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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.

How do you shoot at 3.5K in 14 bit color ? 3520x1740 at 14bit gives me just few seconds, 3520x1740 at 12bit is from 15 sec to 1-2 minutes. Have to drop to 10bit in order to get closer to continuous. And this is with global draw off. With global draw on it is even worst. Canon 5D Mark III raw video in crop mode for me is PRACTICALLY UNUSABLE: - there is no live view framing, you can't see on a monitor of even the tiny screen what you shoot - rolling shutter is more than 33 ms - camera is unreliable, had many freezes and you don't know if your recording is going to stop and especially when it is going to stop. - as your ISO increases your dynamic range and color palette decrease - software hack is always in development and movement, you don't know what bug your are going to hit and when Tried many times to use it in crop mode and always ended in frustration. 1080p is the best, can have external monitor and proper framing, reliable, simple, 35mm lens has the same angle of view as on full frame. Use super scale in Resolve or Video Enhance AI to upscale to 4K and it is good enough. There you can shoot in 14 bits no problem. Why we don't see 14bit video in hybrid cameras ? Simple answer is: - no demand - just look how many good video in RAW shot with Canon 5D Mark III hack are on youtube. For more than 12 years. Interest and usage are slim. - still some challenges to shoot and process such a massive amount of data. I know for a fact that in my (relatively small) country TV series are shot on Arri Alexa not in RAW but on Prores 4:2:2. Without compression very few people or companies are willing to deal with RAW video. BRAW or ProRes RAW, Red RAW - yes no problem. Cinema DNG files even with lossless compression - few are willing to deal with data volume and workflow that comes with it. I honestly doubt that anybody can see the difference between 14 and 12 bit color, especially on the monitors and screens we are using. I tested it on Canon 5D Mark III some time ago and couldn't. 14bit vs 12 bit, color science when related to RAW video and even in 10bit 4:2:2 - all this is purely subjective. All those claims of superiority falls apart when doing a blind test. Can give as example several published on internet tests. I tried recently iPhone 14 for video after seeing several people on youtube recommending it. Shot on same location and lighting condition where some time ago shot a small personal project / clip with Canon 5d Mark III in RAW video crop mode. Yes you can't switch off sharpening, noise reduction and tone mapping for better dynamic range on iPhone but Oh boy how easy it was to get great picture quality, how good image stabilization was. Apply some grain and film emulation using dehancer and it is good enough. Efforts vs results comparable to Canon 5D Mark III are 100% on iPhone side. I am thinking seriously to get one of those new Android smartphones with 1'' sensor like Vivo X90 Pro Plus and shoot raw video on a smartphone for personal projects. It can do 4K 60p RAW and I believe this is only in 10bit DNG. Apply some grain, film emulation in dehancer and image look gorgeous to me. It is a lot easier than Canon 5D Mark III and it the end results will be equally impressive if not better. And this camera is with you all the time 🙂 Whole history of photography is a move toward ease of use and convenience once certain acceptable image quality has been achieved. Image quality by the way matters mostly to us, people who shoot not to the people and wide audience who will watch it. That's also a proven fact we should never forget.

Hehe, couldnt resist and had to get one. A 250.000 shutter though, but still working. For 300EU. Got a 5D2 for much cheaper two months ago. In great shape, 30.000 shutter, for 150. Seller contacted me to give me a nifty fifty 1.8 and a nice backpack for free. Anyway, now I gotta use these beauties. Any quick and tasty infos on the differences? Some prefer the look from the 5D2? 5D3 much more hasslefree to use in Magic Lantern RAW due to dual card slots? cheers

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.

Oh look, the Camera Dept is finally catching up with the Sound Dept in caring about the RF environment and doing scans! https://www.newsshooter.com/2023/03/21/arri-hi-5-sup-2-0/

guys, just grab an R7 and go outside and shoot already!

