TomTheDP

Ah shoot, I thought they both had global, never mind. I believe the F55 also does 2k 444 internal, but I can't find specs to confirm that atm. Would definitely swing for an F3 over the F5. I think the FS7 is probably a good option over the F5 as the prices are similar.

I could see that maybe in the 10k price range. They'd need a C500 MK3 with the DGO sensor too.

The R5 sensor should definitely make it into a more video oriented body. Canon C80 😅

Kinda thinking of buying a used S1H when I get the cash to avoid this issue. Yeah they are applied automatically in FCP. After more testing I think the RAW conversion to vlog is pretty identical to the internal after some small adjustments.

I haven't used dual recording but for regular recording I use a Sandisk extreme 150MB/s V30 card.

It was $600 for the camera(after taxes) and $580 for the Pix E5 plus two 256gb ssds. Still a pretty good deal IMO. I bought a bunch of cables and other accessories to help kit it out. Hoping to put together fairly ergonomic rig with it powered off of a single V mount battery. My other option was getting an Alexa Classic. But the F3 is 1/3rd the weight, 1/4 the power draw, and has internal ND's. It doesn't have the Alexa's dynamic range but I think the color science is just as good. It will be my personal project camera and for clients who don't ask for 4k, which is most of my clients honestly. I actually looked at the F5 as well. I think its a really cool option with 4k 60p 422 and a global shutter. 3200 iso also seems pretty nice on it. I think Sony dropped the ball with their color science after the F35 and F3 though.

I thought it was always unlimited. But yes in 4k there is no record limit unless its 4k 60p where it's 30 mins.

Where is the info about this 24 MP sensor you speak of?

Just picked one up for $600 on eBay also got a Pix E5 recorder. I am still a bit confused as to whether you can record 10 bit 60p off the Pix E5. Waiting on everything to come. I am trying to kit it out now so I can start using it immediately.

I just got my hands on a Ninja V. I did a test shooting towards a window. Today is a bright sunny day so the light is very heavy outside. I exposed to retain the highlights and then pushed the ISO from 640 to 6400 to bring up the shadows. While it's very noisy I don't see any banding or fixed noise pattern. The noise seems free from any artificial noise reduction, would probably clean up nicely in neat video. Below is normally exposed, while trying to retain the highlights a bit. It retains a lot of highlight detail while remaining noise free in the midtones and shadows. Overall RAW from the S1 off the Ninja V is amazing. The one thing I'd like is a curves tab in the RAW control panel in FCP. Outside of adjusting ISO you can't push and pull the shadows and highlights much as it doesn't seem to be modifying the RAW data. The only hindrance on the S1 is moire from the lack of anti aliasing filter. I'd also note the RAW to VLOG conversion is not giving the same colors as VLOG off the S1 internal files.

Sony's END is fantastic if you've ever used it. Its really disappointing that no other camera manufacturer has developed E-ND. I am not sure you'd be happy with the FS5 image though. Outside of the grips and shitty screen I've never heard of any issues with the EVA1. It definitely looks like a toy though which doesn't help. If you need a camera with timecode and SDI, I think it's one of the best options on the used market. If you don't the Pocket 6k pro trumps it in most departments and is cheaper.

FS7 can be had for a little over 3k used. The Pocket 6k pro is $2500. The C70 is around $5000, though I've seen it closer to 4k used once.

Damn, a lot of sound guys I know say noises like that aren't a big deal and can be removed pretty easily in post. Whats your thoughts on that? I am sure it depends greatly on how close the lights are to said mic. Is it a smart idea to go back to hot lights/HMI's for small space indoor stuff?

Yeah honestly I've never really noticed rolling shutter outside of flash photography at weddings. The one time I've noticed it is shooting out of a moving car, stuff can get slanted 😂

A fast readout is an expectation these days at least for me. Yes not global shutter but fast enough where it's not noticeable is somewhat important. Its becoming a reality with the RED Komodo and FX6/A7S3, I hope the trend continues.

Might as well be a global shutter considering how fast the readout is.

