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1080p raw video with 12ish stops of DR is hardly an obsession in IQ. Isn't the goal to get more DR, more bitrate, more color information? I, believe, @TomTheDP 's point in this post is that a group of part time coders were able to unlock, and write, a fairly stable firmware which opened a zeitgeist of cinema settings and 14bit raw video on a prosumer camera, so surely official firmware from one of the manufacturers could easily match their efforts from 11 years ago 12bit video can display up to 68 billion shades of color, 14bit can display up to 4 trillion. Surely, those numbers will be closer when the image goes through the pipeline to an eventual rec709 delivery, but to say it will have zero effect on the final image just isn't true. If it doesn't matter to you... cool! It doesn't mean it isn't important to someone else. That said, I agree that story is king. But as you suggested, any aspect that supports the story and the director's vision is a worthy goal.

No such thing. Unless we don’t actually use any of this stuff we talk about, ie, simply collect and then talk about the next thing that might actually work as the current thing doesn’t actually have magical properties… I think some folks really do think that if they point the latest ‘Netflix Approved’ camera at their wife & kids, the results will indeed look like a Netflix production… 🤔 Wedding season starts for me in 2 days. These S1H’s had better make my clients weddings look like Ozark…

Blind tests aren't of much use. The zakuto blind tests says that a GH1 and 35mm film are equal. So why didn't camera development stop there? It would indicate 10 bit log, 4k, high bitrate, and anything beyond 8 stops of dynamic range, doesn't really matter. Cameras aren't developed or sold on blind tests. I don't think any professional is choosing a camera based on blind tests either. They have certainly offered no use to me. You can argue IQ has nothing to do with making a pleasing looking image. That is definitely true in many ways. But it has nothing to do with marketing. You can say that marketing is all bullshit. I'd agree with that. 8k is useless for 99% of people yet it is a great buzzword for marketing. You are saying though that 14 bit recording is useless and blind tests somehow prove this. If you are simply trying to say that 14 bit isn't marketable, that could be true. I am not a marketing specialist. But camera companies don't use blind tests to market or else they would all be out of business. In my experience when you actually use a camera on production and work with it through post, then you see a difference. There isn't really much debate there. Can a film look good that isn't shot on a cinema camera? Yes of course. But cameras like ARRI and RED are industry favored by pretty much any DP you would ask. To me DP's are usually the last people to fall for marketing hype. These people see images constantly from production all the way to the finished product. ARRI isn't favored because of internet blind tests, they are favored because they actually make production and post workflow much easier. I'd love it if my S1 could give me the same image as an Alexa. But from my experience it just doesn't. If you want a good test of a camera shoot 100 different scenes in all different scenarios, time restraints, lighting conditions, different sized crews, and then color correct and grade all of the shots and scenes. Do that with 5 different cameras and than compare them all. Well that couldn't be put in a little 5 minute youtube video. Stuff that is actually helpful can't be compressed into a little youtube video. Experience gotten from months of shooting and in post gives one a good idea of what matters. Anyways 14 bit plus capture, even if it is just the readout is the way forward to better IQ imo. The Alexa shooting in 422 is still using a 14 bit readout. That is partially why it looks way better than cameras that are shooting 12 bit linear raw, which is a marketing scam. 12 bit linear raw really doesn't give you any more information to work with than a good 10 bit ALL-I. The advantage is it sometimes gets around the horrid internal processing many cameras do to their 10 bit options for some reason. But it also often reveals how shitty consumer sensors are in the shadows, bad colored noise and banding that is normally hidden by heavy noise reduction. The Alexa has a 14 bit readout regardless of if you shoot 422 or 444 or RAW. Anyways I am just expressing my disappointment in camera development. I would extend that disappointment to the high end cameras as well. RED is partially to blame in my opinion. They pushed the whole high resolution band wagon that consumer cameras jumped on. 10 years later and the best camera in the world the Alexa 35 only shoots 4k, while RED releases cameras for 1/2 what they did their previous line-up, with sensors that can't even match ARRI's 5 year old cameras. 13 years ago the Alexa came onto the market, the camera that replaced film essentially. 13 years later it's still the best sensor on the market, only surpassed by ARRI's own Alexa 35. It's unfortunate resolution got put on the forefront of development instead of color depth, which also leads to increased dynamic range. Am I saying the 5D MK3 is the pinnacle of image quality? No I am not. But it was capable of giving you a high bitrate 14 bit 1080p image. That was 11 years ago. Why can't we have 14 bit RAW 3K-4K in a small prosumer camera 11 years later. We get the same releases with a MK2 slapped onto it, with micro improvements. Very annoying. Now you can tell me these are first world problems and I will gladly agree. I am in between projects right now and don't have any kids, so I have the time. And if this forum is not the place to vent about the BS that camera companies do than maybe I am just very confused.

