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I have been doing quite a bit of raw testing and so far so good. Has anyone worked out a good braw workflow yet? Some still grab from my test yesterday (SOOC all metadata, no sharpening added):

i thought i would chronicle my adventures with a black magic p4k. also i didn't want to pollute the other bmp4k threads any further. so here we are, had the camera 3 days now first afternoon unboxed it, inserted the battery tried to charge it only to find it was already charged. obviously bm expect us to be frothing at the mouth in anticipation and they be right, quite considerate of them really when you think about it :). probably half discharged it by turning it on and pressing every button repeatably in the name of science and to see what would happen and yes, not exactly scientific i know but it is one way to learn. did take some footage of some sheep being fed, again as a learning experience and yes i learned i have a lot to learn. first thoughts well there's been some talk around the lightness of the p4k and to be honest picking up the box it was transported in did feel quite light after unboxing and putting a lens on it er.. a m42 50mm super takurmar, holding it and a canon 60d with a lens in it in the other hand there wasn't much difference nothing noteworthy anyway. the next day got a chance to take it for a drive visited a local soldiers memorial that's just been built. as quite a lot of locals went off to war. those that came back and others were settled around stanthorpe. i'm kinda thinking of making it a documentry with the p4k as i think there's abit of a story to it. but that's another story. had no issues with the battery door or battery sticking yet. my battery compartment has a nice amount of wiggle room. speaking of batteries the bm battery doesn't seem to charge up in a canon charger as its the same battery as my canon 60d. i think i have seen somewhere on the forum that thats already known. i did just check my canon 60d battery compartment there is a lot more wiggle room compared to the p4k. more scientific endeavors follow i learned a cheap $30 toshiba 32 gb sd card from woolworths will record with prores 422 1080 hd for about 5 mins, hey it was something i had lying around. i do have a samsung 1t t5 ssd for it but i dont have much of a rig for it yet and i didn't want to duct tape it to the p4k. one more thing i learned at the soldier monument the aussie sun smashes the screen, its hard to see even at 5 pm in the afternoon. so i'm thinking some sort of hood will be pretty high on the agenda. i'm not saying the screen is bad, just that the sun easily overpowers it. ok thats about it for, now next is play time with resolve, stay tuned for more updates on a newbies appreciation off what a steep learning curve looks like with the bmp4k

@BTM_Pix that looks great in B&W as well... I love how the darkness is trying to engulf the guy. Please post the examples if you test that 7artisans on your P4K. I get the bonus of an external recorder with a screen but I don’t like the added bulk. Regarding my 50mm tests: I’m looking for a fast lens that is undeniably sharp wide open. All of those samples were shot wide open, so it’s not the best of scenarios for the sharpest of images but for me it’s a balancing act of available light while fighting the glow of a wide open aperture. My other concern is having too many options. I have a shit ton of lenses... most of which I need to sell. Of all the lenses I own, I have narrowed down my keepers to 14 or 15, but I really want to cut that in half... I’m too indecisive to have that many options. I’ll constantly second guess myself and wonder if I should have used a different lens, so I may give up on my plan of owning multiple lens sets. I’ll definitely keep the Canon EF lenses because they’re native lenses, I really like them and I’ve already started using them for my film. However, I need to be more discriminating with my other lenses. I think I need another round of 50mm lens tests and I think I may include the older Sigma 50mm 1.4 into the lot and take out the Canon FD... since that lens is a no brainer for what I paid for it. I’ve always wanted to try a Sigma lens and I’ve heard the EX-DG is practically as good as the Art lens and since, some of, one of my favorite ML Raw videos was shot with the Art version, it may make sense to give it a try... But I have a feeling a lot of that video was shot with the Canon 70-200mm f/4 L lens. Anyway, I think I have to decide between wants and needs. I guess the smart play would be to keep the Zeiss Rollei lenses because I paid so little for them and they’re pretty good wide open with a ton of character. And that would give me a set of Canon lenses, a set of vintage Zeiss lenses and then I can keep a couple of single lenses that I really like but aren’t a part of any set. On a side note, have you ever tried the Nikkor ai-s 85mm 1.4? I bought a copy a couple of months ago for a song, but I haven’t had a chance to give it a good try. It’s so big and clunky that it will have to WOW me to keep it, but from I’ve heard about it... it may just do that. But since I already own two other 85mm lenses... it will have it’s work cut out for it. Anyway, sorry to all for the extraordinarily long “life problem” I’m encountering, but with me sometimes it’s easier to talk it out to figure out my best option. So speaking of 85mm lenses and to keep the thread on track, here’s a B&W shot of the Zeiss Rollei 85mm f/2.8 shot wide open...

