sanveer

Nothing really worth writing home about to be honest. The changes are way too minor. And the iPhones benchmarks (mildly improved this time to be fair), are so exaggerated, one would think they can replace desktop PCs. The least they could have done is introduced 3 cameras or had a 48MP and a 12MP one. Btw they haveost likely picked up the Sensor from the S8 of S9 (the pixel size, autofocus pixel and other defences give it away). After Steve Jobs, Apple's innovation has greatly slowed down. I think 2019 may be a very exciting year for smartphones.

Actually one of the Blackmagic guys told me that the feature set on the BMPCC4K were also limited based on the processor. If this new RAW is actually easier and lighter on the processor and pipeline, it could easily help make everything even better than it already is. Like you @Anaconda_ mentioned the CFast and USB-C thing above, users may actually be able to use the SDXC UHS-ii card for recording ATLEAST some flavours of RAW without any hiccups.

I noticed almost all the video released is with the Z7. Since the Z6 is even better with video (according to Nikon themselves), with less moire and aliasing and rolling shutter, I am guessing we should be pleasantly surprised, once Nikon releases footage from that.

Petty said it will make it to the BMPCC4K too soon (and I think other Blackmagic cameras too). I hope, they keep it ad open as possible (like the Magic Lantern Hacks) so that the whole ProRes red tapism ends, and we see it on a LOT more devices.

Wow. I am super excited about it. I also noticed, Petty suggesting, very delicately, that it is way better than codes with confusing names, where compression is disguised as names, and heavier compressions have issues (ahem, ProRes). I can see this TOTALLY replaying ProRes (I knew ProRes was overrated and also that it needed to go, because Apple grossly abuses it's market reach muscle). Also, if Davinci could challenge the market leaders like Premier, Avid and others, they it has the capabilities to challenge Apple. I wish it could be used on DSLRs/ Mirrorless where one believed ProRes would add to the quality of the video, but adding this would be way better. Apple also refused to allow ProRes on the ZCam E2, as I am guessing it does to many smaller manufacturers, for all sorts of absurd reasons.

I am most excited about the 1:12 RAW and managing things according to the processor. Could this actually be as small as the 400mbps 10-bit 4-2-2 on the GH5, and be even better for post work? Or even smaller than that?

This Deserves a New Thread. It seems to address 2 Huge things: 1. The ProRes RAW that Apple was attempting to push across all RAW shooting cameras (which has issues, since it doesn't have any specific flavours and only has a Wrapper for the Proprietory RAW from different camera manufacturers). Blackmagic seems to even show the fundamental flaws with that approach ("Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor."). 2. Not enough Compression Options in RAW. Most RAW compressions weren't actually pushing RAW closer to manageable territory (ProRes and H.264 size). This new RAW codec seems to address that (Blackmagic RAW 3:1, 5:1, 8:1 and 12:1). The only question is would it succeed without being open source for other camera manufacturers or only NLE support is good enough.

Firstly, some of those visuals were absolutely stunning. IMHO you need to do more narrative work. I see a great cinematographer. I wish Camera companies would allow people to chose individual features and let people chose them what they want. Like the swappable sensors promised on some cinema cameras, IBIS or no IBIS, various codecs and their flavours, etc etc. Like people who may not have been able to afford the GH5 price at launch, could get a discount for not having 10-bit 422, IBIS etc. They could do with the dual card slot and battery advantage over other Panasonic and ILCs.

I wad also wondering whether the 400mbps is IN h.265, making it twice as efficient. Is there some official literature or something else that states this.

After the Magic Lantern Hacks producing 14-Bit RAW on various Canon Cameras, I am suddenly wondering whether the BMPCC4k is also capable of producing 14-bit RAW. The Sensor (if of the same type as in the GH5s) is clearly capable of it. The only limitations may be processor or pipeline (wonder what the bitrate and other differences would be) related.

The SHEER number of Fake Profiles by supposedly new members (banned members with fake new IDs), and International Trolls from places as far away as Egypt and other places seems to have terribly swelled of late. There should a Rule in Place, making it mandatory for new members to have a cooling off period, from the time of registration to the time of first posting (maybe a week), and then another 24 hours before each of the next 3 posts. There are just too many trolls and IDs by a handful of lurking members whose raison d'être is solely to troll across all communities where open and free debates are encouraged and allowed. While their contributions to tech and filmmaking is bland or non-existent, their trolling is way too much.

I am finding this thread terribly juvenile and just an overreaction by all parties concerned. It was fine till we were discussing the camera. Let's stick to the camera and keep other things out of it.

Like I already mentioned above. There ARE NO authorities on dynamic range. Either They are experts of the Murphy's Laws variety or paid idiots. Or a mix of both. Actually for Dybamic Range I trust a lot of random YouTubers and less prolific or (in)famous bloggers, and people who aren't shooting glorified corporate rubbish. Those guys are more accurate. Like Dave Dugdale among many other people. The list is huge. Even the formet CameraStoreTV guys, Chris and Jordon mentioned the improved dynamic range in video on the GH5s, and the fact that Panasonic executives told them that a little more dynamic range can be pulled off by using the HLG profile (since VLog L is limited to under 12 stops, more like 11 or 11.5 stops or under).

