Andrew Reid

What's interesting is that the Digital Bolex used a completely separate board for the Kodak CCD sensor internally. This was to avoid introducing noise which would need cleaning up and it is that step in the pipeline that hurts the nuances of a sensor according to Joe Rubinstein. So it might be that with the modern cameras and their single circuit board, there's simply too much pre-processing going on and too much interference with the signal coming back off the sensor, which lends more digital look. It would be lovely to get the look of a Digital Bolex in a modern mirrorless camera. We'll see if we can harangue the X-H2 into looking more 'raw'.

https://we.tl/t-ZnnuboUFed That's another X-H2 ProRes 422 HQ clip in 8K (FLOG 2) Autumn trees at infinity Will be interesting to see how (or if) the processing has changed

I would go with either the Panasonic S1, Sony a7 IV, Fuji X-H2 or a GH6 Look at the pros and cons of each of those and see which one you prefer S1 has had such big firmware updates it's almost a Mark II, and has the best image for the price (in V-LOG) and is full frame. But lacking in the AF department and is quite a brick. a7 IV is a very capable all-rounder. No major weak areas. Might be a bit over your $2K budget though. X-H2 has the best codec, and is 8K. Excellent AF. It isn't full frame and may necessitate new lenses. GH6 is a good bargain and if you don't mind the crop sensor, has the biggest feature set for video of nearly any camera on the market. Endless creativity and options.

Thanks Dustin. Anyone got an X-H2S as well? Would be curious to compare

Looks a lot better than the H265. I'll try the 422 in 8K next.

Very nice, but doesn't it get expensive over the years as masses of material builds up on the NAS? Nikon are not the saviour, they are a very naughty boy. If you look at arch rival Canon, internal compressed C-RAW, and the only one RED doesn't seem to have a problem with. Nikon will be after a similar deal to Canon. Likely a technology and patent swap deal. I can't see the patent rolling over quite so easily at this point, but Nikon's approach to use the original EOSHD Forum argument about why the patent is invalid is certainly novel 🙂 The only way I see this being resolved is for somebody to eventually buy RED. Perhaps Apple, Nvidia, DJI, Canon or Sony, and for the RED codec to be licensed to earn some money before the patent expires. DJI would probably be most interested. Whether RED is up for sale, let alone to the Chinese is another matter.

Here is a ProRes LT clip at infinity https://we.tl/t-Di1du9K61X Will try and get more footage today but the weather has been diabolical.

USB 4 port as well so quick to edit straight off an external SSD, if iOS lets you do that. It will be interesting to see if the iPad version runs on a MacBook as well considering Macs now run iOS apps. I am all for a slightly simplified user interface and stripped back to the core basics version of Resolve!

I would love an internal 2.8K RAW codec around 300Mbit. A good balance of image quality and practicality. I have moved on from 1080p but 2.8K never got the attention it deserved. It's a big step up from 1080. As the original BMCC showed! Closest at the moment is the 6K C-RAW from EOS R3 in 24p mode at 720Mbit. Or ProRes LT on the X-H2 which I think stands up very well to some of the lighter RAW codecs and BRAW. ProRes RAW file sizes are a bit silly so won't be rushing out to buy an external recorder any time soon! Canon RAW lite seems to edit quite fluidly on my MacBook Pro 16" (m1 pro) It's a shame EOS R3 cannot downsample the RAW to 2.8K and 4K in-camera as I don't particularly need 6K.

Username checks out 😉 Honorable mention to EOS R3 with 6K C-RAW (24.00p/23.98p): Approx. 720 Mbps That it is actually quite a nice data rate for 6K RAW compared to most other cameras which are 2000Mbit+

Remember when the 1D C came out, with MJPEG 4K. 500Mbit/s file sizes were a real struggle in a practical sense. Now we have this enormous range, anything from 100Mbit H.264 to 3000Mbit RAW. I am interested what kind of file sizes people are comfortable with and using most in 2022. Do you find yourself sticking with smaller file sizes like 200Mbit H265? Would you shoot much ProRes 422 HQ if you had a Nikon Z9 (2700Mbit)? If so what are you editing from (HDD or SSD?) and archiving master files with? Looking forward to hearing from you all. Just for reference. Here's what I think... - Best overall codec is ProRes 422 LT in 4K oversampled from 8K on X-H2. 435Mbit and image quality is flawless - Bitrate sweet spot for me is around 200Mbit. I find that kind of file size nice and manageable over time. Anything bigger is more of a special occasion thing. - I don't mind 8bit at all as long as it has some colour science mojo going on - ProRes 422 HQ in GH6 and Nikon Z9 is too big, not practical in my opinion - may as well shoot raw? - HVEC on S1 and S1R has some very nice mojo going on and tiny file sizes so a thumbs up to them. - I don't shoot BRAW, prefer Cinema DNG on Sigma Fp-L. Special occasions only but great for pulling stills from a short burst at 24fps.

FX30 is soundly thrashed by the X-H2 under $2k but I can see why Sony are the new Canon - Trap people in the ecosystem with their lenses and adapters. There must be a big profit margin on the FX30 because the Sigma Fp is same price and is full frame and internal RAW 4K!

