Don Kotlos

Not missing anything, your assumption is correct. I will admit that this is the strangest new camera release that I have ever seen. Even Canon would not pull something like this. The PXW-Z280 on the other hand is the most interesting having 3 EXMOR-R sensors and records 4K 60p 10-bit and XAVC-I. But at $7K it is by far the most expensive "handycam" that I know about.

I wasn't aware of that. I saw they released support for the RAW in open source SDK under MIT licence here: https://gopro.github.io/cineform-sdk/

Yeah V90 sd cards should provide enough bandwidth for ProRes RAW so I do hope they implement it! It will make the RAW workflow soooo much easier.

That's the most exciting news until now!!!

Not necessarily it depends on the quality of the monitor and how well the calibration works. It could be still good enough for most things. The previous was just a guess.

If you care about outdoor visibility go with the IPS 800nits whereas if you care about accurate colors go with the oled. That would be my guess at least.

Funny how cineform raw existited since 2005 and is open source and platform independent but companies drag their feet. Whereas when Apple does something that is restricted toac ecosystem they implement it before it even gets released. I do belong to the Mac ecosystem and while the proresraw might offer faster performance I hate the closed system strings that apple attaches.

Here is an extensive comparison between A7rII and A7rIII also illustrating the improvement in color:

FS5II Maybe a compact 4K recorder A lot of VR & Deep Learning stuff

Yes. As other have said, it depends. The data rate of the compressed 4K sony file is not a lot, but since the codec is interframe the CPU has to find and decode multiple frames at once before it can make sense of any single frame thus putting a load on both the drive and the CPU. For normal editing & playback it should be fine. If you scratch back and forth you might find some limitation there but transcoding might help there. You can always use a proxy workflow. See more details here. Cheap no but I sure hope so a solution comes soon for the consumer market. My guess is the new A7sIII will be very good but not cheap. I think for now the cheapest camera that offers decent rolling shutter performance is the GH5.

Yep the bit rate & bit depth of a codec are just one part of the equation and it has been shown quite few times that they are not the only important thing. While I would also like 10bit, when 8bit is done correctly it can be sufficient for quite many things (but not broadcast I guess). In this comparison for example the 10bit/400mbps from GH5 is far worse than the 10bit/150mbps from EVA1. Dave Dugdale also found minimal difference in 4K between the 10bit GH5 and 8bit of A6500. In my personal experience the 10bit from the BM pocket is on another level than the 10bit that I have seen from the GH5. Even at 400mbps there is just too much compression happening for some reason.

Proxy is low bitrate 8bit that is recorded on the SD card along with RAW: https://www.usa.canon.com/internet/portal/us/home/explore/cinema-eos-c200-cameras/recording

We (neuroscientists) have a very good idea of how brains work. Unfortunately knowledge doesn't spread as fast as we would like. Now while there are unique wavelengths that determine the colors we see, our percesception is built on years of experiencing visual inputs and it is always relative. But that doesn't mean that there are no general aesthetic rules for good color. So while we all can't perceive the same red, there are things that we generally agree look good. Skin for example is expected to have a specific tonality. If it is in the perceptual spectrum of an orange then it doesn't matter what exact perceptual hue it has, it just looks bad. While we are here, we can see/learn these generally accepted aesthetic judgements of color. We also strive to make each camera produce them, and that is one of the advantages in participating in a forum like this one.

I mostly use two settings : 1. cine2/pro ~+10sat 5red color depth 2. slog2/sgammut3.cine ~+25sat +5red color depth . That is for high contrast scenes. I mostly do manual WB with a boost in warmth for outdoor shots. Cine1 is the same as Cine2 but using the full 0-255 range. Cine3 is great for skin but is more contrasty than any other gamma, Cine4 is also pretty good but I feel it needs more adjustments in post than Cine2. Avoid Slog3. The nice thing with the Picture profiles is that you can play around with the settings until you find something that works for you and how you like the colors. I mostly use Pro/Cinema/sgammut3.cine but you can get good results with other profiles as well. Here is a brief description: http://helpguide.sony.net/ilc/1420/v1/en/contents/TP0000435736.html And here is a more detailed one: https://docs.sony.com/release/Help_C198100111.pdf

Apparently we should expect a very fast readout with near global shutter performance: https://www.sonyalpharumors.com/sr4-α7sⅢ-will-have-new-stacked-image-sensor-with-integral-memory/ I also expect to see 4K60p but I doubt we will see internal 10bit. Maybe H265?

