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I finally released my last feature in streaming. It's now on Amazon's Prime Video here: https://www.amazon.com/dp/B07ZHRZ782 It's a Drama/vengance/thiller type I little bit of history with this. I started to shot this film in the end of 2013 (yes almost 7 years). It took almost 3 years in production. It was shot with a couple of Nikons DSLRs and Super 16mm film. Since it's first screening in the Mar Del Plata International Film Festival in 2016, the film was going around thru some festivals and other screenings. It finally got a theatrical release locally (Argentina) in march this year. It's preaty hard to get distribution to some "kind" of movies. As you can see, this is a very looong process when you are a "newcomer" in the business, but you just to keep pushing. I still have in plan try to reach some other platforms. Only time will tell.

Hi guys. This won't be a gear-related post, but more of just a thread to show you something important to me. This summer was rough. Fiance left, both parents got cancer, lost my grandparents and that is just the tip of the iceberg. So in July, i left. I packed a duffle and booked a studio apartment outside Reyjkavik for a week. Of course, I took my BMPCC4K. This is not so much a gear "look at how good my shots and coloring are" (kinda) but more I just wanted to share this place with everyone.. even if it is just a little slice. For the grade, I converted BMDFilm to Linear, CST to LogC, and from there use the Impulz Cineon process, using 5207 on input and 2383 on output and graded in between.

Slimraw works amazing for lossless dng compression with D16.

I really rate the Sigma colour profiles. They have carried over some Foveon skills into this image processor. The standard profile looks very natural, and the main thing Vivid does is give you a warmer look, a more Canon-like look - rather than just increasing the saturation of standard. Uniquely you can dial up and down a profile overall from -5 to +5, blending with standard at -5 and increasing the difference at +5 The teal & orange "Hollywood" profile is not overdone and nicer than the cinema profile. The cinema profile suits very specific shots. The T&O looks good on almost everything. Beautiful. Although there is not yet a LOG profile, the Sigma Fp product manager is from Samsung - I don't expect their run of firmware updates to hold back on new features!! NX1 owners will know what I am talking about! The nod to Magic Lantern with 8bit Cinema DNG is as much a statement of intent, as it is a beautiful image. I am in love with this camera.

Some sigma fp 4k Vimeo footage I found

Downscales as well. https://www.slimraw.com So 7:1 compressed Cinema DNG at, say, 3.5k is just a transcode away with the Sigma Fp. Going to give it a go. Perhaps I can give you some Cinema DNG frames out of my camera. Here is a 12bit 1080/60p frame off the SD card, and same shot but 8bit 1080/60p to give you an idea of how that holds up. Also included a 4K 8bit shot. I recommend opening in Photoshop, push it around a lot. You will see the difference especially in the shadows. I think this camera is also unique in that it is doing 120fps 1080p in ALL-I. Usually Long-GOP compression is used for high frame rates. By the way the MOV 4K quality is VERY good indeed. They did not compromise on the codec. It's like a pocket S1. Don't think it is doing 10bit MOV H.264 but it looks damn good. PS CDNG 12bit 1080p at 24p = 633Mbit/s CDNG 8bit 1080p at 24p = 422Mbit/s Still quite large. Get the big SDs ready. 4K_8bit_A001_037_20191028_000005.DNG 2K_12bit_A001_035_20191028_000005.DNG 2K_8bit_A001_036_20191028_000005.DNG

Next Sigma engineers meeting- "Can someone go get the company card, lets buy out Slimraw, get this thing inside the camera for the next firmware".

Yeah, sure does.... It has the look of RAW. It grades like RAW. It quacks like RAW. It is RAW! No need to shoot LOG or have a View Assist is a bonus, although I would like to see those in later firmware update Something else that would be nice is full frame 2.8K RAW 10bit or 12bit internal with 3:1 compression. Bring the file sizes down some more.

Nice. I find that the 12bit is quite a big step up from the internal 8bit if you raise the shadows. More dynamic range. But for the uncompressed 4:4:4 look, with no big exposure changes in post (got it right in cam and lit it right), the internal 4K 8bit looks amazing and as good as 12bit.