No, you'd have to buy a real camera Sorry, forgot the EF requirement. Works with the EOS-R if you went that route though I guess that's doubtful with your RAW requirement. If you want this lens and RAW then with the TechART you can have it on the Nikon Z6 with the added bonus of it then becoming AF, which with an f1.1 lens is actually quite a boon !

For more cash ? The 7Artisans 50mm f1.1 Glowfest wide open and crisps up nicely at more sensible apertures.

Why does DR matter so much? we are far beyond the level of necessary DR for content creation. Most of you guys want 15-16-17+ stops DR because you want "Arri like" highlight roll-off. You can achieve very nice roll-off even with a GoPro Hero 7 with proper grading: (in this case: 10 stops DR from the camera in 14+ stops environment)

er.... too late been to town got one copy only of your app and spent the rest on the fantastic beasts, crimes of the grimswald dvd so its movie night tonight feel free to bring your own popcorn ? injured my back about a week ago so i'm dosed up on painkillers which might explain why my posts are even less coherent than usual.

You need to post in this forum more often. You always have something helpful whenever you post here.

i thought you were supposed to be working, instead we find you down at the yacht club sippin on lattes ? i'm going into town later so i will probably get your app once i get some reception for the phone looks like you can afford that bigger boat after all ?

Portkeys will be announcing an EVF at NAB! Oled 0.7 inch with sdi and hdmi... Hopefully at a reasonable price

I would say that your details are very secure with the Play store. If you are in any doubt at all though, you can either buy a Play store voucher from PayPal which will give you a degree of separation or buy a Play store gift card from a physical shop. https://www.paypal.com/uk/gifts/brands/google-play

Don't go by numbers and figures. When DaVinci entered the market everyone was already huge. I remember one of the Blackmagic guys saying that their NLE was developed by a student during his Computer Engineering days, which means he handled the job of many different people, maybe even hundreds of them. The purpose of resolve and all of the various suites was to get rid of the elitism and monopoly of the prohibitively overpriced editing (they were priced in hundreds of thousands) suites. Most of the large corporations handicap their features and performance to save their high end lineup. So instead of lacking talent, they probably lack willpower.

sankor 16c with contax zeiss 50mm 1.4

Perhaps not a full stop, maybe a half or 2/3 of it in my testing of BRAW in the last couple of days. And to add, it seems to me that people who criticise BRAW - in the sense whether it is RAW or raw etc. - among other things forget that BRAW is also meant to be (post)processed in the DaVinci Resolve at the first place, where this new codec - which would evolve in time to come - shows as a very robust for grading. For me, it is gradable as much as cDNG, not to mention that it is more efficient for memory cards and computers. So far I wouldn't complain, and it is still posible to roll back to the 6.1 version with cDNG, if anyone needs so.

Someone already said it before !! ?

disagree lossless raw is still raw because it is bit for bit identical to uncompressed raw but lossy raw is no longer raw unless you give another definition of raw that is for me "data straight out of the sensor", altering a single bit of data disqualifies for raw otherwise where do you put the limit of more or less lossy compression and still qualifying for "lossy raw" ? is h264 a very lossy raw ?

Just a note for G80/G85 and GX80/GX85 users: (this may be of interest to you, @canonlyme) Consider disabling IBIS while shooting anamorphic. Recently I took a look at my short video tests and noticed that there is a lot of swaying going on in them. At first I thought that rolling shutter was to blame, but after further tests I concluded that this swaying has nothing to do with fast pans and it's visible even during some subtle movement. Turns out IBIS in G85 doesn't like scopes. Sorry for hijacking the thread!

I like SLog2 on the A7III but just wondering if HLG3 would've helped in this situation? I don't own an a6500 so I don't know if it has HLG.

work from the studios has been keeping me busy. have been traveling all over, shooting interviews and behind the scenes on my EVA1 and a pair of GH5s's. leaving again for New Orleans tomorrow.

