Savannah Miller wrote:The new Sony A7III claims 15 stops of DR in a small mirrorless body. With that and Sony's amazing low light sensitivity, I feel like if they had better color science and included prores/raw codecs in a blackmagic pocket form factor body, they could build a much better camera than the Pocket 4K. DR claims are always exaggerated, but Daniel Peters (an Ursa Mini Pro shooter) said that it's almost on-par with his UMP which is very impressive for not being a dual-gain sensor.
It's pointless to think that this will ever happen.
BMD's whole camera business model is doing something that the big players will never ever do.
When they first launched the BMCC it was the first ever camera (before even Alexa) to do on-board internal uncompressed RAW and ProRes recording. In a camera that cost 3 thousand bucks.
I remember many saying that Canon would come back hard and offer the same, the hacker community was big then too. Everyone thought they would show BMD how to make a camera.
AJA were going to be the ones for a while, they gave up.
GoPro for a while would do it...and nope...
I also remember some pretty disparaging comments from RED users about this "toy" camera that did ProRes years before they did. Having used ProRes recently on RED I can't say it's very well implemented either !
And here we are...6 years later. And we've only just seen Canon sort of do something meaningful with the C200. A kind-of-sort-of-crippled RAWlite.
These guys want to segment their markets
They want you using their own codecs or their own media or both.
They want to define what you can and can't do based on how much you pay them.
BMD just don't think that way.
Panasonic are the only ones (so far) aside from Arri and BMD to do on-board ProRes recording (Varicam LT)
And RED too I guess.
JB