UncleBobsPhotography

I use the Sony RX1RMII for everything. I have learned to work around it's weaknesses and know how to get the most out of the AF system. I use it for video as well as stills, but it's obviously not a video camera. If I could get one wish from Sony, it would be to implement the option for a native crop for video. It has 42MP, but the only usable video-format is full frame readout with electronic stabilization turned off. I am looking for a dedicated video camera but haven't really found an option which ticks all my boxes.

There is a licensing fee involved, perhaps the camera manufacturing companies don't consider the codec to make up for the increased price of the camera until a certain price point? Or perhaps it is market segmentation. Here is a list of authorized ProRes products, some manufacturers definitely set the price point for adding ProRes lower than others: https://support.apple.com/en-us/HT200321

Another topic this brings up is "how to sell an un-sell-able opinion". Mr. Damore's opinion is one that easily creates a lot of negative press regardless of whether what he said is correct or not. As filmmakers we might therefore ask ourselves, how do we best present something that people do not want to hear? How do we successfully preach against the choir? Metaphors is as discussed earlier one technique. For the last few years I have worked on a piece on a very controversial topic where I want to present something that goes against the main stream opinion. However, I have seen several filmmakers and writers try to do it before, but nobody want to write about them and they gather no support, while content with the opposite narrative is given first page covers. I have still not been able to figure out how I will make my final delivery, but I am starting to believe that the only way to deliver it will be to create a film which seems to deliver the main-stream narrative, but in the end leaves the audience with the gut feeling that "this is not right". It could be done with a twist, slowly adjusting the narrative as the film progresses, or keep the same narrative throughout the story, but let the audience feel like they're on the wrong side.

But the original RAW file will still contain more information than a generative compressed video file since it's a non-reversible process, and the RAW-file will therefore give more opportunities while editing.

The Tascam DR-10CS/DR-10L is even smaller. It only records mono, but I like using it for lavs or shotgun mics which are mono anyway.

The portrait is definitely better than what my cell-phone would have captured. Not at all comparable with the RX1RMII though.

My issue with the L16 is that I don't trust the company that makes it. This kind of technology is not easy to make successfully, and I doubt what seems like a kickstarter-style company will be able to pull it off. The best they can hope for is to have a proof of concept which impresses one of the big software houses enough to acquire their company. I hope they prove me wrong.

The dynamic range in the clip looks good, but I can't focus on anything but the out-of-sync audio.

I'm also curious to find out what makes 4k harder on larger sensors. It seems like it's much more difficult to read the data off of a full frame sensor, but I don't understand why. My guess is one of the following: it is harder to process the data/charge from the larger photo sites, the physical distances makes data transfer harder, or the overall size of the chip generates too much heat. Any better guesses?

This is how I interpreted Peter: 1) Canon is following Nikon the same way Intel is following AMD. Being the market leader they want to keep the status quo and have to follow Nikon/AMDs progress to keep the status quo but has little motivation to innovate beyond this. 2) In a few years 4k will be a given for every camera, so it wont matter in regards to pushing innovation or cannibalizing their Cinema lineup.

Looks like an A7II/A7RII/A7SII: EDIT: Inazuma beat me to it and added the lens as well.

It seems to me that the way the 6DM2 has been crippled hardware wise compared to the 5DM4 is mainly the SD card write speed. With DPAF, touch screen, a new sensor and processor the 6DM2 has most of the hardware necessary to make a great video camera. I am pretty sure magic lantern would be able to do amazing things with it if they had the access, but my suspicious is that the limited bandwidth will be the real bottle neck to make sure it can never be a real threat to their more expensive lineups.

I'm in the same boat. The main reason why I don't buy more new gear is that I don't have the time to learn how to use it. I've been shooting with the same Sony camera for close to 2 years now and I'm just getting to the point where every setting comes natural to me. If I were to get a Blackmagic and GH5 it might confuse me more than it would improve my shooting.

The RX1RM2 does have a mic input, but I've not been able to get results I'm happy with. Even when the automatic gain control is under control, I find the Tascam to be significantly better. The DR-10CS is so small that it's not really a problem. I attach it to my camera strap and it's hardly noticeable, the microphone much less so.

I am mostly shooting documentary style or social events (mostly photography but also some video) and when I switched from a DSLR to my RX1RMII, the difference in how much more relaxed my subjects were was staggering. It is treated as a toy camera, and during my last shoot I was even asked why I didn't bring my real camera. Even though the image quality is a clear improvement, the largest improvement is how the camera is perceived. Now to my issue: when I shoot video I am using the Sennheiser MKE400 connected to the Tascam DR-10CS. This alone makes my camera more intimidating, but it's often necessary to add a deadcat to my Sennheiser and then my camera is no longer innocent looking. Any tips on how to add a non-threatening sound system? I can of course add lav mics to myself and key people, but I need some kind of on-camera sound as well.

This is what I consider refurbished: However, I don't think it would make any sense to do this to a camera, so in other words I agree with you.

Just as a warning, most of the online Sony NP-BX1 batteries are extremely convincing counterfit batteries. If I was going to buy them on-line I would have bought off-label NP-BX1s.

Is the RX10 series worse than the RX100 series for video? I always assumed they were identical except for the lens. One note on the RX-series. I'm using the RX1RM2 and electronic steady-shot completely destroys the image quality for 1080p. It looks more like 480p than 1080 with steady-shot turned on, but without steady shot the image is quite decent.

After reading a bit more about H.265, it seems like I had mixed up Skylake and Broadwell. Skylake should have pretty good support for H.265 while it's quite limited for Broadwell: https://en.wikipedia.org/wiki/Intel_HD_and_Iris_Graphics#Kaby_Lake . The videoclip is probably using the "Main 10" profile which Skylake doesn't support.

Your point still stands, but Skylake does have H.265 acceleration, but only full acceleration for 8-bit decoding. In other words you will need Kaby lake for efficient 10-bit decoding and any encoding. It seems like this is one of the main improvements of Kaby lake as the increase in raw processing power is quite small.

I only an hobbyist, but one of the books I've read recently is "Directing the Documentary". I liked the chapters describing what makes a good documentary story and structure wise and how to plan the work. I found the chapters about camera technique to be banal, so I would recommend selective reading for anyone interested in documentaries.

My main gripe with custom white balance on my Sony RX1RMII is that it doesn't work in movie mode, which is the only scenario I actually need it. It does however work to shoot video in photo-mode, so that's a work around, but not very user friendly.

For everything up to 1TB, I use dropbox for backup. It's not free, but I use dropbox so much that the price is well worth it just for the convenience of always having all your files on all your devices. For long-term backup of source video/photo, I just make sure that everything is saved on at least 2 separate external hard drives. I try to keep my files synchronized with dropbox until they have been backed up on my external drives. So far not lost a single clip or file due to hardware failure, but I've had a few hard drives gone bad. EDIT: I now see that dropbox has unlimited storage for 15 euro a month.. Probably worth it if I figure out how to synchronize my external harddrives with dropbox without too much of a hassle.

Disregard this post, I misread what I quoted.

My experience with my previous iPhone was that it was great 95% of the time but annoyed me more than any other piece of electronics the last 5%. With my Android phone I now run DOSBox with my favourite games from when I was young just because my iPhone wouldn't let me do it. Overall I might have been happier with the iPhone, but those few things it wouldn't let me do drove me nuts. I would imagine that using a Mac would be a similar experience for me.