Leaderboard

If they are bringing their new color science and it shoots full frame with actual high dynamic range, not bullshit marketing dynamic range, and the footage actually looks like fx9 - this exceeds expectations. It’s crazy to me that all we are hanging on is specs. The footage is what should exceed expectations - isn’t that all that matters? If the a7s3 and R5 shoot amazing looking video that get close to their big cinema brothers - we all win. In fact, with these 2 cameras we are all winning no matter what. It’s amazing the kind of tech we are getting in hybrid bodies.

Beach food shoot. Both with Nikon 24-70

Interesting to see X-T4 last even shorter on the same sun than R5 do, but in the shade it can record few min longer. No one can touch Panasonic on those torture test!

I've no doubt that this is a financially advantageous deal for AP but no amount of inducement would be worth jeopardising their core business of being able to push images to news desks around the world from anywhere in the world with the same speed and quality as their rivals. The fact that they have determined that they can now do this with Sony equipment to the extent that they will change over their entire inventory is a huge statement. Its also a big statement from Sony that they are confident enough to put themselves in that position of responsibility because them getting kicked out of AP will be a far bigger story than them getting in there. It might not be of particular, or indeed any, interest in the here and now to most people on this forum but the ripples of this particular pebble being dropped in the pond might well become very relevant in the next few years. Canon and Nikon have primarily only been concerned with what each other does for a long time which has only led to incremental developments to keep up with each other but they will have to react to this and take Sony far more seriously in what has been their own private battleground. Not least because this will have put every other agency on alert about whether they can get a similar deal out of Sony.... Lenses were one of the reasons that Sony were never really able to take a seat at their table because they didn't have the full arsenal particularly when it came to the long primes but that is very different now. Ironically, when you look at the lineup of RF and Z mount lenses, it is now Canon and Nikon that actually have the gaps in their lineup and have to play catchup with Sony when it comes to offering a complete system for anyone going mirrorless.

Why stop there 12.5k raw 😭😂

Where do you guys read no IBIS? The latest rumors talks about a digital IS function add-on, which coupled to IBIS and lens IS should give similar results to what Canon is offering on R5/R6 (IBIS + EIS).

Once again, Nikon is not getting the credit they deserve (but hey, what is new? This has been going on for years. Same happened with the D90/D5200/D750/D500/etc etc etc). You call the Nikon Z6 "late to the game", yet here we are nearly years after the Z6 was announced, and the Z6 still remains as a strongly competitive option in the FF marketplace. The Nikon Z6 is after all the only sub $3K FF camera with 4K raw! Plus the Nikon Z6 still has better AF (looking at you Panasonic / Z Cam / Sigma / etc), better ergonomics (vs Sony / Z Cam / Sigma / etc), better colors (than Sony), better lens range than almost all (once you factor in the FTZ), better IBIS (than Sony / Z Cam / Sigma ) and more.... than some of the Z6's FF competitor. Am not FF obsessed myself (thus I'm more likely to choose a Panasonic G9 instead), but if I was to buy a FF mirrorless right now today then the Nikon Z6 is right at the top of my list, with the Panasonic S1 in a competitive second place (and the Z5 in 3rd place).

I’d be happy with the 12mp. Would like improvements in ergonomics, hdmi port & weather resistant build quality. Possibly unlikely. Anyone wanting a hybrid has the A7 series? For some unknown reason the 1DXiii has been calling recently...

Yes, family video is 90% of what I do nowadays, and 4k 60p is the best format to use to capture the most live You-Are-There video. Another thing I did is replace all the lamps in my house with 5000K Led bulbs. That solved major white balance problems caused by window light mixing with indoor lamps, and solved some major color grading headaches. They looked strangely cool for a few days, but we became used to them fast (the old lamps look horribly yellow now). On X-T3 I use the Eterna film simulation at DR 200, but boost the color level in camera. I find it needs no further grading if exposed correctly at the right white balance, a major time saver.

That's my hope, that they simply sold it off to JIP so that then JIP can do their dirty work for Olympus to massively streamline the business to trim off all the fat, then returns it to Olympus (with a generous profit in the sale given to JIP as their fee for turning around the division).

