sanveer

A lot of people are unable to understand the implications of the overheating. The poor heat management means that each consecutive shot will be for a shorter duration and cooling time necessary, will be longer, after every shot. By your 10th shot you may get like 3 mins of recording time with a cooling period of 20 mins. Both figures are random estimations. Maybe at temperatures above 30°C, it may be worse than this.

I saw the video. For anyone interested, it's near the end. Last 1-2 mins or so. But the heat management is really terrible. Canon probably expects all users to carry an ice box with the camera, filled with ice cubes, and the camera has to be thrown into it, after every short take, to cool down. In anywhere over 35 degrees centigrade, I am guessing this may even burn the sensor or possibly explode. Scary. Not just unreliable.

I am guessing the partner (Jim Zhang) stole the designs and sold it to one of the mass scale IP replicating manufacturers in China (possibly different from the original manufacturer, who was still fine tuning the lens quality). When he got sued, and lost he promised to share profits (with partner Ryan Avery). What started out as theft, ended with better lens design (solely because the Chinese manufacturer probably had copied others for a very long, and probably got the basics right, and costing too). At the end the price also came down substantially, and hopefully they're both sharing rh profits (Jim and Ryan). I hope they also commission the 8.5mm prototype into a cinema lens. That would be great. https://thecinelens.com/2020/04/18/rip-veydra-2014-2019/

I liked how it wad shot and the fight choreography is pretty neat.

Interesting. I have to try it then. Thanks

Ok interesting. I should probably use it on an older iPad or iPhone. That should help me get an idea of how it works in the field. I've just used the Panasonic app a few times or used an attacked monitor. Maybe this would be similar.

I checked the reviews for the (Accsoon Chengdu) CineEye App, and it has mixed reviews saying reliability is low(for the app). One had to buy a receiver (and transmitter?) for it to work, and it's faster and smoother on iOS. It's pretty good for the price (about $220). I am not sure why ILC manufacturers themselves don't ensure that there are a lot more accessories that do the job, way better, at good prices. And this can be transmitted to multiple devices simultaneously (upto 4?).

I read the comments below this. As with a lot of cable into smartphones, unless they are optimised for this by software and hardware there is always a lot of lag. Plus the screen resolution is low and frames keep dropping. Unless this replaces a proper monitor its not an easily usable idea.

They want us to hone our colour correction skills further 😉 On more serious note, I guess Blackmagic needs to figure this out. And check whether the reviewer's monitor wasn't calibrated well (or at all), or is it a genuine issue.

Not sure why you've posted 2-3 different font sizes. Maybe some replies are more important than others. The problem is with Davinci Resolve converting the log profile to the full color corrected one. The suite need to be fixed with regard to identifying the new color science more accurately.

All cameras have some colour cast and not all colours can be perfectly represented by any of them. Unlike on 8-bit DSLR footage, on higher bit-depth cameras you can easily correct this with a colour checker, with almost no effect on the final footage (coming apart). Anyone who probably is unhappy with this footage hasn't seen Alexa footage. It is quite green. Anything wider then the rec709 standard (all log) spills into wider colours, maybe for the purpose of maintaining the wider dynamic range, that effect colours before it is corrected and turned into a narrower colour bandwidth. Some log profiles have sepia some have green casts. The Blackmagic lut didn't cater specifically for the generation 5. That doesn't mean it's bad. I am not sure any lut by itself, will be able to colour correct log 100% without tweaking the colours wheels or white balancing a little further.

All Bayer Pattern CFA is way lower than the stated resolution, Regardless. You get Only 1/4th the actual stated Pixel resolution. And then the OLPF/OLF reduces this by another 15-30% (though to be fair, without it, the image would be a mess, or have resolution reduction by algorithms even if wasn't exactly as much). Not to mention the light loss. Only multiple lab tests would show whether this has less resolution than a regular Bayer CFA (for the same number of states pixels) and if yes by how much. How did you arrive at this?

RED users are the missing zomies from the remote Islands of Haiti. I guess not much else needs to be said about them.

John Brawley said the 110p would be upgraded to 120p. Also the model used for the test shots contained the innards of the old G2, and the final released 12k model will have completely new innards ("It was “disguised” as an URSA Mini Pro G2, and even used G2 hardware inside. The shipping camera will have totally different innards."). So this may be further improved, till it makes it to actual testers. https://johnbrawley.wordpress.com

I have the Steve Jobs kind of viewpoint. Many times, over qualified and over experienced people can be dangerous to development. Especially of newer technologies and ideas. I suspect that Blackmagic is slowly releasing details about the sensor and tech in the 12k camera. And that, there is a Lot More, to it, than meets the eye. Starting with the CFA, the ability to have multiple readout speeds, how it does 12k at 60p, and has such low rolling shutter. Also, I am guessing they've reduced aliasing and moiré artefacts, without the OLPF/OLF.

I believe it has some interesting heat sink tricks up its sleeve, while maintaining weather proofing. Something Canon forgot while making their Barbeque R5 and R6.

"You can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 110 fps without cropping or changing your field of view. "

So interviews are like running cheetahs or hopping gazelle, where focus keeps moving constantly across frames. No wonder, that, there were no interviews recorded until dual pixel and modern age PDAF sensor autofocus was invented. Would good autofocus have been nice? Absolutely. Will people not be able to shoot studio work without excellent autofocus? No.

Thanks for the revert. I just checked. "Only Blackmagic RAW makes cinema quality 12‑bit, 80 megapixel images at up to 60 frames a reality! Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give you the best possible images with predictable and consistent file size. You can record RAW to two cards simultaneously so you can shoot 12K or 8K to either CFast or UHS‑II cards, even at high frame rates! Blackmagic RAW stores camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production." "You can shoot up to 60 fps in 12K 12,288 x 6480 17:9! For higher frame rates, you can shoot 110 fps at 8192 x 4320, 140 fps at 8192 x 3408 and even window the sensor to Super 16 to capture 4K at an incredible 220 fps at 4096 x 2160 DCI! URSA Mini Pro 12K has flexible frame rate and resolution options, and captures with improved motion rendering which means that you get smoother edges in 8K and 4K even at lower frame rates."

It's somewhere in the ballpark of 81MP frames? Can someone confirm this?

The may have tourette's syndrome. I moved the spasms a few times previously too.

Super35 sensor. But the Super16 crops seems strange. May introduce a lot of noise.

12K??? https://youtu.be/sV8iFzpuecA

The United States apparently produces quite a few of IP Troll lawyers and companies (Zaxxcom and RED are the biggest IP trolls).

Maybe the Deity BP-TRX if you're outside the United States.