gt3rs

Just don't underestimate the issue that you have no control over the camera settings. Especially for filming is a big pain to land, stop recording, change setting, restart recording and takeoff etc... especially on a 16-18 minutes max fly platform. I'm a Canon user so I don't know how well the wifi app for A7 x II works and what kind of distance and other limitations it has. Getting the exposure right on the ground is hard... Probably the best for you is to look for a used S900 ready to fly package including remote, lightbridge, gimbal and visit the guy that is selling in person for a demo so you can get a better idea on the effort involved. I have a friend that has a s900 and with an a7s and since he brought a p4p is basically never using it just because of the time to set it up and the inconvenience of flying it.

Ok all clear now. The 13 MBP has a 2 core i5 and is probably not powerful enough for decoding in real-time MJPG. The h264 is HW decoding optimized (for playback) on most CPUs so even an Atom based cpu can playback 4k 25p in real-time. My i5 surface pro 3 can playback 4k 30p h264 with no issue at all. Editing is another story where h264 lgop are a pain. New Resolve Studio (paid version) has HW decoding for h264 but only on windows and only with nvdia cards. I would try still Resolve (free version) beta 14, it faster than 12.5 and it may work. On various 4 core i7 notebook that I have tested is very fast with MJPG file both real-time playback at 60p and scrubbing.

Hi Django, did you try using Resolve, because if you have the 15'' 4 core MBP it should work fine. On Windows on similar/same CPU 7700HQ I have no problem playing back with resolve and media player classic. It works great even at 4k 60p 1DxII. Mine has a better GPU but for only playback it should not matter, grading could be limited but if you have the 4GB Vram version it should work ok...:

I was looking in to the same thing. I have a P4p that is the first drone with a usable camera for photography and I’m looking for a even better solution. I agree with Oli and the I2 is IMO the best compromise, still a manageable size, ready to fly and you can control everything from the App including zoom and focus. Yes, the quality is for sure less than an A7 series but is much more practical. You are ready to fly in less than 2 minutes. The Matrice 600Pro is very big and heavy. It is also very dangerous, I’m not sure that moving from a Phantom to this class of drone is a smart thing to do but you know your skill better than me so is up to you. With the M600Pro you cannot control the camera (A7x) other that the shutter, you cannot even start and stop the video from within the drone app. You could use the wifi+app of the camera to have some control at closer distance but it is still a pita. You probably would need a follow focus system that is also expensive and cumbersome. If you have not used a gimbal like the Ronin MX you will also need to balance the camera/lens combination every time that is time consuming especially at the beginning. (I have a Ronin M) The M600Pro is a kit that you need to assemble yourself so is not really ready to fly. With 5’000 EUR you don’t even start… the M600Pro is 5’700 + 1’800 the gimbal + 2700 (3 x 900 Battery set for 20-25 min flight) + some accessory you are well above 10’000 Euro… I suggest that you research a bit on the DJI forums around the M600 to see what kind of complexity it has. At the end is a choice between easy to use, transport and quick setup vs. complex and time consuming setup, compromised usability for better quality. My dream would be the X5s (I2 camera) on a Phantom size drone…. Why not rent a GH5 with a couple of lens and test the photo quality it will be almost the same as the X5s on the Inspire 2?

This is a fullHD, small sensor camera.... BM 4k prores cameras have cooling fan

Here: https://www.dropbox.com/sh/g99sjyywq79sgmu/AAAFznyQCMfwPt9qzpRwR_B9a?dl=0 It is linked in the comment of the ProAV youtube review: https://www.youtube.com/watch?v=jFW00qj2ZMQ

Today I did a quick test to see how easy is to edit C200 RAW files with Resolve 14 beta 5 and what kind of machine it would be needed. I tested it on a Asus gaming notebook with i7 7700 HQ and NVidia GTX 1070 8 GBVRam , 512 SSD, 16 GB ram, ca 1800 USD machine. Resolve see the .CRM files like normal video files and it is able even on a notebook to play back the 4k 25p RAW lite file in real-time. Editing is fast with very fast scrubbing so no need to convert them for editing. Lite grading (color wheels, MD boost, saturation, contrast, sharpening, power window) is possible in real time on 4k timeline. For more complex stuff like NR on this notebook you need to enable proxy (flag to enable 1/2 resolution in Resolve, it does not generate or use proxy file) or change the timeline temporarily to fullHD for real-time preview. The main bottleneck is the CPU reaching 100% with a more complex grade with NR... For a 6 core i7 with GTX 1080 should not be a problem up to medium grading As expected if you have a powerful enough machine and you are a Resolve user you can edit natively the RAW Lite in real-time. I'm quite sure that 4k 60p the notebook will not be able to do it in real-time but the only RAW lite that I found are 4k 25p. One thing that at the moment it seems not possible it is to change the WB or the ISO on the RAW Lite in Resolve because the Camera Raw tab is disabled but I'm not sure, anyone have an idea?