@Attila Bakos - Yes latest Danne build. I don't see improvements in bit rate, mostly in stability. Don't see from where this improvement in bit rate will come. 2-4 years ago ML team managed to overclock SD cards improving writing speed from 25-30Mb to 65Mb. Bit rate on 5D Mark III is now 80-85Gb with a good CF card + 65 Gb from SD card = 150Gb/s Didn't heard of any major development that would break this mark. As said we have this speed for at least 2-3 years. Yes at 1080p resolution RAW video, camera is quite nice to work with, not at 1.6 or closer to this crop modes. Tried hard to solve the framing problem using external optical viewfinder or even a smartphone as a second camera/screen. It was always pain in the neck. 10 years ago Canon ML RAW video hack was a breakthrough, now when we have blackmagic pocket 4K and 6K, can't find any reason to shoot with Canon 5K Mark III in crop mode. Blackmagic cameras have better dynamic range and they keep it trough all ISO range, very good rolling shutter,much easier to use, better monitoring capabilities, reliability. Kept 5D as a memory of the DSLR era and possibly some personal projects at 1080p but so far didn't shot any. Don't want to put down ML team, they did and still do a great job, I am grateful for their time and work, but have to admit and live to reality. What I've found in my personal experience happens for all video/film productions. Camera cost is only a small and often not a major part of film/video production budget. If one camera is few hundred bucks less expensive than another one but you spend much more time and efforts in post production or when shooting, at the end the less expensive camera will cost you much more. This is even more evident in mid to high end movie/video productions. It is then well understandable why TV series are shot on Alexa but at ProRes 4:2:2. At the end nobody other than probably few professionals will ever notice the small difference in image quality. Again we tend to overestimate value of image quality while in reality nobody from the non pro large audience will notice it. If for you Canon 5D Mark III RAW video image looks good, great use it, just do not kid yourself it is somehow superior to the rest of modern cameras, while in measurable parameters like dynamic range and rolling shutter it is clearly inferior and for the large audience it really doesn't matter. @TomTheDP - I wouldn't say slim, the Magic Lantern community was pretty large It is. Just check how many times is downloaded latest Danne's build or MLV App. 2-3 thousands. And 90% to 95% of the people will shoot a few test clips and that's it. Few will use it for small and personal projects as Zeek, and even less for commercial / production projects. Compare this to how many BM, Canon, Panasonic, Sony cameras are sold and used each year. Unless somebody can prove in blind test even among relatively small circle of professionals that 14bit is better compared to 12 bit or even correctly recognized will consider it purely subjective. All tests that I've seen and even participated in indicate the opposite. A local shop did a test with Sony A7 series cameras in their early days. They've shot 10 pictures with different subjects and lighting conditions with Canon, Nikon and Sony A7 12bit compressed format. All 3 cameras were full frame. On screen and on print Canon and Nikon owners were not able to distinguish or guess which pictures were shot with their beloved cameras which they will passionately claim in forums have superior 14bit or whatever colors 🙂 It was completely random. We had some 11-12 years ago Great Zakuto shootout, this one here (https://www.youtube.com/watch?v=xZjIz8sB2vg) and so on 🙂

so for the ml to be useful in any capacity you have to pixel bin anyway lol?

The workflow is so simple now. MLV App is straightforward for correction and "CST" and you can export to ProRes so you can edit in any program you want. Or you can use MLVFs and open up the files right in Resolve as if they were any other video file from any other camera. Btw, I loved your B&W short film. I watched it on Christmas morning and it brought a smile to my face. I've been meaning to comment on it, but now I'm so far removed, I'd like to watch it again. The mouse was a whacko, cool idea that was done so well and made me think of the old Bass and Rankin Christmas cartoons.

Going on 9 years as a ML Raw user and have never had an issue. Started with the 5D MK II and now I have two 5D MKIIIs.

No that was 5D Mark III with 1080p ML Raw.

In the long run people can no more ignore the laws of economics than they can ignore the laws of gravity. But dpreview would have made a tonne in commissions / affiliate fees from the sales they sent to Amazon (ok, maybe not heaps of Z9 sales, but lots of sales in total none the less). I'd have hoped they could have kept costs under control enough so that dpreview wouldn't have been shut down, as it should be easy to keep a site with dpreview's history profitable. Hard decisions might have needed to have been made, but it would've been very doable.

