Leaderboard

Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run). There is nothing magic or special about FPGAs other than their basic ability to be user programmed/re-programmed, which is their 'Unique Selling Point'. That makes them very attractive for low to medium volume products which need high-throughput data processing - instead of sinking a lot of up-front development capital into an ASIC. It also makes it a lot easier and cheaper to fix bugs and add features after you've launched the product.....

How do you know this have you tried R5 yet? Have you compaired them both in action? I bought my 1DXmiii last year before R5 was announced and i do 90% video main selling point for me was no fans best af on market and internal 5.5k raw As for calling people stupid.... knowing your reputation on this forum says alot.

I took a look - Absolutely top article and very interesting results! https://vimeo.com/402727266 https://www.slashcam.de/artikel/Test/AG-DOK-Kameratest-2020---u-a--mit--Blackmagic-6K--Canon-C500-MkII--Panasonic-S1-H--und-Sony-FX9--Videos----Beo.html

Blummin heck. So you can begin to see what roadblocks the manufacturers face when it comes to RAW codecs. If BRAW is tied to Blackmagic FPGA that is a completely 360 degree turn away from ASIC and your power economy goes out the window. If ProRes RAW encoding also needs FPGA hardware, the heat management and battery life problems again scupper that. If RED's patent prevents decent compression, then we have a situation where costs increase or a licensing / patent transfer takes place. Canon RAW is compressed but file sizes still huge. And RF mount on Komodo suggests that compression wasn't free of charge. Sigma Fp uses uncompressed Cinema DNG, so again file sizes are an issue there too. H.265 ALL-I 10bit is a good solution if you look at it that way. And is good enough for 99% of cases. Maybe RAW is overrated when you actually compare the graded end results.

Yes sure I blame them, why wouldn't I? With great power comes great responsibility. If you have a monopoly over the internet you should do your best not to abuse it for the bottom line at every opportunity.

And here I am, in my early twenties - so I'm technically a millennial / Generation Y - with my my strong preference towards written word. I deeply hate the fact that people nowadays tend to turn their blogs into vlogs, etc. For me, having to go to YouTube for a piece of information that could be put clearly in two or three sentences is one of the plagues of 21st century. I understand that our hobby - cameras and stuff related to them - is a visual hobby and words can't always be used to show what we mean or to share what we managed to create using our babies. Nonetheless, I think that over 30% of YouTube content could easily be transcribed and deprived of audio-visual stimuli and we, as viewers, would only gain from it. It's just terribly tiring, how much shit, unneeded clutter there is to almost everything. You could say that you save your time, because there are no ads per se, but the amount of in-video marketing and advertising, etc. is terrifying. But still, not every channel is like this and, surely, there are some that are really worth being subscribed to. The amount of knowledge that can be found on YT (if you know what you're looking for) is invaluable and often can't be put into words that easily. It's a tough nut to crack.

With NX1 last summer in Austria;

