KnightsFan

@newfoundmass USB audio is an existing standard which, if implemented in cameras, would let people use USB mics, but more importantly they could use mixers and completely bypass camera preamps and ADCs. And it would open up to a whole range of audio devices, like MixPre's, Zooms, or even desktop mixers from Behringer, Tascam, FocusRite, etc. That would streamline a lot of types of shoots.

An open standard already exists for USB audio interfaces.

My ideal solution would be if cameras could accept USB audio interfaces, then using a MixPre or Zoom F4 and pipe the audio in digitally from there. I think this Tascam unit is an important first step, as to my knowledge it's the first third-party digital audio connection to a consumer camera. Edit: I'm fairly sure the Octopus Cinema Camera supports a USB audio interface, but I'm not confident that camera will ever materialize into an actual product unfortunately

That would be nice, but I assume if they had 32 bit float it would have been prominently mentioned in the announcement.

That's amazing! We'll have to see if Fuji and/or Canon are willing to open their digital interface to other audio manufacturers in addition to Tascam. The prospect of using something like the Deity BP-TRX set with direct digital input from the receiver into the camera could eliminate the need for an external recorder for me--particularly now that Deity has licensed backup recording on the transmitter.

Assuming sharpness is the main property you're looking at, The simple/theoretically-correct-but-not-really answer is, look up the MTF chart for your lens, and you'll see how many line pairs per mm your lens resolves at any given distance from its center. Multiply lp/mm by the size of the sensor in mm, and you know how many line pairs your lens is resolving for the entire image. Example: if the lens resolves 100 lp/mm, then the FF lens resolves 3600 line pairs across its width, and the MFT lens resolves 1800 line pairs over its width. Even with this simplified view, it depends on the MTF curve of a specific lens, which also depends on the aperture you're shooting at. The complex answer is that the MTF chart doesn't show the whole picture. It's a 1D representation, but lenses project 2D image. And it might be different at different focus distances. And it varies from lens copy to lens copy. LensRentals' Roger Cicala has a number of great articles about this topic. So really the best way to answer is to take the lens in question and run some tests with the cameras and lens in question.

Without revenue, there will be no reviewers who test enough different models to have a meaningful opinion. The best, most unbiased reviewer in the world can't provide a meaningful opinion on the Z6 vs. S5 unless they've tested both. Professional reviewers are invaluable due to their experience with many different models. I understand the dislike for people who spend more time reviewing than using gear (see the Gerald Undone topic), but there isn't enough time in a day to both review every camera and lens released, and also have a career as a videographer. No one should listen to only one source before buying. I'd always recommend both general comparisons by pro reviewers who have an overview of everything out there, and specific reviews from pros or enthusiasts who have used a given model regularly for real work but have only owned a half dozen cameras. I'm not defending all of the practices of paid reviewers/shills/influencers. I'm just saying that reviewers who have actually used every camera out there are very useful, and that no one will be able to do that without it being a near-full time job with a revenue model.

My first thought when reading the announcement was, "if Fuji didn't exist this would be right up there with the (terrible) APS-C offerings from Sony and even Canon." I think if it were cheaper it would sort of make sense, but $1k is way too high when the XT-3 is not much more. Same with the Z6, but compared with the S1 and S5. And the problem with a direct Z50 clone but in fashionable colors is that it doesn't appeal to anyone with price or quality, who wasn't already interested in the Z50. A higher or lower quality/price bracket would have been more exciting. But you're right, maybe the weekend photographer crowd who doesn't shoot video will buy it up. I hope it works out for Nikon, I'd love to see a serious, higher spec camera from them either in APS-C or FF, and if this is the way to get funds, then good for them. Overall though I am not optimistic about this or Nikon's other releases.