Well, it was hardly the biggest mystery in the world but confirmation at least that the Meike lenses are the genuine successors to the Veydras and good to see the co-founder being involved and discussing how they have actually been improved rather than being the low quality rip offs that many were widely opining they were. The real mystery this video solves for me though is how you actually pronounce Meike.

As there are so many threads on R5,R6 and 1Dx III I thought is better to have a dedicated thread for editing perf. Machine used for the test is a gaming notebook i9 10980HK, 2070 Super Max 8GB Vram, tested with files coming from internal M2 SSD and directly from the CFexpress card (no difference in the result). Resolve 16.2.4, NVidia Studio driver. Very simple grade, 1 node for LUT, 1 node for LGG, 1 node for color boost, saturation and mid tone detail. RAW: 5.5k RAW 30 -> 5.5k 30 timeline realtime 5.5k RAW 60 -> 5.5k 30 timeline realtime 5.5k RAW 60 -> 5.5k 60 timeline 30-35 fps 5.5k RAW 60 -> 5.5k 60 timeline realtime (half res RAW processing) 8k RAW 24 -> 5.5k 24 timeline realtime (half res RAW processing) 8k RAW 24 -> 4k 24 timeline realtime (half res RAW processing) 8k RAW 24 -> 4k 24 timeline 15 fps 8k RAW 24 -> 8k 24 timeline 15 fps but not usable as you get gpu out of memory h265 10bit: 4k 120 all-i -> 4k 30 timeline no realtime 4k 60 all-i -> 4k 30 timeline no realtime 4k 60 ipb -> 4k 30 timeline no realtime 4k 30 all-i -> 4k 30 timeline no realtime 4k 30 ipb -> 4k 30 timeline realtime Observations: - RAW is much easier in perf than h265 10bit, afiak no HW acceleration is currently supporting h265 10bit 4:2:2 only 4:2:0 or 4:4:4 - Thanks that you can set half res RAW (you can even set quarter res) on the decoding setting you can work in real time and then switch to full res for final rendering. - Very strange that ipb can playback in realtime and all-i not, it could be a Resolve issue - You need to disable Intel Quick Sync in Resolve preferences if not you cannot view h265 files, this seems a bug as they could detect that is not compatible with quick sync. - 8k timeline with 8GB Vram is just not possible in Resolve. So even frame grabbing becomes an issue. 6k timeline works for frame grabbing. Did not test the limit here. - It is a very powerful notebook but no where near a powerful workstation... is a tad slower than a i7 9900k 1070 machine. Hopefully both Resolve and CPU/GPU vendor will better support h265 10bit 4:2:2. Bottom-line what you save in storage in not using RAW you will spend in time converting the footage. Would be cool that other reports their experience in this thread and also with other NLEs.

Well if there is any Canon reps or ambassadors will 1DX mark iii get Clog 3? That brick can handle more heat than R5 🤣 i want 4k120p

Im gonna read and watch video and then actually try it myself and see if it works for me, before jumping to conclusions.

smh, why dont people test the binned mode versus the HQ mode. Overheating won't matter if the binned mode is good quality. The only issue will be in 60p and 120p, and I doubt people are shooting 30 minutes of 120p footage, and don't get me started on the degenerates that shoot long-form 60p like toneh. Most of these youtubers are too dumb though. edit: spelling.

Yes, with Bayer sensors, 1:1 readout is always softer than oversampled readout. Strong OLPF that combats moire can make it even softer.

1.) I’m a full-time photojournalist. I do have encounters with AP PJs out in the field. If they are churning and burning, they probably won’t shoot log as they upload and send their video to other press agencies. They in turn do not have the luxury of color correcting before air. If they are shooting an investigative piece or something long term where they have time and crew to put it together, yes they may shoot LOG. Business is deadline driven, "Make slot, not art". SLOG introduces an unnecessary workflow when your slamming video together. Not enough time to render and transcode that.

Can somebody do a Hilter meme of the Canon boss hearing about this please?

Don't know why certain bitrates and gramerates are overheating more than others. Btw, in the last video I thought he said it overheated in 8k at 9mins. And many of these videos are shot in very cool temperatures. At 35°C and over I am guessing the camera is going to stop shooting very quickly and take very long to be ready to shoot again.