Although 4K is not the be-all and end-all of image quality.... There's no argument when it comes to Netflix, as why would Netflix NOT have a 4K minimum standard for resolution when they are in the business of streaming 4K to fancy OLED TVs!? They other point is... You can shoot over 90% of an entire Netflix show on an S1H. They think it is good enough as an A-cam. Whether anybody does or not is besides the point. Netflix judge it to be of A-cam picture quality and not any of the Sony mirrorless cameras.

I would offer that for matching shots (the majority of most grading work), adjusting white balance in sensor space (or even XYZ as a fallback) and exposure in linear makes a huge difference to how well shots match and flow. I see many other colourists claim they can do just as good white balancing with the normal primaries controls, but i think if they actually spent considerable time with both approaches instead of just one they would develop a sensitivity to it that would make them rethink just how 'good' the results with primaries are. Its one area i think photographers experienced with dialing in white balance in RAW files develop that sensitivity and eye to how it looks when white balance is transformed more accurately - more so than those in the motion image world who still aren't used to it. I've been a fan of Ian Vertovec from Light Iron for quite a few years, and I was not surprised to learn recently that he likes to do basic adjustments in linear because there was something in his work that stood out to me (including his eye/talent/skill/experience of course).

Whelp... No time to edit just yet, but here's some stills from footage. Will slap something together into a video soon, hopefully.

I agree, I don't take anything for granted either that I read on the internet. Or information I get from anywhere. I always do research first. And when working on news stories, I always call or email the main source. Hence was the case on the Jinnimag latest video. I personally emailed Dr. Fossum, the inventor of CMOS, who is heavily featured in the latest Jinnimag video. I got his response, which he later published to imaging world blog, that corroborated most of what the Jinnimag video said. The Jannard silencing of his employee during the Lance Armstrong criminal trial was reported on ABC, broken by the Sunday Times journalist David Walsh and featured in a ABC documentary, "Stop at Nothing: the Lance Armstrong Story." ABC is one of Australia's largest tv networks, and the Sunday Times a large UK paper: https://www.thetimes.co.uk/ SOURCE: https://www.abc.net.au/news/2014-07-02/sponsor-turned-blind-eye-to-lance-armstrongs-doping/5564074 More about David Walsh: "David Joseph Walsh (born 17 June 1955) is an Irish sports journalist and chief sports writer for the British newspaper The Sunday Times. He is a four-time Irish Sportswriter of the Year and a three-time UK Sportswriter of the Year. Walsh was the key journalist in uncovering the doping program by Lance Armstrong and the US Postal Service Cycling Team, leading to a lifetime ban from cycling for Armstrong and being stripped of his seven Tour titles." SOURCE: https://en.wikipedia.org/wiki/David_Walsh_(journalist) From my research into Red, as a doc filmmaker, I would draw the conclusion that Mr. Jannard is not a figure to admire, nor attempt to defend or find value in. This is especially revealing in Walsh's award-winning journalism about Lance Armstrong and doping, and Jannard's involvement in the matter, which is quite prominent. There are many, many other entrepreneurs who should be studied and cherished. Still flawed people, like all of us, but still strong and ethical people. From what I can understand, he works on an ethical level that is different than most people, similar to Lance Armstrong. Perhaps why they were friends. I am glad you tried to bring peace between EOSHD and Reduser. These two forums should co-exist peacefully. A lot of good people at reduser. That's what makes me upset - that these good people invested thousands of their hard-earned dollars into a camera system that is based on "myths" and now, are watching the value of their investment crash as the "myth" of red has been removed. Please, Emanuel, if you do one thing in the next 24 hrs, read the ABC news article link and find out more about journalist's David Walsh's story. And if you want, I am willing to contact David Walsh to find out more about Jannard. I personally don't have the time or the desire to find out more, but if you want, I will do it for you and get a follow-up comment onto his character and get permission to post it on this forum. If you can do it, great, one less thing for me to do! Perhaps that will change your attitude towards Mr. Jannard as an example of, as you wrote, "progress."

