zlfan

thanks for the info. seems to me canon raw does not have many adjustable options? b raw in fcp may have similar issues?

prores raw is good for rcp, b raw is good for resolve. seems to me they are fighting and not mature enough. I use resolve so I don't care much if the camera has the prores raw. r3d is supported very well by all major nles. I think r3d is the way to go if you really want to shoot raw. I think red cams are very practical raw cams. for ml raw, you need a computer with many cpus to process using mlv app. resolve seems to me is not as good as mlv app to process ml raw. otherwise, resolve can use cuda, so it is faster (about 3 to 5 times faster on the same computer). other raw codecs, they are just not mature enough to be practical.

when I started videography, I naively thought that a hybrid vDSLR would cover everything in the photo and video worlds. One camera to rule them all. With time passing by, I accumulated all kinds of formats, especially in the photo world, 4x5, 6x9, 6x7, 645, 135, m43/43, apsh/apsc, 1 inch, super8. and also the video cams. later I realize all of the popular formats and cameras have their unique niches. It is very difficult to replace them with one format and one camera. I just keep them all. For example, in the current era that bokur is the king, super 16mm still is very suitable for documentary and in depth news reports. A famous scene of the Citizen Kane is that the young Kane played behind on the snow field outside of the house, their parents talked to the banker in the front in the living room, and his future was determined. Actually this is very suitable for S16. s35, vv, 65/mf will bokeh the background, which is an addition to the story. This is often the case in news and documentary, you want the background layer to have more information more layers to make the whole scene dense and impactful.

There is no doubt that size matters, if everything is acquired in raw. But there are other things to consider in the whole process, like olpf, sensor design, acquisition method, dsp, codec, nle, lens, etc. So, it has to be all things considered. Right now GFX 100 line or other MF hybrids seem to me still are not mature, no raw, no 444, not 12k, no tuned olpf, etc. If all of these are implemented, yeh, medium format look is certainly better than smaller formats. Probably in another 20 years.

I don't have hands on experience with the Alexa ev and f35, but basically most of others listed in this test I own and tune with my hands. I have to say, they all look good in their own ways. each its own. you really need to own these cameras and lenses for several years to get what you want. renting them for a weekend, even top dps don't have enough time to know them to get the best out of them. so, although this test was ground breaking, it still had its bias. I don't know why people sell their gears. I rarely do that. after spending so much time knowing them, they are like my friends, part of my life, why should I sell them and get something new yet unnecessarily better but definitely less familiar gears?!

is it better than go pro 12? I can make go pro 12 footage surreal looking. will this one have enough info in the footage?

the master was filmed with 65mm film. special look. I especially like the sea scenes in this movie. but there are some other scenes very compelling. the actors performed very well too. a true master piece.

10 years ago I bought a Zeiss glass goggles. I forgot the name. it is kind of like giving you a 100 inch 3d feeling. I bought it about $500 brandnew. I planned to use it with a camera. my eyes felt sore quickly. I gave it to a friend.

according to my experience, putting on a mf lense like 50 mm on a ff cam like 5d3ml, is a little different than putting on 50mm sim is on 5d3ml. even the same focal length, medium format lenses are easier to get bokur even at f4. mf lenses have smoother rendition but less sharper.

it has prores h265 h254 mp4

m43 or 43 is actually similar to the original 35 format, so it is not big deal to be against using m43/43 due to this format issue.

I guess he used iPhone to do the vlog. actually, iPhone vlog footage is not far behind the big two. the lens is not good on iPhone, distortion is eye catching, not friendly to the lady. it is amazing how things get so close. 20 years ago, a phone, a crop sensor, a top brand of cinema camera, they just did not get along at all.

very very close. except extreme situation, Alexa lf seems overkill.

I think red's r3d is probably the best raw codec. r1mx can go recode 42 1:75, epic-x can go 1:3, epic dragon can go 1:2. all of the nles can render r3d very efficiently.

I actually like hassy's 6x6. that is real open gate. lol. just no equivalent in the movie world. it is interesting that about 20 years ago, 4:3 was considered old fashion and nobody liked it.

cdng seems having a proprietary compression. you are right, cdng has an uncompressed version.

in the comment, he mentioned that the whole project was 10 million bucks, there were 25 camera rigs for realtime streaming. that means about 30 grands for each cam for this single project.

only arriraw is uncompressed, magic lantern raw is true lossless codec or uncompressed. other raw formats are codecs, like r3d, prores raw, braw, canon raw light, sony raw format using r5 or r7, etc.

low light may be the issue. but s16 lenses and format have their unique feelings. 6.5k is pretty good enough.

bingo. that will be a killer combo.

thank you very much. you should open a new topic about this. i mean about ursa 12k's different modes, especially s16 6.5k

if ursa 12k has the z mount, that will be delicious.

thank you for the info. this should be the landmark feature of ursa 12k, instead of buried in the s35 12k glory. there are pl mount s16 lenses, more expensive than c mount lenses.

it is almost 8 k, like 6.5k to 7k. really nice. a s16 6.5k cam. this actually justify ursa 12k. s35 12k is niche requirement. but s16 6.5k is unique and has many potential requests.

i want to use c mount lens on z mount cams. if they have s16 mode, there will be no vignette on wide angle c mount s16 lens.