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What would posses anyone with any semblance of quality control of their output to publish images like these ? I get that there is a race to get things out first amongst those type of review sites but fuck me. As for the video, the least said the better.

In theory they could, but in practice I don't see them doing it, especially for Braw recordings. It is something you can very easily fix in post, and is one of the default panels in Resolve, so it's not a huge issue.

I'm not sure about the F1 example, but I've worked on the broadcast for an international sporting event series where Red cinema cameras are integrated into the broadcast. There's essentially two camera teams working side by side. Broadcast cameras (including specialty slow-mo cameras) cover all the action & interviews for the live stream. Red cameras get better quality coverage for heat highlights/daily highlights, promos, sponsor/partnerships content, athlete profiles, social content, archival etc. The Red content is ingested and edited on site so packages can be integrated into the live broadcast, sometimes with very fast turn around times. I'm talking really fast - eg following a good match-up, an interview plus some b-roll & might be shot and within an hour edited into a package (including action highlights) and ready for broadcast. I'm sure there's plenty of sports leagues around the world doing the same thing, and I've definitely seen plenty of Red's and Arri's in the background when watching sports broadcasts. Anyone who's worked in a live sports broadcast knows that a lot of content that appears to be live is actually delayed, (eg post-match interviews might be recorded during a commercial break immediately after the final buzzer and played back "as-live" 20 mins later after lots of post-match commentary/breakdown) so it's quite plausible that this sort of content could be shot on a Red, ingested, and played out as-live without anyone even realising.

Recent reviews from the usual suspects hints aliasing to be more noticed on telephoto 2x lens of the 7T version mainly on photo samples anyway: https://www.gsmarena.com/oneplus_7t-review-1992p5.php https://www.dxomark.com/oneplus-7-pro-camera-review/ But I don't see aliasing here in any of the old or new 7 and 7T models as for instance from this old version's sample, same camera lenses set of the 7T PRO though: Moreover, from their comparison tool as posted in the previous page of this thread looks like the 7T glass shows better results along the borders: https://www.gsmarena.com/vidcmp.php3?idType=5&idPhone1=9816&idPhone2=9689&idPhone3=7201 On the other hand, the PRO version's curved screen can potentially be more prone to mistouch than the 7T model especially while watching videos as noticed by this some other reviewer: https://www.fonearena.com/blog/283958/oneplus-7-pro-review-oneplus-most-ambitious-and-audacious-phone-yet.html A few others have also speculated the choice of cropping from 13MP to 8MP (7 PRO / 7T PRO) by the manufacturer for the telephoto lens and its rounded 3x lossless zoom mode as a way to avoid the glass borders softness found there.

Its extraordinary when people who are in video comment on a lens, that any mean beat every cinema lens and cost like 1/3 an Arri or Cooke. Before laughthing go and look at the result from Dpreview, the thing is out of this world, it beats the leica noctilux which cost 1/3 more. In fact I see this lens will have a place in many place in video/cinema use, more than photo. But thinking about the last part, it is Z lens so won't fit on nearly anything. Some will perhaps just buy the z6 as an accessory for it.

Hope this helps in three different latin/romance languages for non-native English members here:

Lossless zoom not optical ends in an advantage for the 7T version with 12MP, especially going along some extra accessory such as this one when available for Androids, only on iPhones side so far: Or this one, they announce as fitting Android smartphones like the OnePlus devices, even though I guess only dual lens based:

I'm a madman. Do as I say, not as I do.

Pity they have limited the zoom to 8MP...

You can't really downsample RAW, the reconstruction method don't work as well as you'd get aliasing in your downsampled channels and loose the ability to interpolate the missing pixels surely? 6K -> 4K Binning, not sure how that would work without introducing issues. Keep all the greens and dump some other colours? Seems like a lot of work when that processing work could be better spent dumping the data out. During the design they knew the sensor size so why not ensure the rest of the camera can handle the datarates, even if it was a little bigger? Sigma have no video camera line to eat into, they're perfectly positioned to disrupt. I can't believe that a few weeks away from supposed delivery the most basic question of whether all the movie modes are crop isn't answered! cheers Paul

i presume the advertising sells it as easy peasy. You go out, blasting along with whatever activity your doing, capturing all that awesomeness on the gopro bring it home to watch it in 4k or hd perhaps, the reality is somewhat different, there is perhaps a lot more involved than people anticipated in producing awesomeness. I would venture to say that even at a gopro level one will need to apply a few filmmaker techniques to make it watchable for more than five minutes for anyone other than family. Not to mention the persistence and practice required to learn your camera as well. I'm not surprised people give up after a few tries.

