KnightsFan

@majoraxis 8k 4:2:0 has quarter resolution in the chroma channel, so it is 4k 4:4:4 with oversampled luma. That oversampling provides pseudo-12 bit, but only for luma channel. So it is 4k 4:4:4 10 bit with a nice oversampling on luma. Similarly, you can get 4k 4:4:4 12 bit, but the chroma channel will only have 10 bits worth of information at the maximum, while luma would retain a bit more information.

It's a diminishing returns thing for sure, but the e2 series cameras have an ergonomic advantage, more frame rate options, and don't require a 5" monitor bolted to the rig to record raw. Up until the e2 series, you needed to pay tens of thousands for a kinefinity or red for those diminished returns, and now its down to $5k. Many ultra low budget people will still opt for a z6, s1, a73, gh5, etc., but if you have a little more money to spend and were already considering more expensive, dedicated cinema cameras, the z cam offerings are amazing value.

You know, I almost posted in that topic about Race to the Bottom about how the economic value of our work as filmmakers is falling because of advanced software, and will be completely obsoleted by machine learning within a few decades. The truth is that once an algorithm is developed--whether by traditional coding, or machine learning--it costs $0 to duplicate it globally. (Patents and lawsuits make it cost money, but those are legal fees, not the actual cost of the algorithm the way that you must continue to pay a human worker because they will stop working if they aren't paid.) Every single person who makes money rotoscoping, motion tracking, or really ANY job can be put out of work by an algorithm overnight. Those jobs will exist until the day it's lights out, and we really need to have the foresight to do something about changing the way we think about the value of labor, before the disaster point. The scary part is the vast majority of political leaders seem to have no concept of the massive change to our economic structure that machine learning will bring in the next few years.

"Timeline level resolution, frame rate, scaling and monitoring settings within the same project" FINALLY. It's one of those things that wasn't a dealbreaker, but was annoying for a few specific projects. "Adjustment Clips to apply filters, effects and grades on top of a range of timeline clips" Nice. One of the main things I miss from Premiere. "Improved Fusion playback performance" That's been my main complaint against Fusion's integration vs. Fusion standalone--glad to see improvements in performance. "ResolveFX Object Removal in DaVinci Resolve Studio" Really looking forward to trying this out. "ResolveFX Vignette" I could have used this on one or two projects in the past, glad to see it. "Playback speed indicators in Resolve viewers" Cool! This will help with creating speed ramps. "Support for using DaVinci Resolve Studio dongles to enable Fusion Studio" WHAT? This is AWESOME! I'm so glad I never bought a Fusion dongle now haha. It doesn't look like they have added support for FLog in the color space transform. That would be a nice addition for Fuji users. Though, to be fair, I've found HLG to be better than FLog on the XT3 so I probably wouldn't use it that often.

Looks like Blackmagic skipped a few versions and is going to Fusion 16 now. I'm glad to see that they are keeping standalone Fusion alive, at least for now.

I don't know if I'll be able to support BRaw, since right now I'm using ffmpeg for decoding--though hopefully they will add support eventually. I will look into it though, since technically all I need is an audio stream to sync with, perhaps BRaw has just a normal WAV stream and I don't need to actually decode the video at all? I'll look into it.

Yeah, and that's today. By 2020, I expect there to be FF 4k60 without binning! My point is that the bar of "exceeding expectations" will be higher then than it is now.

The panasonic cameras are today's models. 4k60 with good af might be class leading if it were released now, but in april 2020 it will be competing against the next generation. Sony will need much more than today's specs to top next year's competition. And the s1r isn't cropped, its full frame 4k60. ...Which is not to say that the a7s3 definitely won't be class-leading. Maybe it will be an 8k global shutter camera with triple base ISO, etc. etc. Maybe not. And in the end, I'll get it if it's "only" 4k30, but ticks all the other boxes for me (price, ergonomics, codec, etc). I'm very interested to see what Sony makes, but at this point it does seem like they're playing catch up.