PRICE RED Helium Ranger + Monitor: $31,400 URSA Pro 12K + Accessories: $11,500 The new URSA Pro is 37% of the price of RED's comparable offering. SPECS RED Helium Ranger: 8K @ 60p (12:1 Compression) 4K @ 120p (Cropped Sensor) URSA Pro 12K: 12K @ 60p (5:1 Compression) 8K @ 110p (No Crop) ANALYSIS The new sensor technology that allows you to shoot at lower resolutions for higher framerates is arguably the most important aspect of this camera. That and...price. There's really no reason to be in a RED at this point in time. I guess if you hated money you would stick with them? I'm scrambling to find one area that RED would beat BM in and I can't think of one. It was always codec but we might just be there with the release of this new version of Blackmagics Color. Add in the full ecosystem compatibility with Resolve and the fact that it's almost 3x the price. Seriously, if Blackmagic wanted to make a dent on the high end I think they just blew it up. RED is going to have to innovate AND lower their prices (drastically) just to be competitive again. You will have outliers and people that stay loyal to the brand for whatever reason...but if you're unbiased and just looking to make the right purchase, I don't see how RED makes any sense. As of today at least. Seriously a crazy release and few days here. I don't know if I have ever pre-ordered>cancelled pre-order>pre-ordered new camera in a 48 hour window before.

Moc Nguyen always seems to get the best out of the R5: Is this getting closer to the 1DX III image quality? I think it is still a step below in terms of DR and creaminess.

I don't see journalists needing SLog. News reporting is for fast turn-around. They aren't going to want to play with color. Same reason why many sports journalists shoot JPG and not RAW. Faster is better in breaking news.

Considering that the A9 was their first serious attempt at breaking in to the photo journalist/sports photography market and how that was hampered by a lack of some key lenses at launch, the slow mechanical fps and incomplete feature set regarding field work, its quite something to have gone from where they were to doing a deal like this in only three years. Honestly, a year after the A9 launch, I'd have put far more money on them not being in this market any more at this point than I would on them having got AP on board like this. Its the stills aspect thats the bigger deal than the video journalists really as AP have a lot of features, news and sports photographers who would thus far have been almost exclusively using Canon or Nikon DSLRs. Funnily enough, that last UEFA Champions League match that I shot was notable because for the first time I did actually see a couple of photographers using Sony A9s, although they were still outnumbered thirty or forty fold by the rest of us. I'd presumed it might have been UEFA's photographers using them as Sony are a sponsor but in light of this I'm wondering now whether they were actually AP photographers trialling them.

AP's new logo after this:

The pro support is a big factor in these decisions, cameras going down in the field = lost $$$ for company like AP where timeliness is everything. They obviously are convinced Sony can deliver pro support. In particular if I were Canon I'd be worried because their pro support has differentiated them for years. Nikon pro support - not soo much.

The broader point is what it does to the duopoly of Canon and Nikon in that field and what implication losing that stranglehold may have on their future camera developments, particularly Nikon. Having to try harder would be one implication.

Will it have an anamorphic mode? Seems like canon and sony are really forgetting about that one, shouldnt that be that hard to implement. And is quite big of a deal for music video, film and commercial shooters. (And bm is delevering that in 1k cameras)

Sounds like the A7S3 could be outstanding. If it can somehow get around overheating it will be the camera to buy for video. Low light should be incredible. What gimbal/lens were you using?

1Dx III so same format as R5

Samyang does make a f2.8 and f2 12mm which are both completely different lenses.

Sorry for delay, I've found that the best price/quality ratio have Rocolax filters, say https://www.ebay.co.uk/itm/ROCOLAX-77mm-Optical-UV-IR-CUT-filter-UV-IR-Blocking-Filter-for-camera-lens/173253274325?hash=item2856b32ad5:g:AhsAAMXQUShQ8nk1

Fuji have PDAF in their entire lineup (XT-4 to X-A7), yes, Olympus is wrong.

people are over rated, try some wildlife or landscapes perhaps. got in a session with the p4k and the fd 50mm f1.4 ssc this afternoon. Cant fault either, although my dop and colour grading is pretty newbish 🙄

Apparently the internals are all new as well, which to run 12K at 60fps makes sense. That's waaaaay more data than the previous ursa camera.

Mieke are making extremely affordable PL lenses as well, which should be released in the near future: For the insanely low price of $539.99!