Looked at it again and I can't tell haha

The interesting thing with the Quattro is that Sigma getting involved with the L alliance is a bit of a win from both perspectives really. For anyone who doesn't have one, there will be some even bigger bargains around on the SA mount cameras and lenses but that will also benefit existing owners too as it will also mean a lot more SA mount lenses coming up used from people swapping over to the new mount version, particularly if there is a full frame version of it. Everyone knows about their MC-11 EF to E mount adapter but not many people are aware that they do an SA to E version of it as well which means those cheaper ART lenses in SA mount may not be the dead end people imagine them to be I got the Ninja V last week with one eye on maybe getting a cheap Z6 in Japan in a few months but also as a monitor/expander for the Pocket4K and the LS300. After using it in anger for the first time over the weekend, its pretty much a must have for whatever camera you're going to attach it to. This image doesn't really do it justice regarding just how much brighter it is (although the fact that the camera screen looks like its off !) but, to me, its pretty essential when using the Pocket4K outdoors when the big shiny thing is not covered in cloud. Its heresy to say anything that could remotely be interpreted as negative about the Pocket4K of course but I'm just going to come out and say it that the non-articulating screen without an EVF combo is crap. No, I haven't but I will be this week. That little 12-32mm is a really good bonus on the Pocket4K because of the OIS but also as its good enough in the edges to not suffer too much with the reduced crop. Based on how it performs I'm looking at picking up the other similarly diminutive matching 35-100mm that they do which also has OIS and is also usually available cheap second hand. Thanks. Just took a lot of the red out of it to cool it down really to make it a bit more monotone. The main thing was exposing for the window and then using a bit of dodge and burn to help the light along here and there. The B&W version took out more of the distraction of the Photokina exhibition hall in the background !

I have two of my fav ones. and https://www.youtube.com/watch?v=Kc8sxoo7IQU

I love that lens. Pares so nicely with an M8. Being able to easily adjust the focus on it is also a huge bonus imo.

The definition of raw isn't that its uncompressed. Its that its not yet processed and is just a file with the code needed to create the image. So no, compressed raw, lossless or lossy is not bullshit raw. Its still raw. (BTW, its not "RAW", its "raw" or "Raw" if its in the beginning of a sentence.)

Who won in the end or did you just do what I always end up doing and keeping them all?

if it's 95MB/s UHS-I this means, that it's very likely not a V60 card which is recommended for 400Mbps. So it's likely a card problem.

Please buy two of them as I need to pay the mooring fees today.

Zak!!! how r u?? ? edit: I use these

I use a Brother label printer for most things. And a white ink Sharpie paint pen for things like Pelican cases.

Yeah, in the shadows probably. The XT2 is slightly cleaner than the XT3. Its why I find tests like Cinema 5D does not that useful. In a practical over under they would probably look identical, only the XT3 codec is way more robust.

@mirekti HDR just means that your display is capable of showing brighter and darker parts of the same image at the same time. It doesnt mean every video made for an HDR screen needs to have 16 stops of DR, it just means that the display standard and technology is not the limiting factor for what the artist/creator wants to show.

Nothing remotely exotic or with any particular character but the diminutive Panasonic 12-32mm f/3.5-5.6 is a handy little (with the emphasis on little) lens to have in your bag if you shoot MFT. The upside is the OIS so its a boon for using on cameras without IBIS like the G7 or, like here, the Pocket 4K but the downside is the lack of manual focus ring so you will have to rely on AF or onscreen focus. Or for the Pocket 4K as I was doing here for testing you can use a remote control app.... As I say, its not going to wow anyone with its '3D pop' or 'mojo' but as a purely utilitarian wide zoom its a very solid performer and as so many of them were bundled in kits with GX80 etc they are readily available for well under £100 used.

https://***URL not allowed***/the-cinema5d-camera-lab-is-back-dynamic-range-tests/ Cinema 5D says its 10.6 while the FS7 is 12 stops. They tested the GH5 at 9.7 stops and the OG BMPCC at 11.2 stops. I find over under tests much more useful.

Long time ago i tested my 5D Mark II against my a6300 and a rented BMPCC In the comparison i made all cameras was shooting ETTR with their best available (raw, slog2) settings As you may know from the technical threads at magiclanter.fm the max available dynamic range for 5D2 raw @iso100 ettr is 11.7 stops The BMPCC and the a6300 were both 2 stops better in the shadows which means they had around 13.7 stops. It was noisy as hell, so im not talking about usable dynamic range. The a6300 was cleaner, the BM had more detail but also more noise / grain. After further testing i would say all of the cameras i was talked about has 1.5 stops less usable (i mean noise free, or able boost up with noise reduction) dynamic range. So: 5D: 10 stops, BM: 12 stops, a6300: 12 stops

Looks like it's happening. Great review on the other hand.. I will try my best but I haven't shot a cinema camera for a while It will at least be medium format because I can't put the Baveyes down for a minute. Been using it at least a little for each session I've done since getting it.