It is funny to watch channels reviewing gear, when their main use case is making the review videos. I think Linus Tech Tips is the best example, where they have entire videos about building workstations to edit their videos about building workstations. Credit where it's due, it's not a bad business model, and in Linus' case they're open and honest about it. Actually I'd say the same about Gerald, who has said in a few videos that his primary use for his gear is sit-down corporate interviews. He's said in a couple places that he's not a "cinematographer" or a "vlogger." I think the guy does a good job presenting information. If I want basic information about a camera or mic he's reviewed, I usually watch his video. I wouldn't try to get any artistic ideas from his videos. I think that's where you should position yourself with your channel, Andrew. I've always liked/agreed with your opinions on color. I think you're at your best when talking about artistic use cases and reviewing gear from that perspective. We don't need you to compete with tech gear reviewers, just talk about what you're good at.

Nice work. Crazy that there are companies charging money for editing software without proper color management. Glad you've got a solution available.

"We don't need no thought control" -Facebook, unironically Lol, I saw this story earlier. Roger Waters may be a prick himself, but he's our prick and we love him for it. I really want to see this proposed instagram ad now. Do you think they'd have a little choir of wannabe Instagram models singing "We don't need no education" or would they go with the bigger picture album theme of how (Instagram) fame drives people crazy/turns them into fascists? Actually I hope they were going to use the verses. Whichever marketing genius was going to make an ad out of "certain teachers who would hurt the children any way they could" or that their "fat, psychopathic wives would thrash them within inches of their lives" certainly has my respect.

Yes, Canon makes the 4 million iso ME20F-SH, for just $20,000. The other options I can think of are: A7S3 - probably best option Sigma fp - smaller and lighter Other FF cameras (S1, Z6, A73--all seem about on the level of the A7S2 from what I've seen). Z Cam E2-F6 - no screen or EVF, but heavier Ximea and other machine vision companies make camera modules that might be closer to what you want, but I don't know how their low light is and they are likely pricier since more specialized. Many of them are available in monochrome which increases sensitivity. Another option might be to get some faster lenses and/or noise reduction software? Low light consumer cameras use very good (and very aggressive) noise reduction to get their results, which you might be able to achieve in post with quality software and whichever camera you choose.

ZRaw is an example why not to make a new Raw format. No support in Resolve, requires a plugin to work in Premiere. Now if Panasonic added Braw that would be amazing!

To offer the counter argument, I always shoot H.265. With a Ryzen 3600 and GTX 1080, I edit 4k 10 bit H.265 for every project and only get dropped frames on Fusion composites--which incidentally drop frames on ProRes as well! Fusion's integration into Resolve is still wildly inefficient. In side by side comparisons on my camera, H.265 outperforms ProRes HQ, at <1/7th the data rate. Side note, I was talking to someone on a shoot where they estimated 24 TB of footage (Redcode). That's going to cost them $650 in hard drives for one copy, $1300 to have a backup. If I were shooting it, I'd shoot 100 mbps H.265 and needed $300 of drives. For that extra $1000, I could get top of the line graphics card--okay, maybe not during the great GPU shortage--to cut through the footage easier... and if necessary I'd use proxies. I've saved $5k+ of hard drives in the last four years by shooting H.265 instead of ProRes, and come out with better quality as well. That said, the Braw files that I have worked with also had a fantastic quality/size ratio, so I would certainly consider Braw above any flavor of ProRes.

Sounds to me like a lot of us here aren't the target audience for Blackmagic. Not everyone wants to adapt lenses, look up compatibility charts, etc. Wanting MFT mount with S35 sensor or a mount specifically designed for adapting is a little bit like Gerald Undone saying the fp-L isn't worth its price because it has high rolling shutter and poor ergonomics. The truth is, EF is still the most common lens out there. BM isn't competing for the users that want to look for custom handles, screens, and lens mounts. Want choice? Go for Z Cam--or maybe some of the internet folks are actually more interested in complaining about the design philosophy of companies they aren't buying from, than buying into the camera with the features they talk about.