Add words Meike and Bokeh to the same sentence and the pronunciation possibilities are endless

Which, as I understand it for their situation, is difficult (if not illegal) to do in Japan?

I know I should just wait until the 28th but y'all been keeping up with the rumors? - Still micro hdmi, - slight crop, - 10-bit up to 4K60 - "won't overheat for at least 1hr How is this "exceeding expectations"? Seems like all they did was: - better EVF (useful, though I only use it for photos, and this body is not for photos), - 4K60p 10bit, - a few improved codecs. - Maybe better thermal performance Seems like catching A7S2 up to A73, 4 years later. Ok fine they finally gave it good 1080p, in 2020. I guess we'll see on the 28th. All of the hype over the last 4 years and now this. oorah...

Probably cost. The specs explain the $10k price tag, but it also probably covers the increase in sensor costs since the camera itself isn't wildly different than previous URSA cameras, using most of the same tech.

$900? Seriously, at that price, I'm tempted to say buy it first and then ask questions later. I can't see how even if you hated it that you'd not get all of that back re-selling it so at the very least you'd be able to have a free rental period of it in which to evaluate it. More to the point, you'd probably end up making money on it too. With it being a video camera, it is a completely different beast to a mirrorless ILC or DSLR so just comparing on imaging capability alone isn't going to tell you the whole tale, which is why there is a scarcity of comparison videos around. Having said that, there is no question that it does not perform in low light like the A7sii or give you anywhere near the AF capability of something like the A6400. If those two aspects are critical for you then you should definitely look elsewhere as the LS300 won't satisfy either to the extent you are looking for. With regard to streaming, then, yes, it is ideal for that and can do it straight out of the box to YouTube etc with no problem. What you will be getting with the LS300 versus a DSLR is something that you can put to work straight away when you pull it out of the bag with no rigging, additional audio modules or adding ND etc. and it has tactile switches for primary functions so you don't have to go ploughing through menus. The choice of lens mount and the tricks behind it with the Variable Scale Mapping make the LS300 the most versatile camera out there and it is equally capable of being run with a tiny MFT pancake lens as it is with a cinema PL mount lens. Again, with it being a video camera as opposed to a stills camera that can take video, you also benefit from longer life batteries and it not turning into a hand warmer when it is running. The really big achilles heel with it though is the monitoring as the fold out LCD is just about adequate but the EVF is atrocious. However, there is a magic bullet to solve this in the form of the Atomos Ninja V. With the Ninja V, that issue goes away and you get all of the monitoring functionality you need, ProRes recording and the big bonus of it enabling you to use 4K60p so its pretty transformational for the LS300. So, in your case where you can get an LS300 for $900 then adding another $700 for the Ninja V gets you a bit of a powerhouse for $1600. Its all about the form factor though so none of that spec matters if you aren't comfortable with that. As a device of its type, I don't think you are going to do better for the money in terms of versatility than the LS300 and certainly not at the price you've been offered but if low light and AF and other aspects of DSLRs are important to you then there will be better bets for that overall $1600.

I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD. Lilliput BM150-4K https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html

To my knowledge it took over a decade for RED cameras to penetrate this market and finally become an industry standard. But that was a time where the debate between film and digital media was on it’s peak and RED had a double challenge to face. BM has definitely the dynamics to become the next RED. If Ursa 12K proves to be a reliable body, it offers too much innovation for anyone to ignore. I think this is the first time that sensor technology, codec and editing software are placed into a straight line by any company, no? Even the mighty Sony tried to maintain such an ecosystem and failed.

You're deflecting. Indeed they aren't all the same, but there's also a hell of a lot of difference between PLASTIC and MAGNESIUM ALLOY, and you made it real clear that you had no idea what the camera was even made out of before critiquing it for being "plastic" and suggesting they add $5000 to the price. So yeah, "dude," you were clearly talking out of your ass and won't even admit it.

"Dude" you literally called it plastic multiple times and didn't know the camera was metal. You've been talking out of your ass.

Again, it is a magnesium alloy body! At least do your research, jeez.

It is a magnesium alloy body.

I'm waiting for a side by side test like Tom Antos does.. I think we can safely say that this is best skin tones we have seen out of a Blackmagic camera. As far as compared to other cameras, that remains to be seen via a comparison video.

