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They pretty clearly didn't- "fx3/a7s3 sensor vs. A7iv sensor" obviously acknowledges the FX3 and A7sIII are the same.

I legitimately think that the consumers will eventually abandon any manufacturer that tries this. And, if they all try it together, I see a mass revolt against new models and perhaps even a movement to “older” cameras.

intoPIX and Fraunhofer IIS are the two major contributors to the JPEG XS patent pool - https://www.jpegxspool.com/ and https://www.jpegxspool.com/s/JPEG-XS-Patent-Pool-Licensed-Patents-01-Oct-2023.pdf and https://www.tinynews.be/jpeg-xs-intopix-belgique/ As JPEG XS uses a wavelet transform, there is a reasonable chance TicoRAW uses a wavelet transform in its implementation, especially as JPEG XS has built-in support for RAW Bayer/CFA images - https://en.wikipedia.org/wiki/JPEG_XS#Sensor_compression But as intoPIX is a developer of video compression technology, TicoRAW unlikely to be "just another branded version of something that someone else wrote."

intoPIX's patents describe the algorithm. If it is the same as used in another previous product then it is unlikely to have been granted a patent. Of course this assumes the patent office can understand the algorithms and the novelties in context, which is not necessarily the case. Given the patent text it should be possible to implement it.

Yea a recurring subscription to keep something I already have is BS. A one-time fee to add new features, I guess, maybe, although Sony wanting to charge $149 for some crop marks/guidelines doesn't inspire faith that more involved/worthwhile upgrades would be reasonably priced. Panasonic's $200 upgrade felt fine though, for most cameras that took it you were getting V-Log and a bunch of other features, so it felt worthwhile. The process for applying it was more annoying than how much it cost. I think reception will all come down to if the price is reasonable and it doesn't feel like they're holding back features on release so they can charge for them later.

In digital, highlights don't roll-off - they clip faster than a Ferrari without breaks. The roll-off is applied as part of the processing that occurs after the image is read from the sensor. In terms of DR, you have to find a source that has tested both with the same methodology. Luckily, CineD is one such source: https://www.cined.com/sony-a7-iv-lab-test-rolling-shutter-dynamic-range-and-latitude/ https://www.cined.com/sony-a7s-iii-lab-test-does-it-live-up-to-the-hype/

Yes I was talking about Nikon 4.1k Nraw vs H256 codec. Saying it was quite a nice compromise.

I really want to "own nothing and be happy" but I'm not sure about the second half of that sentence.

I recently bought a new treadmill and was amazed that the high-end ones required a subscription model. I wouldn't be averse to buying a GX85 updated firmware, but to buy and re-buy the damned thing over and over again is ridiculous. Yet another reason to snap out of the specifications trance that everyone seems to be in and focus on making better videos, rather than making the same videos with better spec'd equipment.

Welcome to doing video! Stills photography is so easy by comparison that comparing the two is almost impossible. I also came from taking RAW stills into doing video, so you're on a difficult but well-worn path. Of all of my advice, this is the most important... Don't believe anything you read - test as many things yourself as you can. I have done this over the years and I have routinely found that a third of what "everyone knows" is completely false, and another third on top of that is completely misunderstood. It shouldn't surprise anyone, but the misconceptions and outright lies will often push you in the direction of buying things that you don't actually need, and come from the manufacturers pushing very one-sided or suspect information and then it being "re-interpreted" by consumers who are too stupid or lazy or both to question it. Best of luck!

One of the best books that I read about color theory is The Art of Color by Johannes Itten. It can be found on ebay for cheap.

No thank you. I have very few subs to anything and even for my Adobe suite, massive annual discount because of someone I know, (sorry, cannot pass you their details!) and if I did not have that discount, would be using something else. I recently cancelled my annual Musicbed sub and switched to Audio as it’s about 10x cheaper and for the types of tracks I use, a no-brainer. Otherwise Netflix and AppleTV but that’s it for monthly or annual subs. Re. some stuff, if I am not buying it outright, I expect to pay a sub such as Netflix, but having to pay for firmware often with stated or unstated bug fixes? More than a bit unethical and grasping IMO.

