Andrew Reid

No it's digital.

You win! Nikon Noct can go to hell

First clue. Combined age of camera body + lens is 70 years old.

Nope!

Nope.

Nikon Z7 just got a lot better

It's good news and bad news. Yup. Greys out 1080/60p/50p in EF-S mode and Movie Cropping mode. 1.6x crop mode is only available for stills. 4K and 1080p crop is 1.8x. In 1080p crop mode it appears to use the 4K sensor output, downsampling to 1080p, along with 1.8x crop when you attach an EF-S lens. That's the bad news. The good news is I think the image looks a bit better in the EF-S mode...1.8x crop 1080p mode seems sharper.

Click to download the big full res version Guess the camera... Clue it is better for stills than video.

The thing with that is grain is usually the first thing to go when compression kicks in. It would be very hard for Fuji to keep the exact same grain in video mode as they have in JPEGs. Probably better to add it in post or shoot raw video.

Good luck recovering highlights in LOG, it doesn't really work like RAW. You have to make sure to underexpose to protect any highlights that are important to keep and use zebras. Also different cameras will have different metering in LOG, like a Sony for example where you expose two stops to the right, is thanks to a shit metering system. On a Fuji X-T3 you can expose bang in the middle and it will be correct for F-LOG. So exposing to the right is not a universal rule for LOG.

Found this about Cinelight: "You can just export them as DNG files and that is how you "copy" the data, for 15 minutes it takes about 30 minutes for me to copy all the footage. Which is reasonable." https://forum.dji.com/thread-47560-1-1.html As long as no processing is applied to the DNGs like lens correction, noise reduction, etc. then it is apparently 15 minutes to export 512GB. Not bad. Then to transcode in Resolve to ProRes takes a surprisingly short amount of time on a good rig, as Resolve is ultra efficient unlike Cinelight.

That's just a sensor on a gimbal! You need to attach it to the Inspire 2 drone. So I found the answers to the SSD workflow - 1. The SSD uses a proprietary DJI file system that cannot be read by a computer like a normal drive. Only the Cinelight app can read the SSD, so there's no avoiding it. 2. In Cinelight you can export to Cinema DNG from the MLV-style RAW format the OSMO RAW records in to the SSD 3. You can also export to ProRes in Cinelight but I believe this isn't hardware accelerated, so much slower than transcoding the DNG in Resolve to ProRes with Blackmagic LOG applied 4. Once you have that ProRes, I would then probably edit in Premiere and apply a LUT Not exactly a Blackmagic RAW style workflow, that's for sure. A bit off-putting, but still excited to try one out.

I think that is for the X7 and X5S on an Inspire 2 drone.... Nothing to do with OSMO RAW or the X5R (it doesn't do ProRes anyway).

@Oliver DanielWhat's the PC workflow? Can you just copy the DNGs straight off the SSD and open in Resolve?

Next step is wait for Canon firmware file, dump it and decrypt it.

Yup still an unknown number of challenges, so putting an ETA on a reverse engineering project just doesn't make sense. It's not like they have the firmware all mapped out in front of them and a full time work schedule based on Monday to Friday

Info for video above... Lenses: Voigtlander 17.5mm f/0.95 and Super Takumar 50mm f/1.4 with Black Promist 1/4 (Which explains the less clinical look then!!) Canon C200 Lenses: Sigma 18-35 f1.8, Canon 50mm f1.2 and Canon 85mm 1.2 with Black Promist 1/4 BMPCC Resolution and codec: 4K DCI, RAW 4:1, 24P and 60p Canon C200 Resolution: Canon RAWLIGHT 4K 60P 10bit Remind me... Is C200 raw internal or external? I have forgotten LOL.

@Neumann FilmsCinelight is pretty slow then? I am wondering how long it takes to transcode that entire 512GB drive (30 mins of footage) and whether they make any improvements with the latest 2018 versions. Proxies seem to work well for Premiere. I'd probably use Resolve to edit the Cinema DNG natively. Works better and better every year as an editor. What's the low light like - can you get away with ISO 1600 if treated nicely in post?