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 🙂

Yeah, the 5D Mark III. Haha. I haven't checked the used prices, but I assume you can find one in great condition for around 1000 USD... maybe more, maybe less. I bought mine new, 5-6 years ago for around $2000. Now if you're referring to a new camera you can buy today that will look similar... I don't know. The Sigma FP has a nice image downscaled to 1080p and its full frame, but not 14bit. The R5 and R5C both have nice images, but I've never used them. I guess it depends on your needs.

Aside from the obvious features the 5D MKIII lacks like DPAF and IBIS for example, there are none that I can think of when I decide to reach for it over say my R5C. The biggest issue was the large files and workflow which became a non-issue once I got a Mac Mini M1.

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:

We've seen Canon intentionally gimp their own cameras, putting in inferior hardware that would cause overheating. I personally doubt it is an issue of can't. Of course we now have the XH2S, with a sony sensor(maybe?) that is doing a 14 bit readout. The shadow retention on that camera is quite impressive especially for a S35 sensor, which I assume has a lot to do with the 14 bit readout. Performance was gimped by fuji's weird Xtrans filter and bad processing. Most things come down to money but I also see a lot of incompetency with these camera companies, which is also probably stemming from a lack of budget in R&D. The camera market is pretty dead. In terms of marketing I don't know, I don't work for these companies. I am just making guesses. I have used lower end cameras for a long time. Recently in 2022 and this year I have had the chance to shoot on RED and ARRI for several feature film projects. I was of the opinion that it is a waste of money and time to shoot with these cameras for the most part. I don't hold that opinion anymore. At the end of several of my projects last year I was questioning the merit of using a heavier, older cinema camera vs something much lighter and quicker to use. Once I started coloring the projects I changed my mind. The EPIC Dragon and Alexa EV are both pretty old tech as well. I am excited to possibly shoot with the RED monstro or LF soon. Am I focusing on things that don't matter? Maybe? I am not a director, the story is not my realm. My job is the image which is achieved through the camera and lighting. Everything in my line of work is arbitrary to some degree. It is art. It's choosing between using a frost or white diffusion. Does the audience care? What is too much and what is too little? I don't know. Small things that add up. It's an obsessive job but that is part of the fun, at least to me. Anyways I am hopeful to see something with 14 bit readout on the market soon that is in the affordable range. Rooting for Panasonic.

I have inside information that Version 4 was referred internally as "The Reid Debacle"!

I myself don't adore the S1 in "unlit" settings, whereas i love my bmmcc outside in natural light. Both need to be graded a good deal, but the micro just sings to me. I have done plenty of grading for amateur shortfilms and semipro stuff with semipro equipment. So i recognize differences in cameras color and codec a big deal, just like their response under different conditions. Got a 5diii because off this forum and the awesome footage which is out there. That is a great treat. The trailer looks beautiful @mercer I will need advice on cards and settings soon:)