Everyone wants the 1 inch sensor!! If DJI can pull this off with their Osmo Action 2, then it'll be some gamechanger,for sure

Agreed. 7 is very buggy, so even when its price dropped to $299, not attractive to me. Maybe some improvment in the IQ of H8, but the hypersmooth 2.0 of H8 is hardly noticable to most people.

Workflow Premiere Put GH5/S1H footage into Premiere Apply curve or lut or whatever you like in Lumetri footage breaks apart, macro blocking and banding Workflow Resolve Put GH5/S1H footage into Resolve Apply curve or lut or whatever you like footage looks fantastic Apply even more corrections footage still looks fantastic All the complaints that have been made about the GH5 or S1H having banding issues were made by Premiere users like Wolfcrow or Cinema5D in the past. It is not a camera issue. Panasonic (and Fuji, Z-Cam and probably others using H264 and H265 in 10 bit) really should start putting out warnings about Premiere.

My completely uneducated guess is that this could be any half-decent video / ENG camera. Considering the ratio of subject distance to background distance, even a comparatively slow zoom lens would still get that kind of background blur, so I don't think it's an especially fast lens.

The Blackmagic RAW highlight and shadow rolloff sliders affect the roll off of the "S" contrast curve you create with the custom gamma controls. If you add no contrast, they will do nothing as there's nothing to roll off. Increase (or lower) contrast and they will start to take affect. Choose "Extended Video" from the gamma selection in the Blackmagic RAW panel and you will see it's actually just a custom S curve with saturation preset via the custom gamma controls - you can start to modify it to your taste and the "gamma" automatically changes from "Extended Video" to "Custom". Or you can start from scratch with "Blackmagic Film". If you want the highlight/shadows sliders that were in DNG panel, those are not RAW specific controls and are still available in the 2nd tab of the primaries (same algorithm as found in DNG tab and same exact effect on Blackmagic RAW clips as DNG). If transforming to another log curve or colour space helps you get what you want faster, great! Different log curves like ARRI/Red or using highlight roll off sliders/presets don't give you anything you can't do yourself by using the curves tool etc, but not everyone is experienced with that stuff. Our log curves preserve the full sensor dynamic range though so the highlight roll off is completely in your hands, or you can start with another log curve if it suits. Something I tend to do a bit is expose for the native ISO in camera, then later in the RAW tab I switch to the highest ISO possible and compensate middle grey with the exposure slider which will lower contrast and have the most highlight roll off we offer in our log curves for a particular camera. I start with Extended Video from the gamma drop down and tweak the contrast/sat and highlight/roll off sliders for the shot. Adjust white balance/tint and that gets me 90-95% there with most footage.

Its doable with something custom written. You record the incoming audio to files in increasing time chunks depending on the slow down percentage that you want, to take into account the time it will take to play them back. So for example, lets take a half speed playback scenario. The incoming audio (FILE 1) would be written to a file after the first 0.5 seconds and the playback of that file would begin immediately when its finished writing but at half speed. Simultaneously, the still incoming audio would immediately start writing to a new file (FILE 2) which would need to be of sufficient length to cover the length of time the playback will take to complete the first file before it is ready to play this new file. As our first file is 0.5 seconds, it will take 1 second to playback at half speed so our new file (FILE 2) will need to be 1 second long and this will immediately begin playing upon completion whereupon we begin recording another new file. This file (FILE 2) will take 2 seconds to play back at half speed so our next file (FILE 3) will need to be 2 seconds long. As this will take 4 seconds to complete playback at half speed our next file (FILE 4) will need to be 8 seconds long. And so on and so on. I've done you a spreadsheet illustration Depending on what you are going to run it on and how long the piece is you could do this in memory of course with buffers instead of writing to files. The audio of course will be playing back at half pitch as well as half speed but there are enough affordable hardware solutions out there nowadays to take care of that.

You were saying? https://www.canonrumors.com/canon-to-add-24p-recording-to-the-canon-eos-90d-canon-eos-rp-canon-eos-m6-mark-ii/