Although I totally agree with 90% of what you wrote, I have to disagree that having IBIS would automatically deem any camera as not being professional cinema, just because the other cinema cameras don't yet have it. Noticed I said yet.
It is inevitable that in the coming years you will see IBIS in more and more systems, because overall it's a good technology. Sometimes we have to be careful to not always refer to legacy for legacy sake. Yes Arriflex and RED are the pinnacle when it comes to Hollywood-style cinema, but these systems are not without weaknesses too. Pushing boundaries is about experimentation, suspending a certain amount of disbelief, trying something new and seeing what you get. It's not always about regurgitating the same old, same old just because that's the way it's been done up until now. If the Pocket 4K came with IBIS, it wouldn't make it less of a cinema camera, in fact it may even make it a better cinema camera.
People mistake "energy" in shots as translating to handheld these days, when energy actually is derived from your subject matter. Yes, there are times where handheld supports the narrative, but it's not the narrative itself.
People lack patience these days. It's imperical and a global phenomenon. It's too much time and trouble to break out or even carry a tripod. Which I find so extremely odd as a filmmaker, where nothing comes easily and by accident. There's been a trend in cinematography these days where it's about camera and editing tricks more than good, solid cinema and storytelling. But there's a difference between, "neat" and art. Neat has a shelf life of maybe 1-2 years. Art is timeless.
Ppl are reporting that the T5 will not do DCI 4k RAW @60fps without dropped frames and then the recording will soon fail. Something to be mindful of if that is important acquisition for you.
Happily, I'm here to report that the new G-tech SSDs will in fact do the above with no issues. I got the 1TB version for about $230, and at this resolution and frame rate I get roughly 71 minutes of record time, and roughly 171 minutes in DCI 4k RAW at 24fps. Not bad eh?
Another thing I like about the G-tech is it's crush proof rated at 1,000 lbs and IP6-rated for water and dust. It's also small and light, but the build is extremely sturdy, no plastic. It's very portable, as much as the T5 or Wise options.
There is zero value with C-fast right now in terms of price per GB unless you already own some. The c-fast prices need to be driven down and hopefully as more camera manufactures adopt USB 3.1 C as an output source that will force C-fast to compete better. Because as far as form factor, C-fast cards are the more portable preferred choice with a camera like this.
When BRAW comes to this camera, things on the costs of storage are going to get even sweeter.
Mounting on top is a no-no. This needs a rod solution, and it needs more available ports to also power accesories, that will be the competition in 2018/2019.
Honestly, I have no clue why BMD itself hasn't produced an official battery grip for this thing, with it's removable battery door. I think this type of design is the way to go in terms of portability and handheld gimbals.
However, if you're near a power source, and not using a gimbal plug this baby in. Cheapest solution. No use needlessly running down a battery.
Very nice. I always used sliders on OTS dialog scenes to dolly in but I never thought about this kind of application. Plus it added some nice subtle movement to the shots which wasnt jarring at all. It makes a lot of sense and I will definitely try it. Thanks for sharing.
That is correct. My camera, an NX1 records video to h.265 or HEVC and your calculations are generally in that ball park. This being said, it's still a distribution codec, and my guess in the case of this particular Phantom update probably in 8bit.
What the above means in practical terms is that you should get a better image than with h.264, with little gain in file size, if any, which is generally a good thing. As long as you don't push the grade too far. You will also need a hefty computer to decode in real-time the files in any NLE that can accept the format, which is limited. Thankfully the two most popular one do.
The codec shows a lot of potential, but in the shadow of something like Prores, and now Prores RAW, it gets far less development or attention. In fact, even though its made gains recently, it was a major problem when my camera was first released in 2014. No one supported it then.
I have to question why these manufactures continue to only offer distribution codecs fully knowing most of their product consumers are working professionals who would much prefer recording to aquisition formats. My guess is it comes down to liscencing fees. Seems Apple doesn't play nice with everyone.