Should you be celebrating a man who almost shut down EOS's blog in a threat of a lawsuit? A man who got his employee to lie under oath about Lance Armstrong doping? Who lied to the public about the origins of his camera? Who is responsible for the Red Hydrogen, literally the worst tech product of 2018? Who has bullied and banned people left and right in the cinematography forum? How is this man superior to other people? Why are we even discussing him or red? I owned the red one mx. I owned 2 of them. I owned the red epic. It was a great camera. Flawed of course, how long it took to boot up. The hard drive would hang a lot. And it would overheat constantly. That fan noise. The hard to get to bnc input and timecode input. But a great image. They never went past that. The dragon you couldn't expose past 320 ASA. Then every camera after that - the same look, pretty much. The same greenish color cast. If you want to do alternative history Emanuel. Let's say red never happened. As everyone else has said, the canon 5d mark ii happened. The iphone still happened. The need for DSLR's to survive in the face of cell phones taking over their market forced them to make them stills/video hybrid cameras. Would the sony f3 had been so cheap? Would the sony f65 have been so cheap? Would the alexa have been so cheap? Maybe not. But the tech existed. Maybe some other company like black magic would have come in earlier. Maybe JVC or Nikon would have gotten into video and lowered the prices. Maybe the 5d ii would have convince canon to release a 4k camera that does raw earlier in the game. Maybe Arri would have as the sequel to the D21. Or Sony could have since they are leaders in cmos technology. Red One MX shook up the industry, great. Everything after that didn't. So what. That's nothing that special. Jim didn't leave a legacy. He put the guy in charge of his message board as the president. And that's not a good business move. Look what's happened. You think the Gizmodo, I mean the Komodo, is going to save them? From the guy whose greatest creation is dvxuser.com? Why would people buy their cameras now that everyone else has caught up, or surpassed them, with better skintones? Most people I know who are owner operators moved to the alexa mini, or downgraded to the Ursa Mini G2 or FS7 or C300 ii. There's no place for their 30k cameras in this market - it's too tight. And if a 10k camera can do pretty much what a 30k camera can do, and now that red has no "mystique" to its name, why would anyone put 30k into a camera system, especially one that looks like with hydrogen, is not going that well. Move on, man. They are dinosaurs. Never adapted. Chasing 8k over skintones or dynamic range or ISO sensitivity. It's a crazy world, these cameras. The friggin Sigma FP1 does raw full frame for 2k. How does Red compete? With their overpriced redmini mags? How? How are they going to survive? Good riddence to this bully company. And hello to the new guys. Hello to E2. Hello to BMD. Hello again to Panasonic that is adapting ever since it's glory days of the dv100 and hvx100. And hello again to canon with the c500 ii and idx iii that look like they are taking big risks. Hello to the new sony fs7 ii sequel whatever it is called. They are all trying their butts off to stay relevant in the current era. Red, come on, with the Komodo? It isn't even really announced. Just what it is not. What's the price? Does it have internal NDs? Come on. Don't waste your time on them. Time to go. BYE BYE Red.

https://www.4kshooters.net/2019/10/23/laowa-17mm-f-1-8-mft-is-the-most-affordable-venus-optics-lens-yet/ I thought to myself, do I really need a 17mm fast prime for MFT? Not really, as mostly I shoot my vlogs either with the SLR Magic 8mm when handheld or the Panasonic 25mm when on a tripod. But then I saw the price: HUNDRED & FORTY NINE DOLLARS!! Gee, maybe I should I pick one up? Z-Cam E2 test footage by James Tonkin testing the Laowa 17mm f1.8 MFT lens: Laowa 17mm f1.8 MFT + DJI X5 on DJI Inspire 2 drone footage by Macgver Liu: Panasonic GH5S 4K 50p/60p by Steve Chan of DSI Pictures Entertainment: https://www.venuslens.net/product/laowa-17mm-f18-mft/

