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FX30 has much chunkier (ALL-I) codecs going up to 600mbps vs 200mbps on S5ii. It has 15ms RS vs 22ms on S5ii. It's AF is class-leading. And I believe it is Netflix approved which is always something to consider. Oh and it also has a swivel screen: But yeah in the end you do have to look at the eco-system that makes most sense to you. Bodies come & go, lenses is usually what locks you in the long run..

It might not be the right target group for those uninterested in video here. Photo Camera Review on the other hand... https://www.photocamerareview.com 🙂

https://www.esquire.com/entertainment/movies/a43358888/no-budget-movies-era/

Remember we discussed earlier that X-H2s 6.2K ProRes RAW has a hot pixel at the exact same location for everyone? I spent days to create an executable in C++ that removes that hot pixel from the DNG raw file created from ProRes RAW. I was just about to post it here but then I noticed that this is not a hot pixel issue at all! All pixels in the same row right from the hot pixel are shifted towards the right. See here: It starts with the hot pixel, and it goes all the way to the right edge. Or here (this is the right edge of an image, you don't see the hot pixel here, it's somewhere in the middle): Atomos says it's Fuji's fault, and as usual, Fuji couldn't care less. Atomos is also silent about the framerate bug I discovered. A new firmware was released just now and it's not fixed, it's not even listed in the known bugs. Stuff like this makes me really disillusioned.

Not only can I notice the lower bit depth, I'm fairly certain there is some type of noise reduction occurring behind the scenes with the FP. The extra resolution from the FP is nice but I feel like it resembles a lot of other camera's images from compressed codecs with just more leeway in post to make some changes. The 5D3, on the other hand, has a higher end look in my opinion and the image is more malleable especially in the highlights, but the shadow detail is much cleaner with the FP. They also share a similar post workflow for me... bring the footage into Resolve, correct/grade, export as ProRes and import into FCPX for the final edit/grade. At first glance, the bump in resolution may make you feel like the FP has a superior image, but once you get into the files... let's just say that if I had to choose one, I'd sell the FP and keep the 5D3. With that said, I think people underestimate the benefits of 14bit color. In some ways, it gives a perceived bump in DR because it is capturing the minute differences in hues. I notice it in skies and in tree bark. I'm also a fan of shooting with DSLRs... especially chunky, full frame ones. If I could afford a 1DX iii, I'm sure I would love it.

I honestly would go with the FX30 over the FX3. The A7S3/FX3 have too much image processing which ruin the internal 10 bit recordings. Shooting external RAW bypasses this but its an annoying workaround that doesn't offer much benefit aside from bypassing the ugly internal processing. Used the FX30 recently on a short, which included low light scenes and it looked great. Film grain was added in post but the original recordings were pretty clean.

How does Panasonic have a perfect IQ processing formula and than mess it up upon every new release? lol

Yeah it is plenty bright. I would say SmallHD is less reflective and more color accurate but you pay a premium for them. Atomos is the 2nd best in my opinion.

Yeah a lot of companies have offers like this. Seems like a solid option if you have a good enough credit score to get accepted. Just applied for RED's program for the V-Raptor. Though I think I am going to decide against it. Don't need to spend more money on gear right now.

I like my Shinobi monitors. They have low noise fan settings.

Hi all, After using S5 ii and S1H on a shoot together I noticed a few interesting things RE moiré. The S5 ii definitely suffers from sensor-Moiré in certain situations, here you can see that as a distant rough-tweed cover on the gobo comes into focus with the pan down, it dances like crazy with brightly coloured red and green Moiré. I just edited around it TBH: You could do some repair in post for this, but for the odd cutaway on the post budget the film has, it's not worth it TBH. Interestingly below though, the S1H actually suffered with Moiré in some of the interviews, while the S5 ii didn't. I've not seen this before. The S1H has an OLPF and has never shown any Moiré til now. This shot is in 25p BRAW and has a mild yellow and blue Moiré on the shirt, it then cuts to the close shot on the S5 ii, where there's no Moiré at all. This doesn't look like sensor Moiré to me, and indeed that wouldn't make a lot of sense. I've punched in a lot so it survives YouTube compression, and you'll need to watch in 4K. I edited the topic etc as I had thought it was just in 4K S35 BRAW, but actually its in both 6K and 4K raw, open gate and S35. I do wonder if this is something to do with how BRAW is being processed, the S1H generally has been Moiré resistant over a ton of shoots in the last few years, so perhaps the BRAW processing in Resolve has changed in some negative way I thought? Resolve wise I've tried all the scaling filters, every raw decode quality, every raw profile, and it's still there, so I think it may be a Video Assist 12G glitch. To me, this looks like some kind of aliasing from scaling, so at some point there's scaling happening in software either in the Video Assist 12G or maybe even the S1H? I admit it's mild and YouTube covers most of when it's full size, but back to back with Moiré-free footage it's distracting. If I can't find any other options or settings I'll flag it to Blackmagic Design and see what's up.

Speculative, but wonder if Blackmagic reserves a higher quality proprietary BRAW debayer for their own cameras, and uses a less advanced method for everyone else? I am curious to see how the S5 II is for moire vs the A7 IV, Nikon Z9, and the X-H2. The S1H internal recording in 6K is really nice and OLPF great to have. It's one of those camera that's just absolutely great straight out the box bare bones. Just be careful updating firmware as when I went from V1.0 on my S1H loan unit from Panasonic to 2.5 it bricked it!

Yea makes sense. Looking at the history and trajectory it seems that Sony is the better investment. Maybe an APSC zoom and full frame prime for low light

Ironfilm and others with some working experience with Sony give arguments for using the FX30 in an Sony eco system of larger cameras, making it a good Bcam to a FS7 or FX6. Timcode. S52 has a mechanical shutter, EVF, making it a great photo camera also besides being a great video camera. It sports 10bit 4k60p in S35 just like the FX30. The S5ii also comes with the additional benefit of full frame 6K open gate up to 30p, anamorphic modes .. And a swivel screen.:)

I signed up to the Andrew Reid Subscriber Email Looking forward to some good old fashioned wordy stuff.

Not an answer to your specific query about BRAW playing a role but here is a side by side that someone has done with the S5ii and S1H comparing moiré. Its there in both but far more pronounced in the S5ii with the suspicion that the OLPF of the S1H is the differentiator but I doubt that is the whole tale. From that test, it would be expected to be more from the S5ii but its interesting that you are seeing more with the S1H in BRAW than internal. Could be additional processing in the camera is taming it when recording internally ?

I work on mostly low budget feature films in the 30k realm. They can actually be incredibly profitable if you know what you are doing.

Bobby Bowfinger had it spot on twenty years ago Something that has always puzzled me is when you consider something like Downton Abbey which costs roughly $1-2M per hour as a TV programme yet was somewhere between $7-10M per hour for the film version without too much demonstrable difference in production values. The final season of Game Of Thrones was supposed to be around $15M per hour, its hard to imagine that if it was a movie then they'd be getting much change out of triple or even quadruple that amount. I suppose the trick is to pretend you are making a TV programme and hope no one finds out it is a film. A bit like wedding cakes.