Andrew Reid

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.

How'd it go? The OSMO RAW is now close to just £1k used. Not sure if that is with the 512GB SSD though. I thought those were included in the box, but some sellers seem to like to split it off!

Fro Knows Cocktails.

Thanks! Looking good! Which lens?

Good info

That lens is absolutely nuts. I got mine a few months ago (16-55mm F2.8) and initially used it on the X-H1. It has sharpness like a Cooke S4i. Yet it's a zoom, for a consumer camera. I don't know what Fuji did here but that's some seriously impressive optics. Sharper than the Sigma 18-35mm and smaller, lighter. The AF is practically instantaneous not to mention silent, it's been flawless on the X-T3 so far. Review is half way done for the X-T3 but having an EOS R and Z7 to compare it to has slowed things down. Still, should have it done by early next week.

Why the fuck are you still shooting 1080p in 2018 when you can edit 4K and export to 1080p?

This new French camera has a few very noteworthy ideas behind it. First of all, it does away with a mechanical shutter to bring the cost down and instead has a global shutter CMOS sensor. Global shutter of course avoids the kind of distortion and banding you get from a rolling shutter. It has the advantage of being completely silent compared to an electronic shutter. Read the full article

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother. Otherwise we get to review their grading and not the performance of the camera. 99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others. Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see. My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this... - Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier. - Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot. - Put an articulated screen and an EVF on the next model. There are $400 cameras with these. - Keep up the good work on Resolve and the codec side - it is superb.