Thought about doing it? Nope, me neither. Except.....I've been thinking quite a lot about the Meike cine primes over the past couple of weeks and the slight sticking point of them being tied into the MFT lens mount cameras. Its not a massive deal breaker particularly as there are no shortage of great options to mount them on but as someone who also owns a couple of E mount cameras, it would be nice to have the versatility of being able to use them on those too, albeit it in APS-C mode. The Veydras, which the Meike lenses are "closely associated" with, did have an E mount option IIRC but the new ones don't. Which got me thinking about whether, as there is some flange distance to play with, there was an MFT to E mount adapter available and it turns out that there is one made by Pixco so £18 later, I now have it and here it is. As there isn't a massive amount of flange distance to play with (1.25mm) then the adapter is understandably quite thin yet doesn't particularly feel flimsy but I did find that when changing lenses its better to dismount the lens with the adapter attached and then re-attach it to the next lens as its a bit fiddly to lift the locking pin release on the adapter. Now the first thing to say is, other than to just try that it works, there is absolutely no point in mounting an electronic MFT lens such as this. You will have absolutely no control of the aperture, focus and in most cases the lens will not fill the sensor. So, absolutely pointless and probably explains why there is no particularly buoyant market in making these adapters Of course, for our purposes, of mounting manual only MFT lenses to it then it works perfectly. That doesn't just go for the Meike lenses but of course for any manual lens such as Voigtlander, Samyang, 7Artisans etc. Its worth checking but most of these lenses are usually originally made for APS-C so even in MFT mount they will have enough coverage. Where things get really interesting for me though, and I suspect for people with both MFT and E mount systems is being able to re-utilise existing MFT adapters. For me, these range from an obvious one such as PL... To being able to use my Nikon F/G to MFT speed booster which with its integral aperture lever control is so much more usable than having to use a Canon version with a thin F adapter on it and the fiddly aperture lever. Next up is being able to mount the Vizelex Lens Throttle Variable ND adapter to make a compact fast swappable full frame system with vintage primes. Last but not least is being able to use Aputure DEC Lens Regain on the A6500 to speedboost Canon lenses and have electronic follow focus control. OK, so most of these things can be done with dedicated E mount versions of these adapters but the biggest issue is the additional cost of buying them all again if you run both systems. That £18 adapter (which I had no idea existed ) has saved well over £1000 in additional adapters for the E mount cameras. Using my warped justification logic, that means I am now legally entitled to buy two of the Meike primes as I will still be £250 up on the deal Seriously though, for anyone who is moving from an MFT to E mount system or who has E mount cameras and never had MFT but wants to take advantage of the usually less expensive and more widely available MFT versions of adapters available used then its definitely worth splashing out the £18 for one of these. Ditto for anyone who has a Z mount system as Pixco also make an MFT to Z mount adapter with which you can do the same tricks.

I get around 2 hours on one battery

I'd like to see it against the Sigma FP and Nikon with 12 bit RAW.

This might be my next camera. Would of course be amazing if they can get a compressed RAW in there to save on file sizes. 4:1 would be awesome and 8:1 even better.

I've been used to appreciate your care on the effort put in your flags and dedication to your craft, I think you know it. BTW I hope one of these days to gather a chance for some collaboration together as hinted by some other user among us a while ago as virtuous documentary filmmaker you are : ) I don't see anything B&W. People are not perfect, obviously. But from angel to demon there's a huge gap in-between. The man I know he's an exceptional human being and very talented business man and ingenious developer, not a con artist. Sensitive and a decent guy. I speak by my own experience and from many others and someone's else stories I've heard as well. I obviously can't comment on that Lance Armstrong episode. But even that doping ethics, that doesn't break my heart either : ) Frankly, there are things which hurt my feelings much more serious such as refugees and migrants condition of nowadays, as for instance. There are people suffering if not literally dying to simply dream with a new life in the rich West and what are we doing? We elect crooks without a single respect for human life only to put them out of our sight. This is morals and ethics we should all concern about. This matters. Really. This has a direct influence on people's lives. I don't praise anyone without a solid background from my own experience and that coming from colleagues, co-workers and friends. The film is not available right now from any VoD platform, but you can order the Blu-Ray or DVD for 1080p and SD versions, respectively. You can drop a bell on my private messages box, I'll let you know where to buy. Thanks for your kind words and care (E : -)

Adorama says my camera ships tomorrow, looking forward to playing with it on Wed.

Thanks a lot of you guys! from the beginning of the project i always come to EOSHD to share and learn. I really appreciate the support!

I hope they can make 10 bit to internal sd work with a firmware upgrade. Like they originally planned to have.

I urge everyone that say that there is "no real difference" in HD vs 4K to have a closer look at a 4K TV, close distance. I've seen Jedlins 4K vs HD video and although it is convincing, after owning a 4K TV for quite a while I can definitely tell, and ENJOY 4K material. Netflix premium streaming with 4K and Dolby Vision really is a treat for the eye. Especially of course on long depth of focus shots. I think viewing distance is key to fully appreciate it. I totally understand that Netflix want 4K material since its much more future proof than HD. Sorry pal, this is just plain wrong. Go see for yourself, your eyes are probably better than you think!

Welldone mate ??

Nice! Have to check it out!