The Alexa does a 14 bit readout. RED does 16 bit. The Alexa uses 12 bit log both in RAW and ProRes. RED uses 16 bit linear. If you look up the difference between linear and log you’ll get it. All RED cameras, ARRI, and Sony Venice do either 14 bit or 16 bit readout. All prosumer cameras like the S1, Sony FX cameras, Canon’s entire lineup do either a 12 bit readout or 10 bit readout. This is why these cameras 12 bit raw performs poorly compared to ARRIs 10 bit, as even when recording 422, ARRI is doing a 14 bit readout. Of course the unique ARRI sensor and color science/processing makes a big difference too. As someone who’s job it is to give the best picture possible I have shot engaging projects with the S1 and in post have been disappointed in the image. This is what I am saying. I have used a wide variety of cameras on narrative shorts and features. I avoid shooting with low end options unless it’s forced by the budget. It just makes my job harder. The Komodo is great but it is a cheap sensor being used. If you like side by side tests I’ve done them, Komodo vs Alexa. The Komodo’s lack of dynamic range is apparent and the color science/skin tones are noticeably different. This is when shooting with natural light. The Komodo simply can’t hold onto the highlights. Blind tests are great for YouTube content but they don’t offer much practical info for using a camera on production. I do think there is a practical limitation on what is good enough. ARRI is that limitation. 14 bit readout into a 12 bit log, 4k resolution, and about 14 stops of dynamic range. The Alexa 35 goes to 17 stops of dynamic range, a bit overkill but I can see how it would be helpful sometimes. They stuck with 4k resolution and a 14 bit readout. That seems to give you what you’d need in post production. Which has definitely been my practical experience. I am specifically talking narrative use on production. If one is just shooting their own content it definitely doesn’t matter much. I definitely don’t recommend everyone go pick up an ARRI or RED camera. But for people who do what I do, I usually would. This industry is very niche though and I’m in my own little small niche within it.

The obsession with IQ is getting out of hand here, 10bit, 12 bit, 14 bit seems to be negligible from the tests. Story, set design, lighting, sound, music, framing, lenses, etc. are more important then bit depth imo. Possession of Hannah grace 8bit 422(a7sii), 8bit 422 knock knock (1dc) and others released in festivals, streaming platforms proves that. Obviously people are biased and want the best possible and that’s great but 14 bit image isn’t everything to the overall average audience (same with 8k). All things subjective, filmmakers can shoot with whatever they want.

I guess you are mixing output format with processing format. From https://www.arri.com/en/learn-help/arri-camera-technology/best-overall-image-quality

This is ridiculous advice because some may wish to sell whatever barely used camera they currently have (because someone in the comments section of a YouTube post stated that they had a friend who thought it was crap), skip the current generation of gear and wait for what the early shill reviewers with affiliate links and Squarespace ad sponsors, say about; the Canon R Crystal Ball camera or the Fuji Grail camera or the Lumix Goat camera. Or I suppose you could just go out and use what you got…

I haven't shot 5D3 ML in many years but the 14-bit colors you get out of that Canon sensor are among the nicest I've ever seen short of an ARRI. There is something about that generation of Canons in general and it gets fully unleashed with ML RAW. Blind tests don't mean so much, its when you have the actual footage inside your NLE and push the grade that is when the magic is felt, no pun intended. Yes we have a multitude of high resolution, high DR cams that shoot 10-bit, ProRes & RAW. Its fantastic and what I use for commercial projects etc. That being said there is no denying 5D3 ML RAW still has incredible mojo despite all the fuss and old sensor limitations. I am probably going to repurchase a 5D3 in the near future just to revisit that camera in general for both stills & ML. I was looking at old pics & footage from it just the other day and was instantly hit by the nostalgia that the images produce. C100, C300 & 1DC also have such mojo imo, even on their outdated internal codecs.

https://smallhd.com/products/action-5

To be honest, probably 90-95% of the people on this forum should not shoot with the 5D3 and ML Raw. It obviously causes a strange behavior and response. There are so many other cameras out there that are probably more practical. For most people on the forum, I would suggest a camcorder. The experience will be much more enjoyable and the results will look beautiful on YouTube. You can even add a LUT and you'll have instant cinema. Turn the camera sideways, press record and you'll be the envy of TikTok.

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.

