Geoff CB

It would be if Blackmagic recorders were not complete and utter garbage. I owned the 12G and it had horrific input and output lag.

Um yeah. I'm now going to sell all my Nikon gear. Colossally disappointing, especially have the RAW remain a paid upgrade and no 10-bit. Hell they couldn't even remove the goddamn 30 minute time limit. The fact this camera has NO VIDEO IMPROVMENT AT LAUNCH is tone deaf idiocy. Hell the 4K 60p being added later as a firmware upgrade and not being able to record it externally just feels like a final kick in the teeth.

That really did not look good to me. Pretty scenery sure, but the image itself didn't blow me away. Overly sharpened with a high shutter speed, surprised he didn't use an ND on it.

Possible answer, Dolby paid them. I'm someone who thinks the Dolby Vision workflow is incredible, doing HDR and SDR in single grading pass is witchcraft but their system pulls it off, only problem with it is it is proprietary and expensive.

Even with RAW stills you need to update Lightroom/Capture One/Etc. every time a new camera comes out.

While that is a beautiful video, with a fantastic grade, I really dislike that these things are labelled "Dolby Vision." Youtube DOES NOT support Dolby Vision, only HLG, which is worse than HDR10 format in terms of image quality. It may have been graded in Dolby Vision but it is not Dolby Vision display on youtube.

No, none of these compressed RAW formats are actually RAW, they are compressed raw formats that toss out data. They all need to be designed on a camera by camera basis.

BRAW does not work that way, it has to be calibrated to each camera.

When grading files in HDR, I can instantly tell when a file is of lower quality. Grading on a 8-bit timeline doesn't really show the difference, but on a 10 or 12-bit HDR timeline on a HDR panel it is night and day. So for me for a "Thick" image. is 10-bit 4:2:2 or better with at least 14+ Stops of DR.

The 1080p 120 is so good I'd be happy with that if they gave me it in 10-bit log.

But those images were not captured in 5-bit, that is an indicator for final compression, it is NOT an indicator of quality of it as the capture format.

Definitely does not cover Full Frame video. the 11-20 is a much better lens and covers on the long end. Edit: My mistake, thought this was referring to the 12 - 24 F4. I don't have experience with the 14 - 20 F2. The 11-20 covers Full Frame video from 14-20mm

Which camera are you trying to convert? I think if your using the A7s III you can bring and convert the files in Catalyst Browse, unfortunately I can't find online examples of that.

I would bet that Resolve get support for it at some point. It's quickly becoming an industry standard.

I own the Z6, I love it but it has usability problems for video. There is significant delay over the external HDMI, and in the viewfinder itself when shooting in 24p and 30p there is bad delay. While these seem like small issues, they are a PITA on actually using it for work.

H264 supports 10-bit 4:2:2

Some beautiful RAW footage. Does anyone know if it is possible to open RAW in Catalyst Browse and export a S-log3 file from that?

I really hope Nikon does not let me down here. If this camera doesn't come with N-log or 10-bit internal (At 30p, don't even need 60p) I'm probably moving away from Nikon. I'm not staying with a company that clearly will never be ahead of the video curve, plus all my Nikon lenses can be adopted to Sony.

Same, if it has 4K 60p in 10-bit its really the perfect camera for me. Hope it has a full size HDMI port.

Most digital projectors are 2K (Even digital IMAX is 2 2K projectors next to each other), compression and color win out over 4K every single time unless the audience is told the difference. I can spot it because I look at this stuff constantly. Your essentially correct on the VFX side for capture, though the 2K for visual effects has less to do with masking flaws than it takes 4 times as long to render a 4K frame than a 2K frame. It's a cost saving measure.

I think this is really the answer, does the OP think governments who would seize your camera wouldn't just break the memory card if they can't see what you recorded? Backing up to your phone or to a server would be a much safer option in my opinion in these situations. As others have said, secure encoding in camera is a lot of development and hardware costs for a small market. I'd also argue that creating this option would add additional headaches to the manufacturers when they had to troubleshoot issues with this when customers are unable to access their footage/photos.

Post #100000000 on this. ARRI/Canon/Kodak will win the majority. People who know what they're doing can make ANY of these cameras look great and poor artists can make them look bad. Talent/lighting/lenses/grading make more of a difference than the brand.

Thank you very much, this is the type of info that I'm looking for when purchasing a camera for work. Any output delay on the HDMI to the Ninja? (My Nikon Z6 and Panasonic S1 has this bad)

If pentax want to continue as a niche product like Leica I think they might be able to pull it off. I think in general now camera sales now are driven by video specs. Because the photography side of things has been "good enough" for awhile. Hell I occasionally miss my DSLR, but I was never willing to give pentax a shot because I would not be able to use my nikon glass on it. Mirrorless, I can just adapt my glass so jumping systems is pretty easy.

That Micro-HDMI is one of the main reasons I didn't buy a XT-3