I'd be all over this one as well. My entire E-mount kit would hit the buy and sell boards pretty quick if this ever sees the light of day. The RF lenses are amazing, the bodies, meh.... Love the early specs of the 1dx3 since I shoot a ton of stills and video for every assignment, but I can't go back to a OVF or a fixed screen. Build it Canon! Chris

Netflix is in the business of streaming 4K They attract customers based on high streaming quality, not just the content itself. Why the hell would they settle their business model around 1080p, such an old standard? 4K is more future proof and will last longer

Pretty sure it's not debayered. Its most likely downsampled per channel

Well done!! Will watch it soon.

I can't speak for Sigma with certainty, but the matrices used in DNGs are generally calculated based on spectral sensitivity measurements - rawtoaces is just providing a tool to calculate the matrices from the spectral response data (the Ceres solver they use is just one method to do a regression fit) and then convert the file in the same way as with an IDT. They may prefer to keep the calculated matrices in float without rounding, but you don't need that many decimal points of precision to reduce any error delta down to "insignificant" so in this case rounding is of no real concern here. Rawtoaces doing the calculation also removes any preference the manufacturer may have about regression fit techniques, weighting certain colours for higher accuracy over others and the training data used (like skin patches etc), how to deal with chromatic adaptation, etc. This is really the only area a manufacturer can impart their 'taste' into their "colour science" (apart from maybe picking primaries which is irrelevant in an ACES workflow unless you want to start from a particular manufacturers gamut for grading). Noise and other attributes are IMHO not "colour science", but calibration and other image processing decisions. The ideal goal for ACES is to remove the manufacturers preferences of colour science which leaves the rest down to metamerism of the sensor and it's overall dynamic range which are the elements that survive ACES trying to make all sensors look as similar as possible once transformed into the same space. Its also why it can't fully be successful at its goal but to be fair they do allow the preferences in colour science to remain somewhat intact since manufacturers can provide their own IDTs. But they would prefer all IDTs be created the same way as it would get them closer to their goal. The Academy document they link describes the basic principles of calculating matrices from spectral sensitivity data but also offers an alternative in the appendix based on capturing known targets (colour charts) under various colour temperatures/source illuminants. I also mentioned both of these on the previous page here. So an actual IDT generated from spectral response data just contains a matrix to convert from sensor RGB/space to ACES, and a way to transform to linear if needed (it can be an equation or a LUT). Take a look at an IDT from Sony for Slog3 and SGamut3 - it just has the 3x3 matrix and a log to linear equation: https://github.com/ampas/aces-dev/blob/master/transforms/ctl/idt/vendorSupplied/sony/IDT.Sony.SLog3_SGamut3.ctl Or look at an Arri one for LogC - 3x3 matrix (at the bottom of the long file) and log to linear LUT: https://raw.githubusercontent.com/ampas/aces-dev/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3/EI800/IDT.ARRI.Alexa-v3-logC-EI800.ctl Also notice with Arri, not only is there a folder for each ISO, but multiple IDTs for the raw files for each colour temperature (CCT = correlated colour temperature) going back to what I described earlier about needing different transforms per colour temperature (DNG processing pipelines handle this automatically if the author uses two matrices in combination with AsShotNeutral tags) - and Arri also has different matrices for when you use their internal NDs as they deemed it necessary to compensate the colour shift introduced by their NDs: https://github.com/ampas/aces-dev/tree/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3/EI800 If you're really curious, Arri even provides the python script they use to calculate the IDTs (it uses pre-calculated matrices for each CCT likely generated from the spectral response data). https://github.com/ampas/aces-dev/blob/master/transforms/ctl/idt/vendorSupplied/arri/alexa/v3_IDT_maker.py So a DNG actually already contains the ingredients needed for an IDT - a way to convert to linear (if not already in linear) and the matrix (or matrices) required to transform from sensor space to ACES - most likely calculated from spectral sensitivity/response data (in the DNG case you get to ACES primaries via a standard transform from XYZ). If you have a DNG, you don't need an IDT. The information is there. Hope that clears up what I was trying to say some more.

congrats you must be the definition of perseverance, Wikipedia should give you a page ?

hey guys!! what IF magic lantern could HACK it for... oh snap nevermind smh

Congratulations!!!!!!

Congrats.

Great stuff and congratulations!! Let's hope there are many more and that the process gets easier and faster each time!