I found too many issues with the experimental builds as well. I know you have to shoot 2:35 to shoot the 3.5K but, as you said, there's a crop and the Live View is wonky. The compressed 14bit 1080p raw files are good and doubles your storage but I found they too will freeze once in a while. I think there have been some advances since I tried it a couple years ago, but there seems to be more interest in the eos-m now. The stable 1080p 14bit MLV Raw files from the Nightly Builds are the camera's strong suit and all I shoot with it. It truly has a special image. If you can't see the difference between iPhone footage and raw video... then God bless you and roll with that iPhone. You'll be much happier. As far as lack of good, quality videos from the 5D3 ML Raw... I don't know... maybe you're not looking hard enough because there are a ton out there. But yes, it is a hack, and it became really popular 10 years ago when they figured it out but it was still very buggy at the time so a lot of people that tried it didn't want to deal with the storage or any other issue that arose so you see a lot of short test videos. The 1080p is completely stable now and works like any other camera does except for playback... which I don't really use anyway. This camera is for low budget filmmaking and personal projects. I don't think it would/could ever replace a dedicated cinema camera or mirrorless or even phone if you don't want to put the time into it. With all that said, a filmmaker named Pete Ohs has made a couple films using it and his recent release, Jethica, was shot on it, it premiered at SXSW and it received a theatrical release...

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.

12 bit log has a similar amount of info as 14 bit linear raw. But yeah the image definitely looks very nice regardless.

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?

Seriously!!!

Ever since the D750 I've had hopes that Nikon would pull through with a banger of a release in video specs. I think the Z9 RAW indicates they're going in the right direction, but I just haven't seen enough use or support online to draw a proper conclusion. When NRAW was released I was super hyped; maybe it's just my eyes or bias but I did "perceive" what looked like richer tonality in the few sources of footage online. That kind of color depth from 5D magic lantern, Sigma FP, or Redcode etc. I'd like to find some files of well-lit scenes and push in Resolve. So I'm looking forward to hearing what both the rumored Z8 and S1Hii releases bring. I'd trade up from my s5ii to either of them for ultimate high-res hybrids with PDAF and color I favor, and just adapt EF glass. I just can't bring myself to settle on the R5C man.

I would definitely be considering it if it is a 14 bit readout. That would be very unique. 12.5 stops with the texture of 8k raw would be very nice. Still a heck of a lot pricier than my Sigma FP, but for a good reason.

It seems that he added the NR on the Z9 N-RAW 8K in post using Resolve, but it does not include downsampling. With downsampling to 4K, you should be able to get another .5 stop. So, if you take out the NR but downsample to 4K, you should be back at around 12.5 usable stops. As for why Nikon did not advertise the 14 bit NEV files, I'm not entirely sure, but I plan to find out . . .

This chart mentions NR. Is it just talking about the NR that comes from downsampling 8k to 4k? or is it adding noise reduction in davinci or other program.? If it is adding NR in post that means the actual dynamic range is about 12 stops. The Panasonic S1 has more without NR. 12 stops still isn't bad. The 8k Sony venice gets 12.8 stops when downsampling 8k to 4k in post. The RED raptor is getting 12.5 stops. So 12 isn't bad. The stills you posted do look fantastic though. Would be awesome if it was a 14 bit readout, though it seems like they would advertise that.

Unlike the Canon R5, which switches to a 12 bit readout when engaging the electronic shutter for photo and video, the Z9 electronic shutter is 14 bit, as that is all it has. Therefore, it is possible for the 14 bit readout to carry over to video, which Resolve apparently confirms at 24 fps in this example: Of course, it could still be a 12 bit source wrapped in a 14 bit file, or there could be an error in how Resolve interprets the files. However, looking at the N-RAW footage, I'm seeing a color depth and tonal range that I don't associate with 12 bit cameras. This is very close to 16 bit R3D files or 14 bit RAW photos:

I kind of still like the old Canon color look. Not accurate but super nice. After comparing the C70, P4K, and Panasonic S1 I definitely like the C70 clog3 with the manufacturer lut applied the best. It is all personal preference at some point.