Today I did a 5 hours editing session and I did check the temperature and throttling. First I converted h264 files to DNxHD and the machine did run for 1h continuously at 100% CPU with a temp around 80° C for CPU and 65 for GPU (gpu was doing almost nothing) and it did not throttle at all always around 3.380 GHZ. I then did 3 hours of editing and grading 4k and there was really no stress and at the end the final render the CPU went up to 84-87° C throttling it at 3300-3350 GHZ. At the end I played with C200 RAW natively on a 4k 25p timeline with some grading while letting loop continuously the preview it did reach 89° C the CPU and 80° the GPU and after 10 minutes it did throttle down to 3000 GHZ. In my opinion is a non issue for editing because you never play continuously the video so it cools down between every preview.... Worst case it throttle down for the final render but there is not an issue if it becomes 10% slower... Games are probably different because the load is continuous, but I'm not a gamer so I cannot comment on it. Bottom-line for portable editing and grading in Resolve it is a good compromise between price, perf and portability. In 3 months that I have used it for editing and grading I never run in to issues du to the heat.

On the official web site you can see the remote buggy with the camera that they have used for the wind turbine time-lapse http://awaken.film/ At the bottom of the homepage you can see a special gimbal mounted on a car. On the film Instagram account you can see some behind the scenes snapshots: https://www.instagram.com/awakenfilm/

Sure you are right is very simple just put macos and an intel i7 and problem solved. Maybe in a nice mirrorless camera with a tiny battery?. In fact is soo easy that nobody has achived yet to do prores on a fanless camera.... But yeah the fan on these cameras is for drying hairs? You are aslo right a closed sealed body vs. a fan spinnig low is exacltly the same..... and dslr have so much headroom in thermal that is absolutely uneard of dlsr overheating while filming 4k so lets put faster cpu in there... I agree with you that it could be developed but the cost is just too much for a low volume device compared to notebook and phones.... I think we got really ot....

I agree that prores and or DNxHD would be the best but can you name at least one camera that does 4k ProRes or DNxHD that does not have a cooling fan? Arri, Red, Canon Cxxx, Blackmagic, DJI all have cooling fan and if I'm not mistaken only BM ursa can do 4k 60p in prores the others they all max out at 4k 30p (for higher framerate they use other codec mostly raw...) The problem is that currently there seems that there is no chip that can do ProRes, DNxHD and even XF AVC at 4k without needing a fan. h264 has become so common on consumer devices that the HW implementation is easy to find and are so efficient that they don't require a cooling mechanisms. I'm not an expert in external recorders but as far as I know all the portable recorder that do Prores have fan, but if you know some that do not have a fan or a super large external heat sink and happy to know. I hate Canon for crippling stuff and omitting feature like no CLog on 1Dx II, no zebra, no peeking on higher models, no live waveforms or histogram... my Phantom 4 Pro has all these feature... but considering that nobody else has managed to put a pro codec on a DSLR I strongly believe it is a technical challenge. Of course they could put a fan on a DSLR but then it would be better to spec up the C100.... a C100 that does 4k 60p even only at 8bit XF AVC 300 Mbits/ 500 Mbits for 4.5k would sell much more than a DSLR with a fan for 3.5k.... I would agree that they could have offered both h264 100 mbits or so and MJPEG so you can chose by your needs. Expecting a large sensor DSLR fully weather sealed to do 4k 60p ProRes maybe at 3k usd when all the very expensive top of the line cameras have fan and cannot even do 4k 60p in prores is non realistic. We will get there but not yet.

5$ for prores and 3$ for a cooling fan like every single prores capable camera.... fan in a weather sealed body is not the best idea.... I'm the first one hoping for something better but there must be a reason why since 2012 no camera manufacturer is able to put a pro codec on a dslr? xc and Cxxx Canon cameras all have a cooling fan...

I take the shitty codec any day instead of the super mega h264 LGOP 4:2:0........ the only good DSLR codec will probably be the ALL-I 10bit h264 of the upcoming GH5 firmware but is also big at 400 Mbits... Of course ProRes would be better but there is no DSLR at the moment that has it. You want edit ready and quality you will have big files.... MJPEG is around 30% less efficient that more modern codec... but until the new firmware for GH5 nobody has yet implemented a 4k All-I 4:2:2 on a DSLR.... Best would be to have both so you can chose quality and edit-ability vs. storage cost...

