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Production process: Shot on Panavision Cameras and anamorphic lenses Using Kodak and Fuji negative films and Kodak projection film No digital intermediary - editing was done on the negative The image quality that blew you away was the state of the art in colour science in 1989. Here we are in 2023, 34 years later and we have 8K RAW but it still doesn't look even remotely like that. It's a pity everyone wanted more pixels instead of better pixels.

Sound check. Internal mics protected by attached wind muffs recording jazz: with activities: feeding, chess, boxing, typing, posing. And an 8K frame grab: And the rig:

For my use, it seems the Sony ZV E1 is the better option. I tried out the Z8 shooting my mode type of video, in a public place, and it was clear the Z8's size, and the Z lenses, make the camera and thus me way more conspicuous than when I use the ZV E1 with the same specced lens (24-70 f4). Now, for an event videographer, this is completely irrelevant- people expect to be included in video, and the camera person can carry an IMAX camera and it would not make a difference. But, I do not want people stopping what they are doing to pose. The ZV E1 can also go from 4K 60P to 4K 120P with zero change in quality or framing, so going to slow motion and retaining 60p (which I now insist) is easy. And, with dynamic active stabilization it is possible to move with the camera without a gimbal, and that is not possible with the Z8. Finally, the Sony's built-in wind muff makes obtaining audio outdoors possible without worrying about wind, the enemy of audio. BUT. There is 8K RAW. Compression is the big enemy of video. And removing one compression step is a big deal. Moreover, as computer algorithms and compression techniques improve over time, the transformation from the RAW video clips in post can only get better. With HEVC or even ALL-I clips (and those partially-debayered fake RAW's), you are stuck with today's technology, and it is far from perfect. The 30+ megapixel frame grabs from 8K video, shot in 60 fps so there is minimal blur yet smooth video, are magnificent. I can handle the Z8 fine; its AF and tracking do not seem much different from the Sony. And I have stuck on the camera my own wind muffs, so I think I can deal with wind too using the built-in mics (which seem very good). Again, I cannot rig a camera for the video I like to shoot with an external mic with wind muff, and most of those mics that mount on a camera are no better than the internal mics - cheaper, small omnidirectional mics can be very high quality while directional mics usually have limited frequency range at the bottom, among other issues. My Z8 8K 60p RAW video "test": This can be viewed in 8K with Chrome (not Edge or safari). And two 8K frame grabs:

WHOOPS!! Yes indeed, that's obviously one very very big typo.

I ran a 12k and walked 18k yesterday but now feel slightly inadequate… 3100 MILES?! Even Forrest Gump would choke.

Oh I dunno, doing an Ironman each day doesn't seem to crazy to me?? When I was (kinda, not really) a "professional" cyclist then I'd 10hrs/day of cycling month after month after month. On the topic of cycling and Netflix, the biggest sporting event of the year just started this weekend!! Tour de France, and the greatest ever sprinter (arguably... greatest ever cyclist) is reading his last ever Tour de France, and there is currently right now a Netflix film being made about him, "Mark Cavendish: Never Enough": https://www.netflix.com/nz/title/81568626 Going to be released next month, once the race is over. A very quick turn around indeed!!! Last month Netflix released another cycling doco on the Tour de France, about last year's race: Been a lot of great cycling docos coming out lately, there just came out last month a documentary about America's first ever Tour de France winner (not just the first American, first ever non-European!!): This is a netflix cycling doco from a few years back, but is fantastic for any sports enthusiasts, not just cycling fans. Because it goes into a deep dive undercover look into doping (the filmmaker, Bryan Fogel, is himself a quite serious amateur cyclist, so he started out by doping himself!! ) : Team Jumbo-Visma did really amazing docos for their own YouTube channel during the last tour, such as: Just in general, it's amazing the very high standard of quality you can see from youtube channels covering various sports. Such as GCN Racing (why would I ever ever want to subscribe to a sports tv channel?? Youtube does it so much better than any broadcast tv I could get): https://www.youtube.com/@gcnracing https://www.youtube.com/@gcn oh yes, I've known about The Barkely Marathons for many many years! Being the super keen former runner I once was. But I reckon the Sri Chinmoy 3100 Mile Race (a kiwi woman won it last year! And set the race record) is a far far more impressive feat of human endurance racing than The Barkely Marathons is. At least the The Barkely Marathons are all completely over and done with in a rather short span of time. https://3100.srichinmoyraces.org/ https://youtu.be/0HusKjAhnvg Only 49 people have ever completed this race! Why aim for climbing Mt Everest or going into outer space? When you could be a member of an even rarer club!! 😉 Perhaps my biggest regret from my sporting life is that I never raced an ultra marathon myself (although, I certainly ran longer than a marathon numerous times in training just for fun).

