BatmansBM wrote:My background involved film school and working for TV later on. I used 16mm, 35mm and Betacam SP before going to MiniDV and Digital S. I basically stopped for decades and want to get back into it again by going digital.
You'll find pretty much any current BMD camera to be rather luxurious if you're used to working with film.
I get the BMPCC isn't a stills camera nor a replacement for a GoPro. I just meant that GoPro Hero 5 is the closest I have come to using modern digital 4K systems. Hero 9 is a very impressive action camera for 4K DCI quality.
When you see the difference in color rendition, you'll start becoming a bit annoyed with the GoPro.
When you start adding looks either by creating show LUTs or by color grading (or both), you'll start looking for ways to avoid using the GoPro.
I referenced Fuji because it does 4K DCI and also Fuji has a color science history because it use to make even cinematography film stock like Kodak. DaVinci Resolve has some Fuji film LUTs but the Fujicam X-T3 has also got LUT and Log settings within in that look as good as what I have seen for BMPCC4K in terms of YouTube 4K example videos. They both have roughly the same sensor sizes (3/4). So I just saw them both as being close to each other but you seem to think the BMPCC is maybe much more cinematic than the X-T3? Like more faithful to the 35mm big screen look?
Fuji has a well-earned reputation for its color rendition, because Fuji has been involved in digital imaging since more or less the beginning of time as far as digital imaging is concerned. Their looks aren't the same, but Braw is so malleable that it doesn't really matter that much, and the "stock" look gives you a great starting point. The Fuji's are however primarily still cameras with added video features, which is the main difference as far as quality goes. Great stills, decent video vs the Black Magic great video with decent stills.
Holding off on going anamorphic is a good idea. Start with rectilinear lenses, learn the camera, the footage, and the post process, and as you get more comfortable with all of that you can decide when you're ready to snag an anamorphic lens or adaptor, or just rent anamorphic lenses for a particular shoot.