If you don't care for RAW that much it sounds like the FS7 suits you more. A full fame FOV is definitely nice to have. The whole future proofing thing is kind of BS in my opinion. 95% of content is throwaway. As long as your cameras shoots 4k 60p you are good to go for the current market and I'd think you'd be set for quite a long time as least in terms of resolution. The pocket 4k/6k was used for 3 narratives at Sundance, the URSA for 1. While RED wasn't used for any. Docs was a different story. Blackmagic cameras are going to be seen more and more often no doubt. I would still say Sony is probably a better brand in terms of being a recognizable camera package, maybe.

A fuji would be great for travel/family stuff. If you want something even smaller I'd suggest the XT-30 as long as you don't need 10 bit. Fuji lenses are also nice and compact. In terms of video work I'd recommend staying in the same brand as camera matching is a pain that's just not worth it. Two XT3's would be a good idea if you are looking for a 4k workflow. 5D MK3 with magic lantern is about as nice of an image as you can get, aside from maybe a bit less dynamic range that newer cameras.

More curious to just hear how you think the footage feels, rather than anything scientific.

I am unsure of the specifics but it is pretty broad. It forced Blackmagic to get rid of compressed CDNG and invent BRAW(which is debayered hence not actually RAW). It also forced Apple to pay fees for their Prores RAW codec. Whatever the patent is, it's effective enough to conquer Apple.

I am pretty sure you wouldn't have lost any info if you shot in LOG in that shot you posted. Looked very nice even in REC709

I agree. It doesn't need to be as small as the BGH1 but I agree no need to make it bigger than it needs to be. I think full frame is a must, its definitely the preferred sensor size for the market the EVA1 falls into. A raw module made for the camera to capture prores RAW would be nice. I wouldn't mind if they went with an easily mountable V mount battery module too. Right now there is a spot to fill for a $6,000 full frame 6k camera. The FX6 takes the 4k spot, the RED Komodo is 6k but S35 and no ND's, the C70 is 4k and S35. The Z-cam F6 is 6k but its not as run and gun friendly as an EVA2 could be. The EVA1 just feels overpriced now considering you can get a full frame S1 or S5 for under 2k. I hope they don't go the 8k route, I just don't see the point outside of hype.

Very interesting. Do you think I could send you some of my S1 footage. Would be interested to see your thoughts on it. I spoke with Juan Melera on instagram a bit. He seems to be a big fan of the Pocket 6k. Enough to where he says he rarely brings out the Alexa anymore. He recommended me checking out the Sony Fx6 as well.

That's encouraging. Part of the appeal of the Alexa is how it responds to all different types of lighting though. How is the response to tungsten and mixed lighting on the OG pocket. They are both emulating film but so are all the Pocket cameras to some degree, or trying to emulate the Alexa itself. True, I've heard some very positive things about it from various trustworthy people. Internal 444 is nice too. A big downside is you have to reboot the camera which takes about 1 minute whenever changing frame rates. I suppose that's not a big deal on the type of shoots you'd be using it on. Oddly enough I am also considering the ole Sony F3.

Having to grade footage to match side by side is much different than just grading standalone footage. Footage that is pleasing to your eye and footage that matches an Alexa are two different things. I've heard a lot of people say the OG BM pocket has a very nice image, more organic than the new P4K/6K. I've never seen any comparisons of one against the Alexa though. If I ever decide to get the Alexa classic it would be a cheap enough test considering the OG pocket can be had for 500 bucks. Emotive color also has power grades for the URSA and Pocket cameras. Juan doesn't have different luts for different lighting situations which makes me think Alex's luts/powergrades are likely superior. I did just ask Juan Melara about his recommendation for a camera that could cut with the Alexa. Hopefully he'll find the time to share his thoughts with me. The OG Pocket is small but the Pocket 4k is also tiny as far as cinema cameras go. The screen is also much more usable too. A big downside of the OG pocket is it sucks to rig up, all the ports on it, HDMI etc... really suck. The micro has full HDMI fortunately and would be my choice if I were to buy one of the two, of course you need a monitor for it. Poorly shot footage always sucks but it'll look better on an Alexa than most other cameras.