"Indicative Retail Price: $33,880 USD" "This is Google's cache of http://www.z-cam.com/e2/. It is a snapshot of the page as it appeared on Apr 1, 2018 19:07:56 GMT."

Yep the footage looks great. Most of the time it is the excessive contrast that is problematic. Also another aspect of the dynamic range is not so much the range itself as much as how the highlights (and color) rolloff to clipping. Hard clips with hue shifts are something that you rarely see in cinemas. Sometimes you even have hard clipping in the shadows but that is most often a fault of the processing of a camera and not the sensor. Once you have control of the lights dynamic range of the camera is not important. Even for outdoor scenes where there is a strong light from the sun you can use reflectors to balance the shadows. So I would say if someone wants a cinematic look the best way is to learn how to use light cause even 15 stops won't help In my experience for everyday use with no control of light, I would be happy with 12 stops and no hard clipping.

Well even if you don't account for the nonbox shape of GH5 the BMPC is double the volume. 73 vs 144 cubic inches. Don't think is there is much hostility, just the fact that these cameras are meant for different things. Sure you can make the BMPC work handheld with something like this but the general advice is not to . It would be easier to rig up the micro studio with an external recorder, or if you don't need IBIS or high resolution stills go with the GH5s instead.

While I would love to have a tiny external 4K recorder (my vote would go for a 4K ninja blade with 3D Lut support) , I think what we all also need is better internal codecs. Cameras have already very good screens, SD cards that can support high bitrate recordings, and a battery. Why make it complicated? There are open source high quality codecs such as Cineform and camera companies should implement them. At least companies that don't have a stake at the professional video market such as Fuji, Nikon or Olympus.

FYI with the latest Lightroom update we can finally use LUTs for images without the need to go to photoshop! https://***URL removed***/news/1511565626/adobe-releases-massive-update-to-camera-profiles-in-acr-and-lightroom

In camera. But again, you have to be careful and not clip any colors and probably leave some extra space just in case. So depending on the scene you need different saturation values. For example with cloudy sky you can saturate more, but if you are shooting bright colored lights during the night you want to bring it down. So in post you would add minimal saturation and use rec709 LUTs for stylization.

There are few reasons for that. First, different input-output curves can compress different parts of the histogram. For example you can have the same dynamic range from HLG or Slog or even a normal jpeg gamma. Slog3 is also worse than Slog2 because it compresses a huge chunk of the histogram even more. Then you also have the color space. rec709 is a much smaller area than sgammut and in return you get better sampling & tonalities with rec709 that D750 has for the same colors (sky, skin..). Finally, compression (and spatial color undersampling) also affects banding but with the same codec there is not so much of a difference as you get with different color space or gamma. So Slog by itself is not problematic. Even slog with 8bits is fine as long as you don't use the original sgammut. For example, with the slog & 8bits you can get excellent results with no banding if you use a slightly reduced color space such as sgammut3.cine/pro/cinema (which are still much larger than rec709), and boost saturation (without any color clipping of course). The problem is that most Sony users don't know that. Even myself when I first got the A7rII, influenced by all the slog hype I set my camera to slog2/sgammut only to kick myself few weeks later for ruining the footage. Sony has allowed so much flexibility that is great for professionals, but they should have be more careful when explaining all these to the average consumer.

With linear encoding like in RAW files, the bit depth determines the upper limit of dynamic range. jpeg or log use non linear encoding which can map higher dynamic range in a limited bit depth. Thats how jpegs can typically have ~11 stops of dynamic range and log profiles >12. The problem is that the more you compress the dynamic range of an image into limited bit death, the more you under-sample the color space and the more limited tonalities & increased banding you get. Bitrate has nothing to do with dynamic range.

I can't say I am convinced with this camera. I am really disappointed by the internal recording quality. They should have downsampled from 4K as in A7s. And unless BM releases a ninja v2 with 4K, recording externally makes it as large as any other camera. The M43 conversion looks interesting but again ~$1400 is too much for this.

When I was shooting the pocket I found little difference between RAW and ProRes once the exposure and WB were correct. Thats what I really liked about it, the amazing quality of the compressed codec. Beautiful grain & color without any compression artifacts.