Sony's new HDC-5500 camera has a 3-CMOS design with global shutter. Considering how good current cameras are with sensitivity and dynamic range, I'd love to see rolling shutter reduced/eliminated in the next generation of cameras. There have been a number of global shutter cameras announced in the past year, and I'm glad to see that technology becoming more common.

If Sony ships the A7s3 in April 2020 with 4k 422 10 bit downscaled from a 6k sensor... they'll be about one year behind Panasonic, depending on when that firmware update drops.

Except z cam! But yeah that would be cool.

I am currently making an external tool to do just this and I'd love to hear about what kind of process you are looking for. What kind if workflow do you have? Timecode? Is there exactly 1 audio clip for each video clip? What camera and audio recorder do you use and do they have relatively accurate time stamps on the files themselves?

@BTM_Pix aha! the illusive F6 @IronFilm mentioned which I failed to find on google! I'd be all over a p4k with the form factor of the Micro. Form factor is one of the main things I like about the E2, but I don't need 4k120 as much as I'd like to save $700 and get another copy of Resolve. It'll be really interesting to see how Resolve 16 changes things up. What could they possibly revolutionize at this point? That wording implies it'll be more than bug fixes and incremental upgrades to performance/compatibility. Not terribly excited about anything else at this point, unless something comes out of left field (which it totally could!) As cool as Raw on the EOS R would be from a "Canon is improving finally!" standpoint, I have no interest in shooting Raw video now that high quality 10 bit HEVC in HLG is readily available, and I don't want to be tied to an external recorder.

Sorry, both my kidneys are scheduled for the Z Cam S6

What? There's a Zoom F6 now? I'd love to see what that's like, but Google is giving me nothing

Right, I meant in terms of higher frame rates. I'm amused by the way Sony claims its "easy" to do 4k60, but has yet to do it, while other companies like Z Cam forge ahead into double that frame rate--using a Sony sensor, of all things. Strikes me as funny.

Crop or not, Sony had no dslr style camera that shoots 4k60. Panasonic has a number of them, and fuji has the xt3, and z cam went straight to 4k120. And even Canon now has a camera with 10 bit hdmi. Sony really needs to make a massive leap forward at either ff or apsc, and keep abreasonable price. They really need 4k60 at 10 bit internally under $3k for me to be at all impressed.

They post it on their private facebook group, same place that all the screenshots of news in this thread came from.

10 bit 4:2:0

They said 14+ usable stops, and they've said its higher dr than the normal E2 There will be prores, i don't know about raw. I think you can already preorder them.

Yeah, I think all E2-family cameras can do anamorphic. They are considering a micro four thirds mount option for the S6 and are doing tests to make sure it works properly. They seem interested, and posted that the 0.64x speed booster works on the S6 with minimal vignetting. The mounts will not be removable, you have to pick which one you want upfront.

"It's easy to add 4k60" Clearly it's very easy, since Panasonic beat you to it....

That's the full post. I don't think they've said anything about frame rates on the F6 or F8 yet. The S6 does 6k60 at 2.4:1, and 6k30 at open gate 6244 x 4168. I find the F6 to look like the best value. It's not as big a jump in price over the S6 as the latter is over the normal E2. If you want a speed booster with a locking EF mount on the S6 (assuming they do actually make a M43 mount), then the price is pretty similar overall. Of course, if you have a lot of S35 or APS-C glass then the S6 looks like a killer option. $4k is a little steep compared to the XT3 to me.

These look really cool! I love the tiny size and the builtin cold shoe mount. I hope you can adjust the RX gain from the TX side like you can with the RODELink. With tiny size and builtin mic on the TX, these seem great as plant mics for wide shots where you can't hide an XLR as well. Same! Do you have any experience with ultra cheap wireless systems?

I was on a 6 hour shoot today with the XT3 plugged into a 5v USB port.The green charging light was off the entire time as you say. After the shoot, I unplugged the camera and took ~60 photos without charging the battery. At the end of all of that,I still have a full battery (5 bars). For reference, it was down to 4/5 bars of battery after ~1.5 hours of shooting on a different day, when it was not plugged in. So it appears that while the battery might not charge while the camera is on and plugged into 5v, it certainly does not drain as quickly.