The reason here is a bit different though. V-Log L clips at 80 IRE so my LUTs in the V-Log L LUT pack will push that to white. V-Log on the S1 clips at 88 IRE if I remember correctly so any information between 80-88 IRE will be lost, even if the interpretation of the clip is correct (full vs video range).

I think he was talking about N-RAW versus h265. The bitrates for N-RAW are here - https://onlinemanual.nikonimglib.com/z9/en/06_video_recording_02.html#id226OJ0Y0V5Z - 4.1k at 24 p is 350 Mb/s in Normal quality mode.

I'll chime in with my usual advice about colour grading. The simple fact is that colour grading has a much more significant role in getting great looking images than the camera does. I'll also re-enforce the points above that what you point the camera at is more important than anything else. When we look at something shot on ARRI or RED or the high end Sony cameras, the reason they look great are 70% the scene, 25% the colour grading and 5% the camera. I know this is a bold statement, but I stand by it. Colour grading is the elephant in the room of all online discussions about cameras. Everyone is looking at sample videos and going "wow, this looks great - I want to get that look without doing any colour grading or work in post at all!" and it's just not true. If you need more convincing, here are a few things to look at: The BMPCC 4K can match the Alexa almost perfectly... So, why don't all P4K videos look as good as Netflix shows? It's not the camera! The image from the GX85 is more flexible in post than you think... @John Matthews I haven't forgotten about doing a follow-up with skin-tones in it. Simple colour grading > Camera colour science... I compare a few examples of the 709 version of some professional grade images with the final colour graded image, and it's pretty obvious that the 709 version looks quite plain - a lot like the images we get when us mere mortals shoot The best film-making advice I ever got was to do with colour grading, but it helped me improve my shooting, editing, sound design, etc etc, the whole lot. Here are a bunch of GX85 shots SOOC that I took in Korea last year.. this just goes to show you that not only is the GX85 a very capable camera, but that it's the subject that you put in front of it that really makes the difference. Of course, colour grading will elevate these beyond that level. High-end TV shows and movies look nothing like the standard images out of a camera... In this thread I compare some standard images from ARRI with real images from TV shows and movies and it's pretty obvious that not only are the colours significantly changed, the real images aren't sharp and clean like the videos that camera YT seems to idolise. The goal isn't technical purity, the goal is creativity, and this means taking your sharp and clean images and giving them some character. I could go on (many will wholeheartedly agree on this!) but long story short... the camera is a minor part of the journey that the image takes from finding / creating something cool to point it at, to all the work done in post. Also, learn to edit. Well edited bad-quality clips are better than boring high-quality images every time.

I thought the same, until I tested a bit the 4.1 K (pixel skipping) of my z9 as I calculated that it was about 350 mb/s bitrate (I dont know if it is capital M or small m), compared to about 200 mb/s the h.265. Another surprise was that it played better using Resolve than H.265. For me this has been my defacto standard for higher end work. I must do some more test about DR etc. to know what loss compared to 8k. Which I think is just too much. If I could get a 4k or 6k raw camera, I would be super happy or with the likes of Redraw higher compression.

I don't know what's going on in your world, but I can tell you it doesn't matter how you fiddle the menu on a camera that leads to good shots. All the real work that happens with a good shot starts outside of the camera. The camera is honestly one of the LAST things you should fret about. I swear to God, you can be a better shooter by visiting a museum full of Romanticism Artistic movement paintings. Study how light affects a scene, and you'll become a more sophisticated videograper that way. If you can't train yourself to "see light" you're always gonna struggle. I'm not being flippant here. It's the cheat-code. Skip all the tech BS and learn light. Take a classic art appreciation class. Learn composition skills. These are the things that actually make a difference. Train your eye to be a shooter and a person that can paint with light. Sure, you can be a pixel nerd, but that has a low ceiling of accomplishment and, honestly, advanced tech makes those acomplishments not a big deal to begin with. And look, when you study art, you'll learn more about the human condition along the way, maybe even some philosophy. Win-win.

With today's news, I feel like I made the right choice going with the Z9s, not just for now, but for the future.

I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:

you asked like the sensor in A7S3 and FX3 would be different. They're not.