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Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

Like with everything, there's diminishing returns. If you're not doing a ton of tweaking in post, you really don't need huge files, especially if it's only going on YouTube. For a lot of my work 50mbps (or 100mbps in h.264) is more than enough, given the final edit will end up on a streaming service that will stream it at maybe 1/4 of that. That's not an argument against higher bit rate options, as there absolutely are plenty of good reasons to have that as an option, but not everything needs to have 400mbps just as not everything needs to be filmed in RAW.

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬 People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space. I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

hey guys!! please help me so i can recommend camera(s) for my friends new ~low budget youtube show~ its a satire of a typical late night talk show... from carson to the present, very similar sets, right? desk, two chairs/couch, etc. this will be a small set in a living room – not the ed sullivan theatre, just fyi the director wants to start with two cameras, allowing for the possibility of adding more in the future, but they need to match – meaning: we need two inexpensive identical camera bodies. two of the same camera the camera needs to: - have reasonable image quality - shoot forever without overheating - have a front facing flippy screen - be super affordable - it does NOT need to shoot stills at all, a 'camcorder' is totally a possibility (something in know nothing about) suggestions?? please help!! thank you!! love u guize!!!

Its certainly not a vintage mojo lens but rather a very practical APS-C zoom that covers the narrow but useful 27mm-52mm range and with a constant fast F1.8 aperture. It is very sharp and can really benefit from a Pro-Mist, upside being it resolves high-resolution exceptionally well. I really like to pair it on a P6K and I imagine will do well on a R7 too.. some "cinematic" examples of it:

Good point. My Panny's are all 150Mbps 420 10 bit and my grade is fairly mild but a lot of 50% Slow mo. I tried very briefly (once) jumping up to the 400Mbps option...but never again. I didn't see any benefit and it chewed through cards at a crazy rate. 150 therefore is Goldilocks for me.

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming. 50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry. Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly. 50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc. You can't add bitrate in post!

The WD disk I use is the 1tb version and there can be speed differences with the lower capacities of some drives so that could be an explanation. With the drive/enclosure combination that I am using I can record 12bit/24fps cDNG until the battery or drive space runs out so it could be in play here. However, I have also had problems in the past with T5s with cables so that is something to check if you have a different one around. With regard to the higher frame rate stuff, its not something I use but testing it just now I did experience issues at 100fps up where it would record for a short time and then stop. I resolved this in the following way : In SYSTEM1 menu, there is an option setting called "Memory Media" where you can select between "Standard" and "Custom". Switching it to "Custom" is to enable you to use a broader range of media than their authorised ones. When you are set to "Custom", the USB indicator on the screen is lit in orange instead of green. It might well be that changing to "Custom" will resolve both your long 4K recording and unable to do any recording above 60fps issues in one fell swoop.

Can everyone help to explain the world that the mania of this hype to sell BS spread by these youtubers, as for instance, is nothing but a mere piece of crap...? Art is creation, EAG :- )

And not even the way it is or was... That's what makes this both ridiculous and stupid.

Of course, there are people who want to sell to the world the wheel has been invented again: While the trick is not in the device but just a whole world beyond.

Solid points. Except the 444 as it would be in Prores anyway and used by 444 lovin pros. 🙂 @webrunner5 But C100 is a spiffy image for what it is, like downscaled GX85 with much better low light and of course more dynamic range. Great colours too. Anyway, GH1, treated lovely, can be still very lovely and a joy for vintage and image lovers. I think I get your point, which is alway something I enjoy a great deal in an exchange of point of views. I also think the internal SLOG image of the F3 is still more impressive than the internal image from the C100.:)

It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers

This. Do your own tests and trust your judgement, but here's my opinion. If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld. Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.

Thanks, yeah it doesn’t seem to be any better. It’s just *different*

the sensor output is lineskipped. There is no "internal Prores" in any of the Nikon Z cameras except the Z9. You get 1:1 ProRes RAW if you shoot in DX. There is no crop in ProRes RAW. Personally I wouldn't bother with the PRR upgrade and spend it somewhere else. You will find the convenience of P&A the footage in Resolve and not having to spend time transcoding.

60fps 10bit 444 vs 8bit 420 30fps SDI vs HDMI TC vs no-TC Lots of reasons to prefer the F3!

I've been using the Meike nd adaptor for a little while now and it has been faultless, so much nicer than usual vari nd, no obvious colour change as you get to maximum nd and the 9 stops is enough here for me in the UK afternoon sun with f1.8 lenses at 800 iso. It may be a different story If you use faster lenses and live in brighter parts of the world of course...

Doing it for them memes yo dawg

Unfortunately, the thing is a way beyond the Insta360 phenomenon even though the Chinese gadgets spam is what it is... ; ) And join such mediocracy...? No way Don, I am still an old school film individual : ) Things began with an idea and there is a hard walk way. Till arrive up to the point you go to the grocery store of your neighbourhood and they ask you for a free ticket to watch your stuff and you answer: "Right, when I'll be able to go out of here without having to pay the bill that whispers behind and lightly carry me to the front door"... The thing in the right place... Just posted: This July. EAG :- )