Yeah I am happier shooting Canon, Fuji or Nikon for stills. Why bother using a system you don't like unless its absolutely necessary to do so. I think two bodies isn't a terrible idea if you can use EF lenses on the pana body with no problem. To me for stills an EOS R would do just fine. Even a Canon DSLR, 5D or 6d, have a great look out of camera, though they are lacking in lowlight against the newer options.

I'm not attached to the S5ii just yet. I view it as a proof of concept of what Panny has in store for the other models' refresh. I needed a mirrorless that can do all the things my Ursa can't: PDAF for gimbal and long focal length interview shots, stills for occasional studio shoots, smaller form factor when situation calls for it etc. IBIS is a plus but not a big factor. I'm mostly a happy camper because the camera is stellar. The trouble for me is that while I love V-log for video, I'm just not married to Panny's color for stills in comparison to Canikon, shoot me. Perhaps I need more practice? S5ii stills are alright I guess. But having owned 5D3, 5D4, D810 and coming to Panny I do miss those colors, and the S1R samples I've seen haven't won me over either. I almost went the R6ii route, but I favor V-log DR over Clog3. I'm wondering if its wise to just split these needs into two bodies vs fight to find the right hybrid body under $3k. One high MP DSLR used, one S1H (or future S2H with PDAF?) and adapt the lenses to it.. Or submit to Canon with an R7/R5/R5C and call it a day. I don't like overthinking this stuff. I claim the purchase to be a good business decision, so I shouldn't let my subjective feels about the stills make me ungrateful for what is a really great camera right? There's always going to be compromises.

Hero 11 shoots "IMAX": Yes, the true IMAX aspect ratio (1.43:1) from the full Hero 11 8/7 sensor (and 10bit color). The uploaded video has no horizontal bars, nor are sides cutoff - there is just more vertical resolution, useful for filming large spaces like Grand Central Terminal. Looks great on Apple Pro laptops, which are less widescreen. 5.3K resolution is more than some (ARRI) IMAX-approved cameras. No, this does not make me Christopher Nolan. Thank you for your cooperation.

So, I asked it the same questions about you being involved in controversies, hoping that maybe you calling it a lying prick might have had some effect. And...well. So, it seems to have dropped the 1DC theft allegation but when pressed further for other controversies, it replied with this.. So you are apparently a fraudster, a racist and a sex pest. I honestly don't know where you get the time 😉 Pressed further for sources, it came up with the same bogus link shit. I then asked it what role EOSHD had in the R5 controversy and it came back with a decent summation. When pressed further though about whether an app was created in pursuit of the testing, it confirmed it was but then went off into fantasy land about what it did and it being sold on here I've got to say that this is horrendous. It blatantly makes stuff up about someone then when the subject of those accusations corrects the record (which should make it smarter) it then immediately pivots and starts making up totally different shit about them. Who the fuck is this "intelligence" actually modelled on? Boris Johnson by the looks of it. The 2020 allegation is interesting as it clearly just randomly tying anything controversial in the camera industry with you as I think we can both guess what that one is about based on a recent settlement. I'm surprised it didn't blame you for the M8 sensor debacle... "Reid is well known for pouring cold water on camera manufacturer's hype and it is believed that the sensors in the Leica M8 began to rust due to this ingress of liquid from Reid."

Lol, I saw that video and I usually quite like Sam Holland but the title is a little bit clickbaity. For anyone that's interested he's talking about focus transition which has been around since the GH5. Maybe the reason that nobody's talking about it is because everyone has been aware of its existence since 2017! I guess it was missing from the S5 though, which is what he seems to be most familiar with.

HIDDEN S5ii Feature NOBODY is Talking About! https://www.youtube.com/watch?v=vxZdTozSzcI Panasonic also posted a message that preorders and demand for S5 II is way bigger than estimated and cameras will be in short supply for some time.

I suppose this is a necessity when you have Arri's poor wireless track record. The WCU4 was absolutely terrible when it came to wireless performance so whatever can help the situation is good I suppose. The Hi5 is supposedly a big step up ....which it needs to be.