Yer, Im thinking my cat is fair game

Pocket 4/6k has timecode in..though it rarely gets attention in reviews.

I really really hope this is the spiritual successor to the digital bolex.

You are missing the point. S1H form factor is unique amongst the other approved Netflix cinema cameras. If an Arri is your A-cam, It could be used as a B-cam. And not rating an S1H's image highly or using an S1H yourself just because an Alexa Mini exists, is the most stupid reason ever to dismiss a tool. For a start, it is $54,000 cheaper. Do you personally have a Netflix size budget for your work? If so, your opinion is first hand. If not, you're a speculative sofa surfer, basically trolling. Throwing rocks at something which plays in the same league as an Alexa Mini for $4000, which doesn't seem very clever to me.

Half nude tragedy Ok. Let's agree on this. There is noone to buy those two cameras for AF perfomance. They both rely on same technology that we all know it's not efficient. Let's concetrate on image quality thay can deliver.

Matthere thank you so much, the focus button trick worked very well for me! Now my dear pocket 4k is fully working with the newfirmware! Love this forum, love my pocket 4k. Big thanks again matthere!

Last week I picked up and EOS R and it have a ERR 070 message on it that would not go away no matter what I tried. Ended up taking it back and swapping out for a working model. It was really strange coming from canon. The swapped model has been flawless. I've run a few test with the it now and compared it to the BMPCC 4K, C100 MK2, XC10 and the 5D Mark 3 using magic lantern crop mode. Lens = Canon 50mm f/1.8 stm ISO = 400 f-stop = 2.8 C100 = EOS Cinema Standard Profile EOS R/5D Color Profiles = Netural XC10 = Customized Standard Profile Pocket 4K = UDH Prores with Video Profile/ f2.8/500 ISO My findings say that the HD cropped modes on the 5D and the EOSR match the image quality coming from the C100 MK2 in detail. The non cropped mode is business as usual with canon but the cropped mode produces a great HD image. The XC10 HD image can match the C100 and the EOS R crop mode but only a few cases (well lit interiors or day time exteriors). The same goes for the 4K images between the cameras. Surpassingly counter to what ALL the "YouTubers" have been saying about the EOS R in 4k being soft I have found that not to be the case. I was able to produce a nearly identify image match between it and the Pocket 4k by tweaking a few setting in a custom neutral profile. Sharpness set to 4 and contrast set to 0. Also a work on rolling shutter. It's definitely there. With wide angle lenses like the Tokina 11-16 it's not much of a problem. It becomes a much bigger problem when you have tighter focal lengths on a a subject. I've very pleased with the performance from the EOS R so far. C100 MK2 (HD) (forgot to adjust color temp here) 5D MK3 Magic Lantern Crop Mode (HD) EOS R Cropped Mode (HD) XC10 (HD) EOS R (4K) XC10 (4K) EOSR 4K - Tokina 11-16 Pocket 4K - Tokina 11-16

Yes, you're also right. Even though, let's not forget RED helped to 5DII came out as well as nathlas accurately left expressed, the most closer serious contender by then was EUR 103,000 (Cinealta F900) I well recall if not else because I was in the middle of a cooperative project only to afford one unit. I myself jumped out the RED wagon as far as investment concerns when 5DII just arrived. My purchase is from early 2009 and I even produced a feature shot on this camera model among several other projects shot on VDSLR as called then, this one ending where we aimed for once shot directly to the big screen: http://www.reduser.net/forum/showthread.php?121856-Kickstarter-campaign Still here are three threads by my initiative on reduser before I had joined Andrew when he created our community. The last one on a film-out report. The 2nd one counts among others with the participation of Graeme Nattress himself (the man behind RED's compressed RAW): http://www.reduser.net/forum/showthread.php?20506-More-Canon-5D-Mark-II-footage http://www.reduser.net/forum/showthread.php?22403-New-Canon-5D-Mark-II-samples http://www.reduser.net/forum/showthread.php?29404-5D-Mark-II

