jgharding

it seems to vary camera to camera, the whole 8-bit vs 10-bit thing, Like Panasonic S1H the 8-bit in vlog has the weird banded magenta thing and can render it unusable, Sometimes even in non-vlog profiles, but the 10-bit is great. But the 12-bit BRAW for the Video Assist is just excellent! Such a huge jump up if you're going to do keying and heavy grading and so on.

Again, a great point I forgot about. I did have two of these, and now I record on Ninja V exclusively, so had forgotten, but yes it's a travesty. To allow this in their top DSLM body and just not address it other than tell people to buy new cards, then start blaming card manufacturers etc... it was all terrible. I just switched to Ninja and carried on. There's no visual gain from ProRes at all, even if you push the footage into a pixelly mess of colour it's the same, you just have bigger files and slightly easier compatibility. I'd prefer to use internal but I don't trust it, so yeah I see what you're saying. The Ninja is a good tool regardless, but I wouldn't want to carry it around for a wedding, you'll wanna stay light I guess? I've never shot a wedding.

Anamorphic support is downright amazing on the S series, i don't think there's much more you could ask for, it really is the best! Yes the lack of OLPF actually made me send the S1 back and get the S1H, it drives me mad, i despise moire and somehow interview subjects always pick the worst clothes. I was able to refund the S1 and get a second hand S1H for not too much more. S1H also fits the Tilta cage way better. Do keep an eye on second hand S1H prices, 2500£ or so isn't uncommon now for the body in great shape

Good point, it is limited in high speed, 50 and 60p are APSC crop and 120 is 1080p. The crop I'm used to from a previous Red, so i keep wider options around, but yeah it'd be great if they can give use everything obviously, like full-frame 120p and functional video AF....

I got an S1H before lockdown, it's not been used a lot but will pay for itself in some time. I've been on the Red Komodo pre-order list for 4 months or so with no word. TBH I may cancel it as work is light. I'll see how I feel when i finally get the "do you want to complete your order sir?" call... The S1H for me is like a baby Alexa, such a good image. But I prefer Komodo post pipeline due to the raw codec and global shutter. That's it though, TBH the S1H is better for everything else. Maybe I will cancel it TBH, seems like there's little benefit at the moment.

I got an S1H before lockdown, it's not been used a lot but will pay for itself in some time. I've been on the Red Komodo pre-order list for 4 months or so with no word. TBH I may cancel it as work is light. I'll see how I feel when i finally get the "do you want to complete your order sir?" call... The S1H for me is like a baby Alexa, such a good image. But I prefer Komodo post pipeline due to the raw codec. That's it though, TBH the S1H is better for everything else. Maybe I will cancel it TBH, seems like there's little benefit at the moment.

I think it's less to do with the sensor than it is the processing after the fact. Sony have a particular look, prioritisng blue and sharpness, for me that's the opposite of what I want most of the time. Canon have a big red boost in general. Of the Japanese companies Panasonic are the most neutral to my eyes. The same sensors in other bodies work wonders, so Sony are just doing their odd thing in their cameras.

Most of the younger generation are really into 3D and game engine now, it seems. I guess it's quite a bit more accessible too in some ways, with lots of free software and the limit being imagination, you don't have to use real lights and so on. It's also a far bigger industry in money terms and userbase than film and TV, so I think keeping new generations interested will also be a challenge if the prices keep rising.

Since the small fan in the S1H works so well, i do wonder why no other manufacturer does this to alleviate overheating. It adds a little size, but it's a great idea...

This looks ace, I would much prefer a 17-inch version though, as a 13inch screen is very small for working on... then again i guess they'll just put a 3080 in the laptop for that... but i had heard about the low powered laptop 3080s being WAY slower than desktop models. And this one has the external one which I guess is desktop spec... hmmm

He is so scary in Sexy Beast. That and Paddy Considine in Dead Man's Shoes are some of favourite intense performances.

