Agreed. How many times in indie cinematography do you see an unnecessary slider move with objects calling attention to themselves in the foreground rather than the scene playing out? THAT is my biggest pet peeve: camera moves that happen for no reason and cause me to stop thinking about the plot or characters and focus on the camera work.
I am excited by the prospects of all of these cameras, but I'd like a much more objective test than this one. This test was kind of confusing and didn't really tell me all that much...except that people still don't know how to properly grade with Log footage. For now, I still prefer shooting linear RAW footage and grading it properly vs. applying a LUT to all of these flavors of Log footage.
Here are the things that I want in a gimbal that have yet to be offered by ANYONE (AFAIK) including Freefly.
- full slip rings on every joint to allow fully continuous rotation in every direction
- pass-through from handles to cam sled with least 3 channels of power and 6 channels of data (video 1 and 2, focus, iris, zoom, aux [bellowed lens tilt?], and aux 2 [bellowed lens pan?])
- a gear-head controller (as seen one the Libra)
- fully carbon fiber construction
With all of the new sensor developments I am hearing about from Sony, I am hoping that we see something more than just Log modes. Once I can do RAW with these cameras, I'll be selling my 5D MKIII RAW setup to grab one of these. My past problems with Sony's sensors have been primarily in their color science (I think they render reds as too magenta) but all of these complaints can be mitigated with a RAW sensor record where I can mold the color science to my liking. Don't cheap out on us, Sony. We know what we want. I want 14 bit RAW.
If I can't get RAW, can I at least get ProResXQ as SLog-2 or SLog-3?