Do you walk like an Egyptian?

Curiously NOBODY does Dynamic Range tests consistently, if not absolutely accurately. I remember the recent one on Newsshooter.com some formet (looney) fuddy duddy from the BBC measured the dynamic range of the GH5s to be 14.7 stops, and that other profiles had way more dynamic range than VLog L. There were other strange things in his findings. Between this guy and Cinema5D, there is like a 4 STOP differnece in dynamic range of the GH5s. One or both the testing guys seem to be off, by an enormous margin.

This is just a quick upload of a few figures. If you check all their figures, the discrepancies are far more strange, and way more varied.

Maybe you haven't been observing Cinema5D long enough (and carefully enough). They contradict almost Every Dynamic Range figure of their own. Meaning that one month it will be fine figure for the Arri Amira, and another month, it will be something else. This applies yo their figures for almost All Cameras. They will contract their own figures on the new Fuji too. Just give them enough time.

I wish they could get DNG RAW somehow. That would really elevate the footage to cinema camera standards.

There is banding throughout his video. It may be a mix of 10-bit at 4-2-0 internal and the fact that probably uploaded at a lower quality on YouTube.

The curious thing about the Blackmagic event I attended, was that after I joked that I was planning to save some footage, for which I was specifically carrying 2 fast cards, one of the executives from Singapore told me that each of the various Blackmagic cameras touring the world, had a different firmware (actually functionality), and Many features were disabled. So the likelihood of me getting any footage of consequence out of it was unlikely. Which seemed true, since the camera I handled for about 10-15 mins, also only had like 1 flavour of ProRes (I think it was HQ). Why I said this, is That Blackmagic are taking the cameras across, but I am not sure they have the firmware ready in all their cameras. I also found the company to be rather approachable, with almost none of the major corporate red tapism. Maybe they are just waiting to be asked. Atleast that way you would know whether they have more than 1-2 fully functional prototypes, and you could get your hands on one. At the Manchester event, you would have not really have had a chance to test the camera. Like the Blackmagic executive mentioned, each of the touring cameras have had most of their features disabled. It would have, therefore, in all likelihood, been an exercise in futility, in attempting to really test the camera there. Ask them to test a camera, and sign an Non Disclosure to release your review after the official launch. Best of Luck. I feel they may agree.

I think people Grossly underestimate the power of marketing and distribution. Canon has way better market reach than everyone else in the camera business, put together. And they have huge networks for advertising anywhere and everywhere, and arguably the best after sales too. That's how they regurgitated the same sensor on the 550D and so many cameras after that, without a word a protest from anyone. Plus it's only since the GH4 that ILCs have started upping the ante in video. The GH5, in many ways, is like a mini C100 or C300, at much lower cost, and Many other tricks up its sleeve. IBIS, continuous video recording way above 30 mins, and 10-bit internal in itself is huge. I also suspect that Canon's development in sensors is the opposite of Sony. It's slow, there are very few models, and a lot of tech is highly exgerrated and never really makes into mass production (like that 4million ISO sensor hardly has enough videos online go even show it exists). But Canon is still probably the biggest spender on advertising and still has the widest market reach, where distribution is concerned. Sony is the only true competition, and I have seen Sony in way too many countries, available in all sorts of stores and online. Also, the A7s really pushed the A7 lines to replace many Canon and Nikon cameras for Professionals. Only sales figures for the C line would reveal whether Canon is scared of affecting sales (and much higher profit margins in that line) foe the Cinema line.

It's for NEXT year. For now, they have Only made enough samples for testing and handing out. But this is Great News. Non-niche and the consumer and prosumer sensor market doesn't have enough players of consequence. Sony is one of the only players who makes some superb sensors, and in enormous numbers. Other players make sensors which aren't as great, and much smaller numbers. I think Sony missed a HUGE opportunity by not picking up the Toshiba Sensor division.

That and making the cakera swapping seem so company process confined, is a ice way yo make mote profits.

The battery life seems disappointing (less than an hour). The crop is minor (though in APS-C). Video files splitting is strange. Recording time limit is disappointing. Sony has ILCs and smartphones that shoot HLG in 8-bit 4-2-0, so yes it is apparently possible. Fuji may be saving the IBIS and fully articulating screen for its top end model. Maybe even 20-30 min time limit I am unable to understand why someone cannot give us 100mbps H.265 10-bit 4-2-2 Video.

I realised that the Mavic 2 Pro saves HDR photos with14 stops of dynamic range, as JPEGs . If the Mavic saved these as 10-bit HEIFs instead, it could improve things for grade, considerably. It could be the perfect middle ground between JPEG and RAW, with boosted dynamic range.