I've been in the castle but I'm not royalty. I still have the peasant mindset with cameras. I'm definitely not a camera snob. I generally have insurance on all of my gear, at least if it's over $1,000. I suggest most people do the same actually, Athos insurance is really affordable. A few things to mention here. It seems to be 50/50 with people that want RAW vs people that just want a color graded clip that's ready to rock. For the people that do want RAW...they are hiring high end post houses for grading and they will have no problems since they use Resolve. You are correct that R3D's are more universally adopted than BRAW, but in the high end post world Resolve is more adopted than even R3D's! I don't rent my cameras out and have never had success with it (due to my location). I will be waiting a few weeks...for my order to arrive! Then I will have all of the test footage I need 🙂 I will always remember when I ordered the RED Helium and started planning a shoot. The day it showed up and I went to power it on with the AC adapter only to realize that it didn't have an AC input. I was pretty shocked, even for RED it was bad. I think the "modularity" is just an excuse to charge more money for accessories. It's actually one of the reasons I want out. Blackmagic is doing it the way it should be done. Internal ND, built in XLR with Phantom Power, easy battery solutions and MEDIA...don't get me going on media for RED cameras. For me, it's all about data rates and compression. R3D is great but when you have to shoot 12:1 compression in 60p but you can do 5:1 in BRAW...I would choose 5:1 all day. Once you get into those higher compression numbers with RED files, they REALLY start to fall apart. 8K 60 looks pretty poor when you zoom in. I did some internal tests for a streaming company and they were less than impressed with the Helium at 8K 60. There are two camps. One camp likes things ready to rock and don't care about color grading. They just want it to look great right away. The other camp wants the RAW files but I can always get away with 4444 in Log. The other camp is thrilled with 10 Bit H.265. I mean, H.265 is really incredible for delivery!

I search once in a day or two for Panasonic S1 in youtube to watch every recently uploaded video. It is always nice to watch others works with same camera as yours. I feel inspired by videos like above which also in my opinion shows what an incredibly "easy to start rolling and delivering big time" camera the Pana S1 is. Especially with vintage glass! That was my main convincing strong point to choose it. You can throw anything on this beast and it handles colors, flair and color casts always perfectly! I bought a Canon EF camera last week with an attached 1.2 55mm where I couldn't see the front ring in the photo because it was closed with a cap. Very fortunately, when I opened the package, it came out to be one of the rare Aspherical beasts! I will make a video with it but just wanted to share a few images shot at F1.2 with Raw and edited in PS. Added contrast and some saturation but colors are AWB without any tweaking. It manages this old elusive beauty perfectly.

For those that aren't visiting BM forum, here is quote of Juan Melara's cheer and ask about gen 5 color science - as mentioned earlier, also with further playing with gen 5, similarity with P4KAlexa lut is astonishing - it seems as that BM engineers took his achievement as pattern to replicate in effect: "Just spent an hour or so checking out the new Gen5 colour science. The new gamma curve is great. Pretty much exactly what I’ve always wanted from BMD. Top work. But Captainhook, Blackmagic Design, any chance you could include an option to disable the Gen5 gamut mapping/limiting? Or include a colour space that has it disabled? A lot of grading workflows require access to the full unconstrained gamut. For example negative film emulation. Currently neg film emulation works so well on BMD cameras as they see and hold onto extremely saturated colours. The results I’m getting on the P6K in Gen4 are as good as any other camera I’ve shot and profiled. I’ve got extremely saturated test charts shot on the P6K and on Vision3 film and what the P6K sees in Gen4 is pretty amazing. On the Vision3 charts I can see a gradient of red values getting deeper as they saturate, then organically curving towards orange as they reach peak saturation. On the P6K in Gen4 I can see the same smooth gradient of reds as they reach the same end point but with less of the curve towards orange. In a profiled LUT based match, that organic curve towards orange is easy to achieve. In a procedural Yedlin style match that curve is easy enough to recreate. But in Gen5, that gradient of deep red values doesn’t exist, as they’ve been constrained and homogenised into a light pink tone. All the amazing colour separation is gone, which makes it difficult if not impossible to accurately emulate neg film. As you can imagine this is slightly disappointing. If the URSA 12k and the other BMD cameras are expected to integrate into high end workflows when shooting Gen5, make some colourists and colour scientists happy and please allow access to the full unconstrained gamut."