I don't understand why anyone would go for the FX30 over an X-H2. Am I missing something?

Finally stopped pissing it down with rain so some shots coming up later today. Here is first one... 6.2K ProRes LT. It is very impressive how it scales the 8K sensor. No crop in either 6.2K or 4K. The IBIS is amazing as well. Is this first shot a good test clip with the autumn leaves, or do you need something further away at infinity focus? Wetransfer link: https://we.tl/t-g7zPP58q3B

It's thought of a rare disease but is anything but. Looking at the stories on here breaks my heart even more than it is already. So much loss and suffering because of no cure. The best we can do is stay positive and put our faith in the medical professionals who are making so much progress. Already there's a lot they can do for early stage cancer and certain types, compared to what would have been the case even just 20 years ago. The NHS did their best for Zara but it was not to be. I am genuinely scared of what the future holds if we do not start living in a more healthy environment. Huge businesses are playing Russian roulette with our food, our water, our air. If we don't do something to hold them to account in a big way this planet is finished.

Great, will grab you some files and post the links below later

£700 price difference in UK so quite a lot. 4K/120p I have on EOS R5 so didn't need that again. On the X-H2S the 4K 120p comes with a hefty crop of sensor. 6.2K open gate already got on S1 and the 5K 4:3 mode of S1R great for anamorphic. X-H2 rolling shutter seems fine so far, I don't shoot a lot of fast paced handheld action. DR and AF isn't better on X-H2S and IBIS is worse. Was this one of Gerald's tips. A real revelation that is haha. Yes curious about that as well. Care to do a test if I give you a file to play with @Attila Bakos?

Yes it does ProRes HQ 1080p The bitrates for ProRes are variable so maybe Fuji are stating the maximum values? This seems to imply an average bitrate of 328Mbit for UHD ProRes LT https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/ Whereas Fuji say 435Mbit https://fujifilm-x.com/en-us/products/cameras/x-h2/specifications/ Will be interesting to see how close ProRes brings Fuji to the look of a Blackmagic camera. As I always considered a really chunky ProRes codec the missing link between cine and mirrorless cameras. Also will be interesting to look at smaller H.265 file sizes in 8K and compare to the oversampled 4K ProRes.

X-H2 IBIS seems very good so far. Wonder if the X-H2S has a heavier heat sink wrapped sensor, since it's the very fast stacked CMOS in that model, and therefore less nimble or less room to move. Bitrates in 8K ProRes are insane. Don't think I'll be using that mode much. 1600Mbit in LT and 3200Mbit in HQ. Makes the 1D C MJPEG look positively tiny. In 6.2K it is 1000Mbit in LT In 4K ProRes LT we get down to 435Mbit in 24p... Still very big files. ProRes is one of the main selling points of this camera to me but the file sizes in LT are a surprise as I thought LT was around the 200-250Mbit mark. It does do ProRes Proxy but not tried this yet. Not sure if it is 4K or just 1080p proxy. You can't only record in ProRes Proxy, has to be done together with HQ, 422 or LT. However definitely does build nicely on top of X-T4 image quality and features, for not much extra money... X-Pro3 still feels much more premium and more enjoyable to use for stills and the odd video on a tripod. I am not sure all the glowing reviews for X-H2 are entirely justified but will dig deeper into it.

Got the bang for buck 8K camera. Only had it for 5 minutes and noticed it has a stuck pixel on the LCD so better get it switched. Quite distracting. Seems on paper to be one of the most exciting cameras at or under $2k. (£1899 in UK) First before I get too far into praising this bargain cinematic beast, here's a few things that the usual suspects in the review / shill kingdom didn't tell you... Handling has some distinct steps back from my beloved X-H1. There is no more drive mode lever, but unforgivably no movies/stills switch either like X-T4! A very strange omission given the hybrid nature of this model. I can however assign custom stills mode to function button and tap in/out from movie mode without having to change mode dial through all the many steps from Movies to PASM. The finger gymnastics to reach the WB and custom buttons on top panel is ridiculous. Really bad placement. The overall styling isn't as nice as X-H1. It looks and feels cheaper as if some cost cutting has taken place. For sure it is an uglier camera. No more inward press action of the jog dials, quite poor dial feel, just in general a slow hacking away of what made Fuji bodies nice like the extra dials and nice styling. But when we get down to the nitty gritty I expect to be more impressed. S35 8K ProRes for $2K is pretty special. I have read that IBIS is better on X-H2 vs X-H2S as well. Any idea why that might be? I can't quite believe reviews have that right.

Very sorry to hear that Kaylee Tough times. Hope you have plenty of support. You certainly do here. Long to live in a world where the science community have cured cancer... They're making great progress. One day it'll happen.

Sorry to hear. One day we will beat it and make it a tragic thing of history.

Sorry to hear that mate.

All the best in medical care and luck for your father-in-law. Hope he wins.

Thanks for your message mate. And your email @newfoundmass and @Snowfun - wonderful. If I don't get back or reply much in coming days, sorry in advance for that. To all those with families affected by cancer, we will one day avenge it and eradicate it. And if it helps play our part to do a sponsored camera challenge for a cancer charity, could be something to look into for EOSHD this winter, if I can pick myself up and get back to work.