Andrew Reid

I agree. Well, real RAW sensor data is RAW sensor data so it can be converted and displayed as LOG format footage on the recorder. Will have to see what the Ninja V is capable of doing with it and whether LUTs work. Your last question - are you referring to the output of the Fp HDMI port for ProRes RAW recording or something else? The Sigma Fp outputs 12bit RAW data over HDMI. ProRes RAW codec compression is not done by the camera of course - that's the job of the Ninja V, so there isn't 8bit ProRes RAW over HDMI. In fact there is no such thing as ProRes RAW over HDMI as it doesn't originate in the camera. It is RAW sensor data over HDMI and ProRes RAW in your external recorder. It's just easier to phrase it like the former, ProRes RAW via HDMI.

BRAW could have a great future if they license it to other manufacturers. Bit of a pain having to buy an external recorder for it. Here is the choice for Blackmagic... Do they have the most successful RAW codec on the planet in all sorts of cameras by Sony, Panasonic, etc. and massively well adopted NLE (Resolve) or do they reserve BRAW for some Pocket potatoes?

It's that one. Any plans to get a Ninja V?

Like this?

Yeah 1080p only for HDR video mode. It will be interesting to see what dynamic range benefits it brings and how it is doing it. Look at all that moire and line skipping in the 4K RAW. Terrible isn't it!?

Indeed not all mirrorless lenses are digitally corrected for distortion, vignetting, etc. And I wouldn't want to correct for vignetting anyway, I prefer my lenses to have some graceful fall off in the corners wide open (not a hard vignette you understand, of course) The Leica Q is an example of a heavily digitally corrected optic. I have found nothing this extreme amongst full frame mirrorless lenses. Simply shoot RAW and open the file in an app that doesn't apply the corrections to find out.

OK fair enough then! A bit odd to announce it and then unannounced. But I guess they'll have to save something for the Fp 2. Imagine that for a moment - an Fp 2 with 10bit LOG, IBIS, EVF, articulated screen. In the meantime since they have fixed the fluctuating black gamma I'll look at doing Pro LOG for the Sigma Fp and some LUTs. Will have to see how it performs though so no promises.

Nice colours. Did you try the new HDR mode too?

Still better than no RAW at all from Sony. I can't find his quote anywhere though. I saw the product planner saying LOG was coming. Not the quote from him saying they cancelled it. Feel free to screen shot it for us.

I see the dilemma Panasonic had over costs, small size, and so on. What I don't understand is how they can justify such a stripped back G100 in 2020, but give us a superior-for-video GX85 in 2016 for < £500 with IBIS, it's small, cheap, minimal crop in 4K with an old sensor, I feel the parts donor for the G100 just isn't right. It should have been the GX85 with latest firmware features and fully articulating screen for vlogging. And if they wanted to go super-small, it should have been LX100 spec. Not LX100 II with the extra 4K crop. Instead they went for GX9 in even smaller body. Wrong choice. IBIS is a crucial unique selling point for YouTubers interested in Micro Four Thirds!

I will ask Sigma about it as well. Let's see if this is actually correct, as we don't know if the source C5D asked is a senior engineer or someone in sales.

It is first item in the quick menu so one button press and you can change ISO on the dial. I do agree that you should be able to configure ISO to a different button though.

So does the ARRI Alexa

Yes but it still looks amazing and is half the price of the 6K S1H, which is the only one to do the full 6K RAW output. To say it has line skipping artefacts is a big exaggeration in my opinion. The image is very nice. I am curious to see if the Super 35mm mode works in ProRes RAW / BRAW. Something else Sigma could look at in the future is a 1.3x crop mode for native DCI 4K RAW without the downsampling.

What a TERRIBLE camera! R3D or at least the overall compressed RAW patent. Would help out the industry a lot.

Interesting take on the Olympus news here: http://www.sansmirror.com/newsviews/2020-mirrorless-camera/good-m43-news-bad-m43-news.html Particularly about some of the statements Olympus made in the run up to this decision.

Absolutely insane pricing. Crop in 4K mode, no 10bit, but other than that practically a GH5. A used G9 or Fuji X-H1 strikes me as a bargain around £650 as well.

It seems Panasonic did not get their research right on this one 10 min limit in 4K for YouTubers... So that rules it out for monologues, interviews, live events, shows, a lot of YouTube content basically. 4K crop... On a camera for YouTubers who need wide angles for self shooting. No phase-detect AF like the Sony rival. YouTubers need reliable AF. No 5 axis IBIS. YouTuber's need IBIS. May as well use a G95.

Just an eSIM could turn around the entire camera industry.

Very bad news indeed. All their best engineers will probably be leaving. What is their loss, may end up being a big gain for other camera manufacturers including Panasonic. As for the decision to sell to JIP. Incredibly unimaginative. There are a lot of other players who could have turned around the Olympus camera division. Chinese companies, American, maybe even Sigma or Samsung could have been interested in the assets and staff. Whereas who wants to work for JIP? The E-1X and E-M1 III will go down in history as the final Olympus cameras. If you buy one now, it's probably a good time to do so as they probably won't be manufactured for much longer.

Somebody leaked the images to 43rumors. It is in the style of a Canon G1 X Mark III Impressively small and light, 300g.

Would be interesting if they did a GX85 style body with phase-detect AF Hopefully not a low-end vlog camera without VLOG LX100 with a swivel screen and no crop in 4K, along with phase-detect AF would also get far more interest outside the niche of vloggers.

Less Canon A7S III more Canon Z6! 🥴

Although you are at ISO 800 you have massive underexposure going on in those images for C-LOG, which means the dark areas where the noise is are more like ISO 12,800 if you push them in post. So the solution is... Stay at ISO 800 but light the scene, or use a faster lens.

The entire Premiere architecture probably needs dumping in the bin like Apple did with Final Cut Pro. Going to be painful days ahead for Adobe if they can't get performance on par with Resolve for modern formats.