The Alexa is not God. It's quite an old camera now. Just because its the industry standard doesn't mean to say it has a wide performance advantage to certain other cameras. I had an interesting bloke from the new Mad Max movie contact me during the production. He was looking for the most compact possible single focus anamorphic for a drone shot and had Google'd Iscorama Small stuff is used all the time in top-flight production, and cuts just fine with an Alexa. The way people talk about that camera, you'd think it was Alexa, BIG GAP, then everything else. It isn't. Some of the cheaper RAW stuff is right up there.

That has shots to stand the hairs up on the back of my neck. Absolutely bloody wonderful! Mr @Neumann Films clearly knows how to use a gimbal slowly, cinematically, almost like a slider and crane replacement on some shots, rather than waving it around randomly like a robot wand I think it's easy to miss the point of the OSMO RAW. Yes, sure it has major flaws. But what else, seriously, is this small and easy to grab and go, which shoots 4K RAW with 13 stops dynamic range? In my article, I think all the criticisms are a reality - but I might be willing to put myself through some pain - with the greater satisfaction that brings in the end, rather than having it all too easy, sometimes limitations can be a creative inspiration. I am not kidding Yes the Ronin S, Crane, etc. can get the same shots, yes a GH5 can get you close to the quality of raw but it's still not RAAAAAW, also the rig has to be set-up each time you get it out of the bag (not that it really fits in a bloody bag to start with - more like a suitcase) and the weight is 3-4x more than the OSMO. Did you @Neumann Films find a way to access the DNGs directly off the OSMO's SSD rather than bring them through Cinelight? Because even with proxies, after editing you are still going to have to crack open those DNGs eventually and it takes HOURS, doesn't it? What if you need to use the SSD again in a hurry? Did you buy multiple ones? They are quite pricy. I also love that if you buy the OSMO RAW X5R, you pop it off and there you have your Inspire 1 RAW drone as well. Saves you money if you're planning on getting an Inspire 1 anyway.

"Shit vacuum cleaner" HAHHAHA! Well I'll skip it, but if DJI ever make good on the concept I'll be interested. I do wonder how much of the bugginess they fixed... or not, in the last 2 years.

Camcorders a bit off topic so let's stick to the OSMO RAW. If there was a way to read the SSD directly and bypass the slow Cinelight app, I'd buy one. But I cannot wait hours and hours to transcode 512GB footage, before being able to pick it up and shoot again. It'd kill the practicality of it. You could be setting up and balancing a Ronin S in 10 minutes. The size and weight still attract me to the OSMO though. Yes the X5S is the one with the 20MP GH5 sensor in it, 5.2K RAW. DJI promised a ProRes RAW codec for that but haven't delivered the firmware update yet. Seems to be delayed. The OSMO handle with X5S and ProRes would be a clear step up but the older X5R is so cheap now!! This was nearly £4k when it came out and now it is £1200, although it's not clear if that includes the £600+ 512GB propriety SSD. I need to ask the seller. PS - X5R has 25ms rolling shutter, which isn't ideal. X5S is more like 14ms, like GH5.

I am sure he is a Russian bot of some kind, out to divide us

I can see in-camera gimbals making a revolution at some point. Sod camcorders

Yes I saw that. Some pauses-for-thought in there. I am wondering if firmware updates have improved matters since. The article doesn't mention it but there is a wired HDMI link to Android phones which prevents drop-outs and fuzzy video feed. The file conversion app is the main problem. 12 hours to convert 12 minutes of footage, is a joke. What other codecs does the OSMO RAW now support in-camera? Can it be used like the OSMO 4K Pro for the times you don't need raw? Or does it only record low-res proxies? Does the 512GB SSD come with it as standard? These have come down to £600 used but it's still far too much because really, you need 5 of them If they fix the raw codec (I don't know why it doesn't just do straight to Cinema DNG 3:1), this thing is one firmware update away from being a valid Pocket 4K alternative with built-in gimbal. Battery life is very short but the batteries are £20 and easy to change. There is nothing else as "pick up and go" this small and light with no balancing required that shoots 4K RAW with interchangeable lens mount. You can throw it in a backpack. The Pocket 4K on a Ronin S is also about 3x the weight. We're talking nearly 3kg inc. lens. That's a lot to hold by one arm on a long shoot.