sanveer

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.

Everything is an eventuality. 8k is happening. Regardless of how overrated it may be. And how unreasonable and resource heavy . They cannot create a new body design except for their studio or higher end. If they created a new camera type, lots of loyalists would throw a tantrum. I sometimes wonder whether Blackmagic should have picked by IBIS, an Articulating Screen, Good Battery Life, PDAF and Weather Sealing from Olympus, before Olympus committed camera division as a junk sale. Imagine a smaller and better designed Blackmagic camera, more on the lines of a FF camera like the S1H with internal BRAW, an articulating 3.5inch display, good battery life and IBIS, 6k or 8k. For $2500-3000. People may feel reluctant to pick it up, how much easier it would be without a ton of accessories. In many ways, I felt Blackmagic and Olympus should have explored a joint venture opportunity. I guess not only parents and licences of Olympusbare up for sale, so it's probably a little late.

They'll probably put that 8k FF sensor into the Pocket Camera Body. Everything else will probably remain the same.

IMHO the GH6 could be a seriously formidable camera with just a few good tweaks to the sensor and PDAF. If it only does 4k at upto 120fps (and perhaps 1080p at 240fps), has atleast 1 stop better dynamic range for video, has 14-bit RAW photo and about 1.5-2 stops of better low light, it should be more than sufficient for the next generation of filmmakers and usable for another 3-4 years. Having RAW via HDMI or having some flavour of internal compressed RAW (BRAW) would be great. 8k is just overkill, causing the camera to turn into a barbeque machine and eating unnecessarily into memory. Plus good 4k can easily be upressed to 8k, if one absolutely needs it (which is like not right now). The colour science and highlight handling need tweaking and the VLog L needs to go. Luckilg it doesn't suffer from overheating, and so many othe issues. Panasonic should keep the price as low or lower than the GH5. They could do this by re-using the GH5's basic body structure (or using the G9's body structure) and re-use some of the hardware. If they get PDAF, and these features, and the GH6 is priced at $1500-1750, it could easily eat into everyone else's market. Both size and price of the M43 has become difficult to justify after the launch of the A7III and the XT3, and the ever increasing size of M43 bodies (1DX and G9) and lenses (all the Olympus f1.2 pro primes). Suddenly $2000 seems like a good price for many cameras. Blackmagic makes great cameras, but they lack reliability, weather-sealing, decent battery life, IBIS, decent autofocus. Also the 5 inch screen seems like a wasted effort if it cannot be seen during the day. Panasonic just needs to consolidate its video prowess.

I completely agree with that viewpoint. Not sure why Panasonic isn't making autofocus their biggest priority right now. Almost everything else seems acceptable (dynamic, colour science, codec, even low light and other things which could be improved for better usability but aren't unusable) and some things are also exceptionally well executed (IBIS, unlimited, recording times, HDMI albeit a slight lag, ergonomic especially for the G9 and GH5 etc). Also, while PDAF (and the Dual Pixel version of it), is usable for stills and video on Canon and Sony, it is far from actually being usable from a creative perspective. Which means the algorithms and the options to make creative choices in software interface, in camera, are mostly missing, right now, across all manufacturers. Once Panasonic fixes the speed and accuracy of the autofocus, it could lead the way for the correct creative implementation of autofocus, with the sole purpose of making focus pulling usable, creatively, in single camera operations for for tiny crews on low budget features. I am guessing there would be atleast a 3 x 3 (if not 5x5) option necessary to fix this.

The tech team in Panasonic should be embarrassed. Or maybe they're not announcing it to prevent slowing down sales of current cameras?

Oh ok. I didn't know that. It's a rather poor software design, then.

Tell us, you're an alien. Or you were living in a cave long before Covid-19 afflicted the world. I saw it on Newsshooter.com too. I am curious how much longer it lasts with it, and how it affects the image. Suddenly, I feel, all of us Panasonic M43 users take reliability for granted. The fact that the GH5/GH5s can record for hours, like other GH cameras before them. No overheating rubbish. We can even record whole concerts with the battery grip, even popping one battery out while the one in the camera continues (and swapping between SD cards, since we can remember, like 3-3.5 years ago).

They already have a webcam mode for a few of their cameras (GH5, GH5s, and probably G9).

Apparently overheating isn't the only issue. The rolling shutter is going to be great too, apparently. Though we should wait for the actually reviews to come out.