This was shot all on the GH5 and XT2. Looks pretty amazing.

I can tell you a camera with built in ND's is a total game changer. Now some of them do not go far enough with enough stops, but for most situations what they offer, say 6 stops is enough on average. It just makes your life a lot easier, even the Vizelex ND Throttle. Is it perfect no, and I have not tested it for light loss when it is at zero because there is a piece of glass there all the time. And no I have not noticed any light shift any worse than I have when I use a Vari ND in the front of the lens. But it takes one more problem you have off the table you have to carry, or fart with trying to screw on and off. You not only have to screw the damn thing on and off, but you pretty much have to clean both sides to be sure there is no fingerprints no matter how hard you try to handle them. And if you have a matte Box, Christ it is even worse. So yeah I think the Sony FS5 is for the money now a pretty serious camera. Even the good old Canon C100 has ND's in them. It just opens up so many more possibilities that can be done in an instant that makes your life better and your footage better to boot. When you are shooting Log footage all these cameras are forcing you to use high ISO's like it or not, so you really Have to have ND's. I have no clue why so few cameras have them in this day and age, especially mirrorless cameras. I will give Canon credit for at least trying with the EOS-R with their adapter, but heck it doesn't even work with the camera's native lens. Kind of silly. But better than others have done. So credit due to Canon.

Here’s a couple frame grabs from a recent 50mm comparison test I did. The first is from the Carl Zeiss 50mm 1.4. It’s the ZF.2 version... And this one is from the Carl Zeiss 50mm 1.8 for Rollei QBM... Different type of shot, so probably not the fairest of comparisons...

Leica cameras that say "made in Germany" has to be 80% made in Germany.

What are you talking about? @DjangoDoesn’t look better than any of the competent full frame mirrorless cameras today. I see blown out hightlights, micro jitters and a fixed focal length. For stills yes maybe it’s worth the price, for video it’s a fucking joke.

I am pretty sure there is nothing patent breaching in BM's lossy take on DNG: it's all common techniques which have been out there for ages. The problem is likely with another company's patents, which are so broad, that they cover a lot of ground in in-camera raw compression (no matter what method or format you use), and if anything, BM's DNG specifics actually appear to be circumventing some details in these patents. I am not a lawyer, and I haven't read all the patents of that other company, but I think BM doesn't actually breach the ones I've read (due to a certain important detail in BM's implementation). Whether BM are aware of this, or this is simply a battle they don't want to pick, is a different story. In any case, it is definitely not a coincidence that BRAW is not raw in the first place, despite its name, -- it is a debayered image with metadata, think ProRes + metadata.

I do. I don’t promote stuff that I haven’t used. The issue is Tea is a one man band. And it’s the wedding season atm in Australia which is his main business. I can vouch for the guy and his after sale service. He replaced my faulty unit within a week so I’m a happy camper. here is my run and gun setup

well its arrived ? the whole box feels light, however after opening and holding it in one hand and my canon 60d in the other. they kinda feel the same weight, terribly scientific i know. it comes with 6.1 update installed, there's two cards one with full resolve on it the other has software and manual on it but yet to look at it. i did install resolve already no issues and unlike the free resolve it opens gopro4 footage no problems. yet to try the 6 as i think its.265. the battery was fully charged but its dark now, may try to film the kitten shortly and see how that goes. any questions i'd like to answer if i can. it may not show but i'm very excited

If it doesn't cook in 10-bit then you should replace it with one that does.

The BRaw update on the pocket 4k has some really interesting OLPF-like softening of false detail and over sharpening. I personally love it.

So basically, editing on a 4K timeline is a waste of my computer's resources? I'd get the same end results (4k master) if I edit on a 1080/720 timeline?

Perhaps the mobile team can return the favor and create a competent touchscreen experience on the Alphas? More cross-department pollination benefits all of their customers. There's a huge void as none of the camera makers have been able to create a more fluid experience of navigating settings, menus, shooting, app integration and so on. All have major flaws that could be overcome by breaking down the silos of development that separate various divisions. Sony being Sony, it likely won't go much further than this phone. Chris

They won’t... they must protect the FS lineup. Fuji and Nikon are the new disrupters.