From Slashcam / DeepL translated: Observations The Mavo LF still offers the best performance in low light. Its handling is a bit difficult to get used to, but the camera seems to work reliably even under adverse conditions (after experience in the team). It was tested here again, as the 2019 test with the Sigma Cine Primes and DNG-RAW showed strong aliasing. However, in this test with Prores4444 recording and 6K we could not observe this artifact any more. The development of the DNG recording is not yet finished. Sony FS7II clearly falls behind in the test field. The comparable EVA1 remains the more modern alternative. Also in the S35 segment, the Amira still shows its superior dynamic range and convincing color reproduction. It has at least two f-stops more dynamic range than the other cameras. Even the latest FX9 and C500II full-format cameras are still unable to catch up here, despite the sensor development of the last ten years in Japan. With the higher native ISO of 4000, the FX9 offers better, low-light images with less noise than FS7. Further ISO levels do not amplify the image signal in Cine-EI mode, but only affect the viewfinder image. The autofocus works very reliably in clearly defined situations when the face is clearly visible, e.g. for interviews or when someone walks towards the camera. However, when the camera is moving in documentary situations, despite various menu options, you cannot rely on the camera to select the correct plane of focus, here this can only be used to support manual focus adjustment. Disappointingly, the autofocus does not work in S+Q mode (SloMo). From the ergonomics, operation and menu navigation, the relationship to the FS7 is obvious. Fortunately, there are TC and genlock inputs on the housing, so that the purchase of the Extension Unit is not absolutely necessary for professional work. The old XAVC-I codec, known from the FS7, has a limiting effect. Striking is the yellowish tone of the FX9 (with s709 LUT) and its relatively soft picture. Both Sony and Panasonic generally have a somewhat casual approach to LUTs. Panasonic offers a "Varicam LUT", which hasn't been changed for years and is also used for EVA1, S1H and even S1, although different sensors have been installed here. So even Sony's 709 LUT, originally offered for the Venice, doesn't seem ideal for the FX9. It looks as if the developers are giving up on the last few meters here. It also remains unclear how the colors were intended by the engineers, or if at all, beyond the technical parameters of the sensor, individual aesthetics play a role. Arri has been using the same sensor since 2010, and can afford to use practically the same LUT. The C500II shows a particularly sharp image with good exposure, but loses detail with increasing underexposure. Canon's "Light-RAW" codec generates a strong, coloured noise, reminiscent of the C200 and C700 images. Canon doesn't specify a native ISO for the camera, we chose 800 ISO because Canon recommends 800 ISO at log-gamma "to obtain the recommended Dynamic Range" (400 ISO at HLG or Wide DR, 160 ISO at Rec709). The autofocus works reliably after you understand the complicated menu navigation in this respect, helped by the fact that you can select the focal plane via touch screen. This requires, however, that the viewfinder screen is not used with an eyepiece as a viewfinder, which is limited in that it is not possible to connect the Canon monitor and the Canon external viewfinder at the same time, but a third-party viewfinder. However, the developers would work on the problem. By keeping the well-known ergonomics, operation and menu navigation of the C300/C500 series, the changeover is uncomplicated for Canon users. The sound inputs are integrated into the housing. This allows the camera to be made more compact after removing the handle. In contrast to the previous models, the camera is equipped with an interchangeable mount. You are no longer limited to EF-mount lenses, but can now take advantage of the wide range of lenses with PL-mount. The Blackmagic Pocket CC 6K competes with the older and more expensive Ursa G2 from the same company. This latest Pocket is more sparsely equipped than the Ursa, but pleases with a slightly improved dydydamic range and, thanks to its dual native ISO, copes much better with low light situations. The Ursa also shows a clear drift into the green in the shadows. In low light the performance of S1/S1H is hardly inferior to the Mavo LF. However, the Mavo LF offers more resolution, even compared to the S1H in 6k. The reason for the difference will partly be the codec: Prores4444 with almost 2GBit/s of the Mavo LF compared to the 200Mbit/s h265 of the S1H. An S1 or S1H with an external recorder would be an interesting retest. In our tests the 400Mbit UHD codec did not offer any advantage over the 150 so far. An S1 or S1H with external recorder would be an interesting setting for a further test. In fact, a new firmware from May 2020 should also enable external recording in RAW in connection with the Atomos Ninja V Recorder. Thus the camera closes the gap to professional LF cameras in technical terms and extends its range of application. Overall, S1 embodies the best ratio of image quality and price and is suitable for free camera work with its sensor stabilizer. The GH5, especially with focal reducer, is still the cheaper and lighter alternative, with known limitations due to the much smaller sensor. This is reflected in lower dynamic range and a poorer image in low light. Eva1, S1, S1H, GH5, GH5s owe their attractiveness among other things to the efficient 10bit 422 150Mbit-h264-based codec, which we have already praised in the past. The Fuji XT3 in the same price range, but with a slightly larger APS-C sensor, pleases with good colors in sufficient exposure, but records with a cut-unfriendly 265/HEVC codec that requires hardware decoding. Similarly compressed is the 6K h265 200Mbit codec of the S1H.

