Putting all the specs, fan boyism, haterism, and antics from the company aside, only after shooting on dragon do I feel that my work finally looks like it could be out of a real feature film. Theres something about the feel of the camera. I will gladly continue to shoot on it.
Just get the camera in your hands and test it when it's available watching other peoples footage won't give an accurate assessment. All this test shows me is that its something I would try out.
Jonathon, what you said is right, but your example made you wrong. The f55 does have an expanded color gamut, but rec 709 TVs can't see it, they can only see the truncated color space that fits into a rec 709 bucket. What fits in that bucket is the exact output of the F5. So for rec 709 viewing they will be identical. So the expanded color gamut is only really visible and significant for theatrical projection.
Some of you guys are jumping the gun, relax. This footage looks good to me, the Caucasian talents skin looks magenta because her skin was probably actually magenta, some people have reddish pigment in their skin. To me the colors look nice and detailed here. For everyone complaining about crushed blacks watch the ursa samples again and start complaining there too. If you want clean blacks with this sensor it will be what you have to do. Also this footage looks like it was with a gamma applied so calm down. Its looks like a great starting place for a grade, you only really need a first light.
The real question is how many bits is the 4k prores 444, if its 12, thats a big deal. No need for raw.
There are two ways: either start your own business or join a pro crew. If you want the first then you don't need experience, you don't even need to be good, you just need to be able to develop a network of clients. I've seen guys who really didn't know that much with very successful production companies based on who they knew and their ability to network. They fake it til they make it and pick up skills along the way.
If you want the latter coming up through the ranks of commercial and film crews then you will need to choose a path. Grip & Electric or Camera department. If you want to be a grip, best boy, gaffer then read the gaffer's handbook then find a DP or Gaffer and tell them you want to PA for them. If you want to be an AC or Cam Op then find an AC or DP and ask if you can be a camera PA for them. The real production world values loyalty and trust highly, show those traits even above competence, always have a great positive attitude. And never speak to actors, directors, or producers, only the guy above you in the chain. Lastly read America Cinematographer Magazine, it will show you how real films are made. There are more gem cinematography techniques in three copies of that magazine than most of the internet.
Tungsten is extremely common and excellent, don't listen to anyone talking about problems with cables or heat. Film sets get a warm with tungsten, they don't become a sauna. And I'd rather run cable to another room rather than worrying all day whether a light will run out of battery during a take. And tungsten is the highest quality of light, it will render the best colors. The extra small soft box in that kit is not very useful. If its that small theres no difference in cloths pinning some diffusion on the barn doors. Only get a softbox if its a decent size for a 650w or above. Also buy milk crates don't buy that huge travel case, unless you intend on flying with it. Milk crates will be easier to transport fresnels via car. The diva can work fine mixed with 3200k bulbs, you might need a 1/8 magenta or green gel on the diva if you want to be perfect but its usually not necessary.
The video kinda makes my point about prioritizing large soft keys for web comedy. Theres no backlight or hard light in that video. Kinos or a china ball will be best for those type situations. China balls would be best if you are doing romantic comedy, boy meets girl scenes. When they are at the dinner table just put the china ball above and between them and your 90% done.