Unfortunately camera store are killed by the internet. Last time a brought something from a camera store was in 2004.... The price pressure is too big for them to survive and we consumer we don't want to pay more than what we find online.... Canon, Nikon, Sony they can do whatever they want but they will never win back smartphone users and smartphones are getting better and better to the point that an average consumer does not care at all about other cameras. This is why the race is the Pro and Semi Pro/Serious hobbits. On the other hand I see more and more pro using very expensive equipment like REDs etc filming for Instagram and co for big companies to separate their post from the masses of phone imagery...

Yes I have the GL502VS and so far I never run into issue due to thermals. Yes the pc becomes quite hot and the fun works quite hard during editing but so far nothing alarming. Btw on a normal edit / grading session you are not always playing back continuously so the continues load comes mostly at the final render. I don't render long stuff so most of the time below 10 minutes. If I remember I can check the temp next time a render something long to see what the values are. The panel is not great but on my 2 locations I have good 4k external monitors so the issue is only when I'm on the road. For Resolve GPU is key because almost all the effects and even more important the grades (NR, Sharpening, Blurs, power windows, optical flow, etc) are all done by the GPU. The faster the GPU is the more grading you can preview in real-time at high res without pre-render. Also the recommended minimum VRam for 4k in Resolve is 6 GB.

Actually the 1Dx II still image have more DR from 100 up to 400. Is in most test and having both 1Dx and 1Dx II the difference is there and quite a bit in shadow recovery. Of course not really a key point for the OP. I don't know what Andrew uses as NLE and machine but this is not correct at least for what I do almost every day. I can only speak for Resolve on Windows because this is what I use but Resolve handles 4k MJPEG super well. in fact there is no performance benefits in transcoding to DNxHD. Even on a Notebook like a Dell XPS 15 7700HD GTX 1050 you can edit in real-time with super fast scrubbing even the 60p MJPEG (double the work for the pc than 1Dc files). I do all my editing and grading on a Asus Rog gaming notebook 7700 HQ, GTX 1070 and I never ever transcoded any of my 1Dx II MJPEG. With the CFast you can even edit directly from the card so in super urgent cases I can even skip the copy to pc.... Probably it will work from a fast CF card too. Naturally the archiving size is big so you need to factor this in. Bottom-line at least with Resolve on Windows a desktop PC around 1500 USD (Quad core modern I7 and 6GB graphic card) will be more than enough for real-time editing and grading.

I can help you at least with Resolve. I switched from Premiere a couple of years ago so I cannot comment on Premiere. I edit 90% of my stuff a combination of 1Dx II MJPEG 4k 30-60p and h264 4k 30-60p (Drone stuff) on a gaming notebook (Asus Rog) i7 7700 HQ with GTX 1070 and it is fine. The h264 material I convert through optimize media, the MJPEG I edit them natively without conversion. The new 14 studio version should do h264 decoding in the GPU (Nvidia, windows only) so I hopefully I may skip the conversion for 4k h264 material too once it is final. Edit on a 4k 60p timeline in real-time is not a problem with basic transition like dissolves etc... 30p and below is no issue at all. I use also quite a bit optical flow retiming on 4k 60p material on a 30p timeline slowed down at 25% and the notebook can cope with this. Bottom-line I never encounter so far an issue with 4k up to 60p on the edit tab with the notebook. Grading the notebook can cope well with light grading 3-4 nodes, qualifier, power windows and even some NR in real-time on a 4k timeline. If you do more heavy grading you can either change the timeline resolution to FullHD for real-time playback and switch it back to 4k for final render or simple use the proxy feature and set it at half resolution (it changes the resolution on the fly with a switch, it is not using or generating proxy, a very handy feature). Bottom-line on a gaming notebook with a GTX 1070 you can edit and grade well, worst case you just change the timeline resolution to fullhd for real-time playback and switch it back just before final render. My friend has a Dell XPS 15 i7 7700 HQ with GTX 1050 (4 GB Vram) and we test it a bit and you can edit well similar to my Asus Rog but 4k grading with 4k preview can become tricky due to the 4 GB Vram. It works and you can do light grading and even optical flow stuff with it, but Blackmagic says that the minimum for 4k editing is 6 GB Vram so it could happen that the GTX 1050 will run out of Vram and you cannot do the final render even at super slow speed because the gpu ram is full. To answer your question if you can do 4k editing and grading with a 7700 HQ + GTX 1050 4 GB Vram? Yes you can do it but you may encounter issue with heavy grading and effects. I would stay on the safe side and get a gaming notebook with a 1070 8 GB Vram. Also forget to use these machines on battery power for editing they simply do not work (both the XPS and the Asus Rog)

ZIp is a lossless compression and is very different from a lossy compression algorithm like JPG. RAW Light is a lossy compression codec 1:3 to 1:5 (30fps is 1:3, 60 is 1:5) this is why you get about the same bitrate at 30 and 60 fps. Red for their RAW uses wavelets based on the JPEG2000 compression algorithm. So if you export from Resolve a 4k video in JPEG2000 it would be a much better comparison than zip. But even this test is useless because the cpu can have HW optimization for a specific algorithms. You can believe that they are working furiously to port the code to the new chipset, I believe they are simply protecting the C300 II. In 6 month we will know...