I managed to download a few brief 8K 50fps NRAW NEV samples from another forum and view them in the latest version of Resolve (18.1.4): https://forum.grassvalley.com/forum/editors/editing-with-edius/572094-n-raw-from-z9-sample-download They are now listed as 12 bit according to Nikon specs. There must have been a decoding problem that has been solved since Resolve 18.0. Perhaps NEV files are captured in 12 bit log and Resolve previously converted them to 14 bit linear. It is hard to know what the issue was as TicoRAW compression is new to the camera world (hence the RED lawsuit). The same TicoRAW conversion that the Z9 utilizes when compressing for photos in the "High Efficiency" RAW mode at 14 bit readout is also utilized to create the NRAW files. In photo mode, this is limited to 20fps at full sensor readout (8256 x 5504). Although the video mode uses a crop (8256 x 4644), which produces a 38mp image, it doesn't seem possible that you could get 14 bit RAW video at frame rates higher than 24/25. The Canon R3 could do 14 bit RAW at 30fps with its 6K video, but Canon would never do such a thing! That would obliterate its current cinema line. In any case, the rich color tonality we were seeing in the Z9 footage is still there and the files edit nicely on a 4K timeline. They are perhaps not as optimized as R3D files, but they should be easier for editing than Canon 8K RAW Light.

Thanks for the explanation. I don't think you understand what literally means. Really. But I will set that aside and get to your more important ignorance. I was not apologizing for anyone. I was explaining the reality. You don't like it; I don't like it. But it is the reality. I don't apologize for snowstorms. I don't apologize for droughts. We all hate them. But, they all exist. And corporations seek to make money. They are not charities. I wish corporations would give away everything for free. I wish there were no bad weather events. But I am an adult. I do not forgive you for your rudeness; it is never forgivable. I am more concerned, however, with your sense of entitlement and naivete. Do you feel entitled to free services? You were happy to pay nothing for those wonderful DPReview services, and then you complain when the free services are taken away. Are you willing to pay for the services provided by DPReview? I did not see you say that anywhere. Do you think the DPReview staff are not responsible for never trying to raise money? They didn't lift a finger, and were happy, like you, to just be subsidized by the big, bad corporation. They should be apologizing to all of us who were unaware of the fact that DPReview was unsustainable. Cheap talk by you. You are evidently ignorant of the realities of economics. Which are not pretty, not likable, but exist. And don't blame me for informing you with the bad news - corporations are in it for the money and dump any activities that lose money. And, there are people like you who just wish everything was free and are happy to take free services. I was also happy to do so, and I was bamboozled. But I am not surprised the fantasy of free services with no revenue crashed. Oh, and I share the view that there should be a special tax on billionaires like Bezos.

OK, now we have with the latest GoPro Labs firmware the ability to use a color gamut (WIDE) that contains all the color the sensor can recognize, way wider than REC709. Leeming makes a LUT that transforms the WIDE gamut to REC709. This is the test video I shot using the Flog (Fuji) gamma setting, WIDE 10bit color, and graded using the Leeming LUT:

Yes, Amazon bought it, and and finally had enough. Amazon has and had plenty of things they bought into that lost money - brick and mortar stores, hardware devices. Lots of stupid things. This was one. And Amazon bailed on those others too, like a good company should. They made a mistake. All those thousands of layoffs are due to their mistakes, including DPReview. DPReview is a money loser, in which the leadership made no attempt to find revenue sources. Amazon is not to blame, the people running the site are. The site is now filled with posters blaming Amazon, despite the fact that Amazon was subsidizing this no-revenue money pit for years. Not a single one these complainers spent a nickel towards the maintenance of the site. Some are saying they will never buy anything from Amazon again, as if they bought their Nikon Z9 from Amazon. Who the heck buys a serious camera (beside Instamax) from Amazon?