Totally agree. Not to mention most the videos now are just over animated, click-bait jackasses making videos in the hope that they will go "viral"... real info is so hard to find. It's much worse than trying to find it in text because there's no search that checks the contents of videos for you, just the title (which means almost nothing). On top of this I feel social media and more so Youtube video is the main reason for people having stupid views and opinions on stuff now days. They don't read, so they don't look at any reputable source of information and instead listen to what some completely unqualified person has to say in a video. Sorry, but the world is broken.

Just lost a HDMI cable ... on a Sony mirrorless ... mini HDMI ... Moving to a cine cam that has SDI ..... too fragile of a connnection to rely upon. Too bad that most of the innovation starts with the mirrorless cams ...

downloading the latest resolve version however i think i'm temporarily rolling back to an earlier version as the current version 16.2.1 and the version im downloading require 32 gigs. Ram has been ordered however the guy that runs the store has no idea when it will arrive as apparently corona virus has messed things up nicely and that was two weeks ago . Resolve does run and it hasn't fallen over yet, it does tend to be rather sluggish. The whole, is it running, will it finish or fall over is annoying to me ( not that i hold bmd responsible ) i just want it working like it did before in a previous version. Considering my editing is at a rather basic level, living with an earlier version isn't an issue for me. Teaser photo of the canon lens, still waiting for the adapter, should be here by friday i hope. I dont imagine it would be a cinematographers first lens choice. I have a couple of projects in mind where this could be useful. It does like mint inside and out. Once the adapter arrives i should be able to confirm if i got a bargain or not. Actually just had a brainwave i still have a canon t90 in the cupboard i can mount it to that and check out the optics. Initial impressions are, looks like i got a bargain i'm a happy chappy at the moment. Considering the pretty average light bulbs i have, things look good. while i have the t90 out, heres some vintage action for you i had forgotten what lenses i had looks like the fd mount will get some use after all

The fp/L-mount has no built-in mechanics and electronics to support a leaf shutter. It may be frustrating, but the current version of the fp is more a technology demo or beta version of a new camera concept. For it to become mature, there needs to be improved hardware, such as: faster sensor readout to make the electronic shutter a fully-featured, fully equivalent replacement of a mechanical shutter, a faster CPU to allow simultaneous focus peaking and zebras and eliminate shutter lag, a higher-resolution display with focus magnification during recording to give more confidence when pulling focus, higher USB transfer speeds to allow full resolution and sensor readout for RAW video.

yesterday, I put a freshly charged battery in my s1 and grabbed a notebook. I will monitor what's going on every day or ywo days !

Hi Andrew. Yes the new speaker design is sweet but don’t get carried away by the sound. Those machines are a nightmare for audio editing tasks. There are 2 huge threads on MacRumors and many videos on YT about the intense audio popping that can be noticed inside Logic, FCPX and many other apps. I am experiencing this issue myself on a 2019 15 inch unit and the only solution is to use an external audio interface (or headphones). Apple is aware of this issue for almost 10 months now and has done nothing to fix it.

I am sympathize with writers. I am absolutely exhausted with video only reviews, opinions, etc. Give me written word and some short videos for when visuals are needed.

Feels a bit more like it. But the battery compartment wobbles.

The other thing about the written word is you can’t tell which way round I am wearing my baseball cap or if I am even wearing underpants. I think there’s a place for both but too many people on MeTube spend far too much time talking about their lives when the reality is, we don’t know you and don’t give a shit. But what do I know being of 1970 vintage and moving into the miserable old git category...

Who remembers this guy from the camera scene? https://www.youtube.com/channel/UCptwuAv0XQHo1OQUSaO6NHw/videos He soon changed interests when he saw the amount of views coming in for the Macbook benchmark videos so he is now all about that. First for virtually every google search for the Macbook Pro 16 graphics benchmark topics. Max is playing the system very successfully. Hopefully less competition for written blogs... But I feel they are being pushed into oblivion instead... some kind of invisible irrelevance by Google and Facebook's bias, always recommending stuff hosted on their own services in response to searches and the news feed AI. Plus I hate digging for good stuff. Same old tech blogs dominate the first 2 pages of everywhere, usually. And it's mostly clickbait trash written in a rush and full of ads.