Oh, i see what you're trying to say now. Again, there are reasons for the decisions we make where theory and practice in hardware diverge and you have to make trade offs to balance one thing against another - more bigger picture stuff again. This is already an area i can't discuss publicly but I guess what I'll say is, if we could have implemented things that way or differently back then, we would have. And it's not that we didn't know some ways we could improve what we had initially done with DNG (much of it informed by the hardware problems we were solving back then), it just didn't make sense to spend more time on it when we already knew we could do something else that would fit our needs better. Like i said, the problems you describe were solved for us with Blackmagic RAW where we were able to achieve image quality we wanted with small file sizes and very fast performance on desktop with highly optimized GPU and CPU decode, the ability to embed multiple 3DLUTs, etc etc etc. THAT is a no brainer to me. ? I do understand your point of view especially as someone who developed a desktop app around DNG but there are so many more considerations we have that i can't even begin to discuss. Something I've learned being at a company like this is how often other people can't understand some of the decisions some companies make, but I find it much easier now to have an idea of what other considerations likely led them to choose the path they did. It's hard to explain until you've experienced it but even when i was just beta testing Resolve and then the cameras, I had no idea what actually goes on and the types of decisions and challenges faced. I see people online almost daily berate other camera manufacturers about things "that should be so obvious, why don't they do it" and I just have to shake my head and shrug because I have a very good idea why the company HASN'T done it or why they DID choose to do something else. I'm sure other companies have a very similar insight into Blackmagic as well, because for the most part we all have similar goals and face similar challenges.

The URSA didn't get on the list with BRAW, they did it with ProRes. I was going to sell all of my m43 kit and get two Panasonic S1 cams. Upon further research, the S1 didn't cut it for me even when the V-Log upgrade. Just too many video modes missing that I've grown to love from the GH series. So I've decided to keep my GH5S with the PanaLeica 12-60 f/2.8-4 and add in the S1H. I just bought the Panasonic 24-105 f/4 and I'll be picking up the S1H next week. The nice thing is, I already have a Ninja V external recorder, so I should be ProRes RAW ready in the near future. I hate shooting from a mixed system, (different batteries, different lens, different colors to match and whatnot) but I'm also not dropping cash for two S1H cams either! ? I also have 2 or 3 pieces of FD glass that I just bought L-mount adapters for, so that should scratch my bokeh itch for the near future. Now I just gotta get some more gigs to pay for all of this shit!

I’d love to hear a comparison between 1080p ML Raw at 14bit vs Sigma’s 1080p Raw at 12bit in your review.

I feel like you need to throw in a few more adapters there between the lens and the camera!

It's "Misty." Jazz Classic. So much of a standard song that Clint Eastwood made a movie around it. The tune is by Erroll Gardner. For my money the best rendition of the song is from Ella Fitzgerald. Best sax rendition? I'll go with Sonny Stitt. Saginaw, MI represent! Look at me, helpless like a kitten up a tree... Anyone want an internet rabbit hole to go down? "Misty" will take through the pinnacle of mid-century American music.

Specwise it's a bit disappointing. I'm sure the image out of it is spectacular (like most of the cameras nowadays), the tilting screen is a great evolution, the evf and IBIS are topnotch : sure it's a great camera. But when I read Andrew's article, I can't help remembering his rant about those biased youtubers under Canon's influence, because they were flown under the sun of Hawai, etc. Now I read about Andrew at Panasonic's headquarters, and all I can read is praise about the camera, not even a single remark/critic about anything, eventhough there should be a few, in my humble opinion. I fully understand that when you are invited somewhere, treated well, etc. You don't want to be rude and say bad things about the product you had the chance to shoot with before everybody, even more so when it's a good camera like the S1H seems to be. But come on, no word on NO Full Frame 4K 60p (what would you have said if it had been Sony), codec and bitrate very good but not revolutionary (especially for the added resolution of 6K), no ND, no PDAF (why not, but suddenly AF is not important, it varies from camera to camera...?). I can't even tell the difference with the S1 (I'll have to check it) but the fact you can have manual controls in HFR. I understand your rants, it's good sometimes, it might even be productive if heard by the brands. What I don't like is that it's so variable and relative. You should make an article about Panasonic crippling the S1 not allowing manual controls in HFR. It's as puzzling as canon not giving 24p... And finally, the price. It's very very expansive. A very few people will be able to afford it. 4 000$ is in the realm of a real cinema camera with proper ergonomics, ND filters... That's why I think, you could ask for a bit more from this camera. The Fuji X-T3 has almost the same offering, (in aps-c) with crops between framerates a lot more manageable. The codec's bitrates are even better. There's no IBIS, EVF and build quality not as good, but the price difference is huge. Well that's only my take on it