Yes it's not quite online yet is it? But it is phenomenally powerful... I recently used it to comp in some real VHS distortion using it as a luma displacement map, i had no idea whether I could, googled it, took 10 minutes on YT tutorial and it was done! With an RTX3080 that was basically realtime. But it needs work for sure. It loves crashing.

It's a great bit of software. There's no need for a dongle any more, if you have two machines activated and try a third it just de-registers the others, so it's all automatic. The "Cut" page makes no sense to me, and remember that Fusion is a distinct piece of software that they've bolted in, so it's more like learning After Effects than a bit of an NLE. But yeah I recently tried Premiere again out of curiosity and the terrible stability etc meant i didn't last long in it.

I considered it but once I got a PC with a Ryzen and an RTX3080 the idea became a bit silly. I fear Apple's love of just dumping software and other things with no notice.

Yeah I'm using the S1H and Nucleus Nano, the stills are amazing and the high-res photo mode is exceptional for still subjects, Vlog images are beautiful, and though Ninja V RAW is of limited use TBH it's still nice to have I think the issue is... how many of us are there? For me this is the best image available outside of Red and Arri, but are there enough of us who want it to keep them making these cameras?

When you do shows in the USA the crazy union racketeering is amazing too. Like charging you thousands of dollars to move a pallet of stuff 100ft, or $200 to hire a $20 chair for three days, or demanding that a union registered man stand next to you at a charge of $1000/hr if you want to film something (at one particular show). It's a phenomenally corrupt business the trade show shebang. The people make it fun, everything else around it is s chore.

That electronic ND is the best though, really wish it was in every camera.

I believe they've moved to a DCT implementation of MJPEG, I'm guessing it'll have something to do with the processing requirements for wavelet vs battery life with such a little camera running on Canon BPs In theory it means you could see macroblocking at higher compression settings. I just haven't seen enough torture-test footage to know though.

There's nothing here that beats the S1H I love and use in normal shooting apart from that electronic ND, it's a pretty disappointing offer. TBH if I were gonna go up to this sorta price I'd get the Red Komodo and enjoy the genius codec again, I'll bet it thrashes the Sony on IQ EDIT: I did a bit of research and the Komodo doesn't use RedCode wavelet compression like most Reds. Sigh. nothing is simple now...

this all looks great! But if you STILL can't reorder audio plugins in fairlight I shall be very disappointed...

It was a pleasure, thanks for having me! I do love having and listening to long conversations like this, so I'm looking forward to future episodes too!

There's nothing with Arriraw per say, but it is pretty big files, which can be a problem for smaller productions. Redcode goes nice and small. ALEXA SXT Open Gate (3424x2202)ARRIRAW (.ari): 11.5 MB/frame & 996 GB/hour ARRIRAW-HDE (.arx): 6.9 MB/frame & 598 GB/hour ALEXA LF Open Gate (4448x3096)ARRIRAW (.ari): 20.9 MB/frame & 1.80 TB/hour ARRIRAW-HDE (.arx): 12.5 MB/frame & 1.08 TB/hour

Not really referring to a specific aspect, just the pliability of the image. Codec implementations are more than the sum of their parts so it's a little bit of a 'war of attrition' to try and pin it down to a number. All of those things contribute to the pliability of the image. I'm just stating that in general, less-compressed images survive more alteration. Red's codec is obviously the best here, raw data plus masses of compression and still holds up to abuse. But then the image characteristic of Arri is preferable to me despite ProRes being the most practical codec in there. If the phrase "thick" and "thin" is this hard to define, perhaps it's better to use different ones whe you're to communicate the nature of an image. These words seem to be open to interpretation and sort of fail to communicate clearly as a result.

I always think of it as related to compression TBH, AKA how much you can push colour around and have things still look good. C100 with external recorder for example looked way better than internal, cos the colours didn't go all "thin" and insipid if you pushed it about, Trying to white balance adjustments on over-compressed footage results in a sort of messy colour wash. I think of this as "thin", the opposite as "thick"

If the S1H would just output Braw i'd go and buy a blackmagic recorder... Format wars are so tedious