation same lenses etc... Higher end cameras seem to have a softer look from what I have worked with. Lack of sharpening I'd assume when pitted against more consumer cameras. I actually find it to exposure similar to my Panasonic S1. Expose normally and you get a bit of grain in darker situations. If you over expose a stop or 2 it looks super clean. The Alexa noise is much nicer than the S1's though IMO.

You are referring to the Classic I assume? I'd really like to see the difference between the Classic and the LF in person side by side on my PC. Sharpening does wonders getting it closer to that newer 6k look though. Back to the topic of the Matrix, despite the rotten reviews, I am going to see it Monday. I am going in expecting it to be very different than the rest of the films and I hope to maybe not hate it.

Yeah AF just isn't a feature people want when getting a 50k camera. I do think it could serve a purpose though and productions are getting often smaller and less conventional.

Z-cams are incredibly robust and quite a bit cheaper. Canon really flaked out. Thats Canon for you though, hard to give my money to them TBH. Honestly the BMP6K pro is pretty robust feeling. The buttons are nice, the screen feels solid, really nothing that worries me.

It really killed me 😅 Good to hear its gone in newer models. The C300 MK2 can record BRAW with the new 12g assist, pretty compelling option. Too bad the C70 can't do any sort of RAW.

This wasn't actually noise. In the scene I was using haze and thought it was coming from the window blinds. But it was actually just a pattern from the sensor or maybe some kind of weird reflection??

I am sure if you put them back to back in a very high dynamic range situation you'd see a difference. My biggest issue on the C300 MK2 is the weird banding artifact you get in some high contrast situations. I was shocked to see this was a normal problem on the camera. If you discount low light performance maybe. The C500 mk2 has a lot going for it honestly, its just an easy camera. I do love the komodo though.

I used the C300 MKII for a feature recently. It's a really nice camera. We didn't use AF so I can't comment on that. An advantage to it is you can shoot BRAW from an external recorder. The internal 2k is nice. My complaint about it is in high contrast situations you can get a sensor artifact which causes vertical lines to appear across the screen. I was disappointed with this as I like to shoot high contrast stuff. You just have to watch out for it. I've only used the 1DX MK2 once. Its a nice camera but I'd be hard pressed to go with a camera that doesn't have LOG. The colors are great though as well as the auto focus. Definitely still a solid option.

The Pocket series from BM is fantastic. The issues with them are the non tilting screens and the battery life. This is solved on the 6k PRO. I'd take a 6K pro over the S1 however I'd take the S1 over the OG 6K or 4k. The S1 shifts magenta, simply make a bunch of WB presets with a +2 green tint and boom fixed. The Arri has a major green shift, while the LF shifts magenta. It's an easy fix if you do it in camera rather than attempting it in post. I have my Arri WB presets to all +2 magenta and the S1 +2 green. If using Davinci ACES + the Varicam35 option is a great way to easily color/exposure correct S1 footage. It's not 100% accurate as the Vacicam color science is different but its pretty close.

The ARRI name is keeping it up there. Also the fact that ARRI sensors have barely changed since the Classic so you are still getting that industry standard image. You can find them for good deals if you're patient. The support gear and media isn't cheap though.

The S1R 4k looks pretty nice. It's line skipped but hey it's still 4k. It does have 5k 10bit as well. I think it's a solid option.