A decent little video covering this and other Atomos related issues

This! I’ve said it in a few posts. The market is pushing for more megapixels, etc. and I’d rather have 1080p with the image quality seen in that film. The colors just really drew me into the story. I saw a few modern movies after yesterday and was just like wow that’s digital looking.

Probably shares the same sensor with the FX30

From Sony rumors: Allegedly this is a sheet from a Sony A6700 presentation in Asia. If true (and I have no clue if it’s true) this would confirm previous rumors: 26MP Exmor R APS-C sensor 6k30 4k120p 3,69 million dot EVF All we know for sure is that the new High End APS-C camera will be announced next week on July 12!

Oh dear goodness gracious me! Showing a recorder (the Tascam DR60mk2) that blatantly obviously does not do timecode!!

Had it. Also had the MII version. Best ergos ever on the EM5II with the battery grip. The other thing you get with those cameras: moiré.

In a moment of temporary insanity I read the first few pages of that thread and the previous camera one, and was left with impression that BM have a bit of a problem. The people in the thread seem to want a new BM camera to be: FF sensor modular / "box" design with Pro features UMP sensor (or similar performance) replacement for BMMCC Micro Cinema Camera bright tilting/flipping touchscreen replacement for P4K The way I read those incompatible requests is that, according to the customers, BM have four "holes" in their lineup: professional modular camera, likely FF, with SDI / timecode / etc, flagship modular camera, likely S35/FF, to compliment P6K update for P4K for entry-level users replacement for BMMCC I'd even suggest a fifth hole in their line-up, which is an update to the OG BMPCC, which would have the look of the old sensors, but with 2.5K, better battery / sound, brighter tilt screen, and dual-ISO. Of course, the market for that last one would be too small 🙂

Well there is always 3rd party fan to help extend the time a bit. But definitely won't be as good as proper body build with heat dissipation in mind. Or add umbrella on top 😆

Continuing this OT on 4K mainly being a Netflix and consumer TV-driven phenomenon vs 2K for theatrical with a lot of VFX, this article gives a pretty accurate breakdown considering it's a non-industry publication: https://www.vulture.com/2022/07/4k-tv-cgi-review.html Also it reiterates the point I made that indie films are easier to finish at 4K than bug budget ones. Back on topic: still waiting for the Ninja V to get a firmware update to support 24P DCI out of the FX3 now it has the firmware update. It's unclear Atomos will support it at all, but here's hoping. It would have to be a 4.2k raw 24p, I guess with a few lines of pixels cropped off the top and bottom to conform to the DCI aspect ratio.

On mine, I can get it to take an inordinate amount of time to release when the AF is in Tracking mode and then it will still occasionally do it when I switch it to Area but its not consistent and sounds like a different issue to what you are having anyway. By the by, I sometimes don't think the AF ON is performing properly but I need to look into that further. You could try using the Save/Restore Camera Setting function to make a copy of the settings of each camera onto their respective SD cards then swap the cards and load the settings up on each to see if the behaviour transfers to each camera. If Unit 02 doesn't start misbehaving in the same way as Unit 01 when it is using its settings then that would imply it is a hardware fault. Similarly, after saving the settings, you could do a factory reset on Unit 01, check its behaviour with defaults, then re-load your settings from the card to see if it then does it which would imply something within the custom settings you have made.

@markr041 What are your overall thoughts on the camera vs the Sony's you've been using heavily for the last few months?

Testing NRAW HIGH Zlog 8K 60P at Night using ISO4000 (the alleged second base ISO): HDR 8K. Nikon Z 40mm f2 lens.

Here's an overview of the FX3 version 3.0 firmware and the "gotchas" that lurk behind the new features Sony claim.. Incidentally, this guys YT channel is very high quality, in terms of production design as well as quality of information. He's a DP-first and tech second kind of guy, so things are all practical and level-headed. My only criticism is that his uploads are few and sometimes far between, but maybe that's a fundamental problem of expertise - those that have it are elsewhere doing things in the real world instead of just being on YT.