KnightsFan

It may be a Series 9 filter, which is a format of 82mm non-threaded filter. Ask the seller if it's Series 9, or Lee, or what format it is. Most filters can be found in a number of formats, e.g. you can find a Black ProMist in 77mm standard threaded, or Series 9, or square formats. You should definitely find out for sure what standard the filter is before buying so you know what kind of adapter you'll need and how expensive that will be.

Its worth mentioning that with the price difference between an S1H and probable cost of an XT4, you can buy a top of the line computer. Not to try to change your mind about your needs of course 4:3 modes would be nice. I don't know why more cameras don't allow for more aspect ratios.

Exactly, and this applies to many many industries, not just sensors and cameras.

I can usually tell on movies I watch whether it was shot on Arri or not, even at the highest budgets. The most common difference is Arri distributes stops to highlights for milkier shadows and extensive highlights (like film). Red on the other hand distributes stops to the shadows for more shadow detail. Can you adjust them differently in post? Probably. But for whatever reason I see that difference even on $100 million movies.

Conspiracy theory time. What if Red and Canon have collaborated beyond RF on the Komodo and this new camera is the product of Red's 8K dreams and Canon photo-style body and branding?

True, its basically down to whether the block it attached with heatpipes or liquid tubing over a potentially longer distance though overall air cooling would be smaller and lighter. It seems more worthwhile to just use more efficient ASIC chips instead of FPGAs. z cam has tiny cameras shooting insane frame rates and great battery life without active cooling.

@no_connection as awesome as that would be, i think it is not practical. At least for desktop PCs, high quality air cooling is quieter, smaller, and better at cooling than water cooling especially after a long run time once the water heats up. If cooling is a priority, redesigning a studio camera around proper air cooling would likely have better results. Moreover with water cooling there is a much higher chance of mechanical failure or leaking.

Historically Resolve uses GPU more and Premiere uses CPU more. I use Resolve so I'm not up to date on Premiere builds. For high performance, stay away from a laptop unless you need the portability. Even the best laptop components are designed primarily for small power draw, and the compact size has big thermal compromises. Building a PC is pretty easy if you put a couple hours into research. Get a good size desktop case with good airflow and plenty of case fans to keep it from thermal throttling, and to keep it quiet (large low RPM fans are quieter than small high RPM fans for equal cooling). Speaking of noise, SSD's are your best friend for audio work. A single 7200rpm hard drive is the loudest part of my PC. CPU: There's a lot of praise for the new AMD chips. After using Intel for 15 years, I'll switch to a Ryzen 3600 next upgrade. Benchmarks show it outperforming higher priced Intel CPU's for Resolve. Another plus for AMD is they they switch sockets less frequently, which gives a cheaper upgrade path (ie you can upgrade CPU without needing a whole new motherboard as well). GPU: I've been very happy with my GTX 1080 for Resolve, I haven't used anything RTX yet. But if you're going from a 1050 I'd go for a 20-series rather than a higher end 10-series unless you find a really good deal. My GPU really isn't a bottleneck for anything I do, which includes Blender, Fusion, and After Effects.

To be fair, that part is not bolded which would imply the article's author thinks it is less reliable. But overall I'm skeptical that these are entirely accurate, it's too good to be true or too expensive to be reasonable. On the other hand, I thought similar things about the XT3 but it turned out to be a phenomenal value with amazing image and specs.

This is one of my favorite music videos of all time. I love surrealism and how the strangeness is grounded in reality.

Another YouTube Promo is up! Shot over the course of two very cold days.

Probably the same Sony sensor that's in the Z Cam E2 S6. I thought that it was the same sensor as the XT3 but I don't know that for sure.

This is great! All around top notch. Great locations, clear sound, really quite enjoyable to watch. I love the prosthetics and the effects were very well done. My biggest critique would be that the knife cutting off the head is not convincing. If you can't get a better shot or make it in post, just cut away before you see it, or give a reaction shot instead. Stylistically, I would prefer deeper DoF and a little more lingering on the scenery. You've got such great locations, but I feel like it was either out of focus or the camera skipped by too quickly.

Nice video and nice bike! I like the grungy color. The gimbal motions aren't quite as smooth as they could be, especially on pans, but that's all just keeping at it with lots of practice.

Look into 2-pass encoding. You can do it with ffmpeg, there is a description here https://trac.ffmpeg.org/wiki/Encode/H.264 (also available with H.265). Alternatively, you can specify min and max bitrates, but two pass is generally the way to go for targeting a specific file size. I'm sure there are GUIs out there that do it, just look for something with two pass encoding options.

Ffmpeg is the library, so that shouldnt be an issue. I dont know if performance is different. Resolve's encoders suck in general. I recently discovered that their AAC encoder produces all kinds of artifacts, so i am using trusty ffmpeg to encode audio from PCM and losslessly mux with the video. I have not tested hardware encoding quality in ffmpeg, i use it for creating proxies so i want it to be fast rather than high quality. It would be interesting to test.

I always use ffmpeg from the command line. Like @rawshooter said, all the free converters use ffmpeg under the hood but may expose different options. If you put some time into learning it, running ffmpeg commands yourself offers the most flexibility, for free. You can really dial in the quality/encoding time/size compromises to just where you want it, and if you can take advantage of hardware acceleration then it's lightning fast.

To be fair, mechanical moving parts are more difficult to make, test, and repair than software. Overall Blackmagic hardware isn't great. Battery life sucks, ergonomics have been sketchy (remember the 2.5k?). I bet Blackmagic and Sigma save a lot of cost compared to photo cameras by removing shutters and articulating screens.

Apparently the versioning officer from Valve now works at Sony.

How about we manually separate the RGGB channels from a 24 mpix raw photo, and try various scaling algorithms to make a better scaled bayer image? That would be fun.

APS-C is usually 23.5mm x 15.6mm (Sony, Nikon, Fuji), or smaller (Canon). That's a 3:2 aspect ratio, so the area when shooting 16:9 or wider is smaller still. If anyone does "APS-C with MFT mount" it will likely be 23.5x15.6--Z Cam, for example. No one expects all MFT lenses to work on an APS-C sensor, it's the adaptability that makes it appealing, and mirrorless APS-C lenses like the the Fuji MK cine zooms.

I have only surface level knowledge, but any time your lens is longer than your FFD, you'll need extra lens elements to provide a "reverse telephoto." For example, an 18mm lens on an EF mount 44mm from the sensor. The extra elements introduce aberrations, which require more elements to correct, and so on. Add to that the complexity of making a zoom lens in the first place, and you quickly rack up size and cost. That's one reason there are smaller wide angle lenses made exclusively for mirrorless mounts, such as the SLR Magic MicroPrimes. On the telephoto end, it's simply the sheer size of the lens elements required. As focal length increases, the physical size of the aperture also increases to achieve the same f-stop.

Because no one cares about APSC except for Fuji.

In all seriousness, definitely the latter. I remember the first time I shot with a Sony, which was right around the time I first shot with a Blackmagic. Those kinds of experiences stick with you.

Maybe it's because you post topics titled "Sony A7R IV - can confirm colour is still SH**!" ? Regarding lack of Panasonic FF and Z Cam, I bet a lot of us are just constantly a few years behind on new gear. The S1 has looked perfect to me since day 1, but I'm waiting for a really good deal and/or a big project to use it on.