sanveer

From Newsshooter.com (https://www.newsshooter.com/2024/02/02/octopus16-pocket-sized-super-16-cinema-camera-for-under-1000-usd/) "According to Octopus Cinema, with the increasing competition in the cinema camera market, the primary goal of the OCTOPUS CAMERA is to fill a gap in the market where users require a specific product for a specific application. These specific features include native monochrome sensor imaging and a fully open SDK to extend and embed custom behaviour in the camera. The camera is not being targeted as a competitor against most other digital cinema cameras that are already on the market." It sound Strange. It almost sounds like they do not want to make a 16mm cinema camera.

"Yes, Xiaomi is a huge phone company and they have some great cameras. When we were looking at how we were going to fund the film they came on board under the condition that we shot it entirely on the phone, no lenses or no attachments. Often when you see films shot on a phone they’ve got a massive lens that they’ve clamped to the phone and it requires technical knowledge. What I love about the idea of shooting on a phone is how accessible it is to everyone. You have the ability to make a film right in your pocket." Xiaomi funded the project. Apple/iPhone was probably being Elitist and didn't wanna fund a project that didn't have some big name hollywood director make some garbage film shot on an iPhone. They overlit, like all films shot on a phone, and then pulled exposure down in post. Which is great. Though they didn't use lenses attached fo the main camera to improve the image, which is probably not a good idea. Also, I guess a lot of films shot on mobile phones have some enormous amount of work done in post to make it look more professional. This perhaps also lacked that, and it could have looked even better. The film overall has some good ratings and reviews, so perhaps one should look at it ad a whole, instead of onoy focussing on the cinematography.

What was sad, was that he got away with it.

More like grandfather/grand-uncle. Almost seemed like some legacy business 🤣

I've been on this forum for qiote a while (5-10 years?). And I did notice his movement on a few other forums too (dpreview among a few). I was curious because something seemed strangely similar.

Maybe Andrew could check the IP addresses and answer that. Your knowledge is amazing. How did you know about the infamous doctor?

. I edited my comment. It should be deleted. It shouldn't be in an Olympus thread.

He's from Egypt. A double Doctorate in Medicine 💊

What country are you at. You seem strangely familiar.

Hmmm ...not sure Panasonic doesn't fix the small quirks. True. Except that its both a case of perception (of both Netflix as well as Indie Filmmakers wanting to pitch to OTTs), as well as a theoretical and real quality standardization (time code like @IronFilm mentioned, being an important factor). Maybe 100% of footage non commissioned as a Netflix is shot on a Non-Netflix Approved list. But, it's not a case od approved or not. Like I've mentioned above, it's an issue relating to perception and quality/ standardization. For all one cares the Netflix approved criteria is probably too narrow and probably also suffering from fundamental flaws regarding biases and misplaced conceptions, and high bit depth and much higher bitrates would mostly help CGI and other Post Work. But it exists and its probably the industry's biggest or most referred list right now.

You're right, I checked for Canon and Nikon. That $15k price tag, for the Canon was crazy.

Its curious. Panasonic has 2 Inexpensive Netflix Approved Lumix cameras, namely the BGH1 and Panasonic Lumix BS1H box cameras. Both are great for the price, even if they have a few minor hiccups (moiré, HDMI lag etc). Somehow they were meant to replace it's other cinema cameras, at a much lower price point. But that project didn't really take off, maybe mostly due to the modularity and the lack of great autofocus. Panasonic needs to have the G9ii, the S5ii and S5iix Netflix Approved. And ensure that they improve their marketing greatly. I feel ever since the GH4, which may have been the first 4k consumer camera (apart from some Nikon one), Panasonic hasn't marketed their 4k filmmaking cameras enough. They haven't communicated things properly to the right audiences, and their supply chain is still very off from Canon, Nikon and Sony. All this while, Panasonic should have marketed their cameras as Indie Filmmaking Cameras, targetted at low budget film projects. They should have targeted film schools, film festivals and film contests online. I also feel Panasonic needs to work with Sony, like Nikon and Fuji, to create a Prosumer Camera, that will address every issue with its Prosumer Cinema Lineup (mostly autofocus, even better lowlight, and more shooting frame rates and resolution options). And those two sensors should be in the majority of its M43 and Full Frame sensor, for atleast 3 years.

The M1 is pretty amazing. I guess the issue is with the algorithms. Those need a lot more work than what is currently with them.

Oh ok. That's very curious. I guess it means that the software isn't prepared for processing by the majority of hardware for higher resolutions. Its way too hardware intensive. It's strange that moirè (and other artefacts) aren't corrected too. It can't possibly be too complicated in algorithms to fix it.

Roflmfao. That's each one of us, and almost everyone else. Everyone is busy and everyone is jobless, both at the same time.

Very Interesting tests. The image holds on pretty well. Has anyone worked on Topaz Labs' or other similar software. Maybe upressed 8-bit 4k to 8k, and then increased bit depth to 12-bit when downressed to 1080p. Or is that only exaggerated claims of improving image quality?

I'm guessing that they would probably bring 10-bit along with the log profile by way of a firmware update.

The GoPro looks bad in comparison in low light, and not as impressive in most other scenarios. https://youtube.com/watch?v=BJx84Or3Rao

They'll find cinematographers who pan cameras around continuously, until audiences feel nauseatic. Then mentioned the absence of rolling shutter. Cinematography be damned 😎

Interesting sensor, even more than Interesting camera. Sony will probably put in the next version of the Venice and price it similarly to the new Alexa35. Even with the reduced dynamic range. Also, suddenly, I am very curious, can Sony make a 2-Layer Transistor Pixel technology sensor with GS, finally solving issues with the dynamic range. @androidlad do you know any such sensor in the offing?

Should have. Sony usually doesn't share its best sensors with others. And they have a particularly bad disdain for Panasonic 😁😁😁

That's so true. It's like the diacussion in one of the threads about overheating in ILCs. Companies need to get serious about heat management. Especially in any camera above $1000.

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues. Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

"Shutter speed is freed from the limitations of conventional mechanical shutter image sensors and achieves a maximum shutter speed of 1/80,000 second (1/16,000 second during continuous shooting), making it possible to capture at high speed without any distortion." Powering the camera is the Bionz XR processing engine, promising eight times more power than the a9 Mark II’s processor." INSANE !!! I thought 1st April arrived late or early.

I read somewhere that D-Log M is a terrible version of a regular profile, masquerading as a log profile (D-Log). DJI should just release a firmware update for proper D-Log for the Pocket 3. The fake log profile probably has lighlights clipping and noticeable reduction in dynamic range.