Not a good news....

Without knowing the technology behind RAW light (wavelets like JPEG2000, REDCODE?) it is hard to judge the computational power needed, but I think the chip are powerful enough for 4k 10bit 422 at least at 30fps. My opinion, as many others, is that it is only a temporary protection of the C300 II and once they are ok with releasing the firmware they can implement 10bit 422 400 Mbits and/or 8bit 422 300 Mbits. Maybe one factor would be to be able to save to the SD card so the 300 Mbits will be chosen. Although it is possible to do 400 Mbits on SDs, with so many cards brand and models it can become tricky for support and test. I'm skeptical to the 8bit 420 because it make no sense, they already have 8bit 420 so 6 months wait just for going all-I? but again is Canon.... Another theory would be that they need more time to finalize/optimize the XF-AVC for 4k 60p although the C700 does this already but at 810 Mbits so no SD card.....

I have the 24-105 and I'm not a fan of it, I wish Canon would do a 24-70 2.8 with IS... there are rumors but only rumors. I have the 16-35 2.8 II but I tested a friends 16-35 F4 IS and it is a really good lens.

It is now a year that I have the 1Dx II and I do ca. 60% photo and 40% video, mostly around action and sports stuff and some commercials. So for me is the best camera/system available on the market for my usage. It happens quite a bit to do photo and video on the same assignment. Sometime for the photo part I even pull some 4k frames out of the video but for most of the part I switch between video and photo. I’m sure that there are others like me that wants one single camera that can do both photo and video well but considering the price I’m not sure that a 1Dc II, that would probably be on the same price range of a C200, would have a big market. They should simply add Clog to the 1Dx II and be done with it. Personally I would prefer to have zebras, parades and a better quality 1080 120fps than Clog. I think a 5D class camera with a FF 4k 30p, Clog and some video oriented feature would have more market than a 1Dc II. If I would do 90% video I would buy a C200 instead of a 1Dx/1Dc II… But for my usage I dream that next 1Dx (III) in 2 years will have 4k 60fps Raw light and 4k 120fps MJPG (or whatever codec that would produce great slow-motion), add zebras, parades, and a fully silent mode in photo live view and I will be happy for another 3 years. Not critical for me but many would be happy if it would have 4k h264 100/150 Mbits. Yes I’m just dreaming but with Canon you never know….

Hard for me to compare the AF speed because I have 1 1Dx II, 1 1Dx and the M5 so in term of AF they are a bit on the extreme opposite. The DPAF on 1Dx II and the M5 seems to me about the same in term of speed with FF EF lenses. Still the 1Dx II is quite a bit faster with phase detect AF than in DPAF. On the M5 I use the native M 11-22 and 22 2.0 and I use quite a bit the EF 50 1.2 adapted that works quite well in term of AF, I also use the 8-15 Fisheye and sometime the 24-105 F4. The M5 is for sure not an action camera... but the problem is not too much the AF but the VF blackout. Bottom-line in video the AF speed of an adapted FF EF lenses is very similar between 1DxII and M5, for photo the 1DxII is quite a bit snappier when not in live view. As I said before DPAF becomes quite slow when using long lenses.

So on the M5 the 24 1.4 L it is a fraction quicker than the 22 2.0 but the difference is very small and imo not relevant. Both are very usable. In general with DPAF the shorter the focal length is the more similar with phase detection DSLR AF speed is. For example the 24 1.4 there almost no difference between DPAF and phase detect but with the 200-400 f4 at 400 the difference is quite big. Naturally it is a big difference in FL 35 to 22 so not sure why you want to compare them but IMO the 22 2.0 is a little gem so small yet sharp. The AF is a bit noisier than classical USM lenses. In term of size there is really no contest: http://camerasize.com/compact/#684.349,684.368.2,ha,t. It is also half the price.

22mm native is not fast but I find usable, the big advantage of this lens is that it is super tiny so I can even keep it in the pockets and it is quite sharp. I don't have the 35 f2.... but if you want I can compare the 22mm native with the adapted EF 24 1.4 II L?