In my opinion, it's wishful thinking to hope for a cinema line from Nikon. Not that I wouldn't welcome it, I just don't think it'll happen. And if it does, it might just be too late. 2018 Aug - Nikon's Z6 2019 Mar - Panasonic S1 (FF 10 bit internal) 2019 Sept - Z Cam S6/F6 (affordable box-style cine cams) 2020 Nov - Canon C70 (cine cam in hybrid-style body, NDs, 1st party focal reducer) 2.5 years ago, Nikon had a chance to make a big splash for filmmakers by adding the basic features we want. If the Z6 had beaten Panasonic to 10 bit log internally, it would have solidified Nikon's standing as a hybrid video leader. If they'd made a modular camera like Z Cam in early 2019, or if they'd made a C70 before Canon, it would have filled a spec and ergonomic gap that has now been filled. What is there left for them? We're not all clamoring for 8k now that 4k in mainstream. Very few people are looking for 12 bit internal now that we have 10 bit. We're not clamoring for a second set of internal NDs. The basic features we want haven't changed now that they are starting to be filled. And yes, I know there are still places to innovate. Internal ND's on a hybrid hasn't been done yet. We'd all like less RS and more DR -- but Nikon isn't producing its own sensors. And then the other side of the issue is lenses. I am very skeptical of investing in Z lenses as it would vendor lock me into Nikon cameras. EF, L, PL, and F lenses are much more flexible, and E mount has a nice long catalog of cine cams. We can be reasonably certain Nikon will continue to produce excellent photo cameras, but with no track record, investing in their lenses for cinema seems unwise. There is a lot of room for technical innovation for cine lenses, though. If there is a glimmer of hope for a Nikon cine line, I think that's it.

I'm always glad to see people doing actual tests on these things! Thanks Andrew. I don't really see any difference in the pictures you posted. I did quickly grab some images with my Z Cam. I can't do the same format in 8 and 10 bit, so I compared 8 bit H.264 at 120 mbps vs. 10 bit H.265 at 60 mpbs. Big difference there... here's a 1:1 crop of the sky dropped 4 stops in post and no other color adjustment. 4 stops is a lot, but not unreasonable for exposing a Zlog2 image particularly with high dynamic range. Lots of very ugly colored bands on the H.264 and actually it looks worse with the full image. It might be worth comparing your highlights as well as shadows, especially in log footage. I don't see any banding in the shadows in my image when pushed, just in the highlights. So I will agree with @jghardingthat it will vary camera to camera, and encoder to encoder.

It's far better to know where the sound is a problem and fix it rather than stick a bandaid on it. A brickwall limiter (which is the only type that is guaranteed to fix all clipping) still sounds distorted, it just won't technically clip. Immediate visualization of clipping without requiring playback would be amazing.

That would be a fantastic feature to have.

If the rumors are true and its as disappointing as everyone seems to already know that it will be, I wouldn't be surprised if chip shortages are partly to blame. Nvidia can't make GPUs, Sony won't meet demand for PS5's until 2023... it's unsurprising that Panasonic is reusing parts from the GH5. Maybe it's either that or a paper launch. Though in the absence of chip-related new features, an internal ND could have been be a welcome addition, so who knows what's going on. Ultimately with the prices of the S5 and XT3 so low, I don't think there is anything with a price >$1k that a M43 hybrid would tempt me with and Panasonic probably knows that.

I'm glad this guy spoke up, because I'd prefer to spend a little more money to support good business practices, and that includes being upfront and honest with reviewers who are getting gear to review, and having good customer support. But "blackmail" is a pretty strong word considering their "threat" is to stop sending free stuff. I might have missed something, but it sounds like they just said "we aren't going to send you free gear to review unless you actually review it." And it sounds like they said it in a nasty way--which is a fair point to make and a genuine reason to rethink your support of the company--but the actual terms of that transaction seem pretty clear to me, and he can either accept or not accept it. His argument that they are pressuring him into doing something he didn't agree to is a little dramatic, because unless he left something out, withholding free gear that he didn't ask for or expect is not pressure. He also mentions that smaller content creators rely on free stuff that they can't afford. Well, if your channel is mainly about creating content, then use cheaper gear or get a day job.

No, it can't. And also if you have a 3.5mm mic plugged in, you can't use the internal mic. So you can't do internal L + 3.5mm R.

I would not say that is true. On Blackmagic you have a big touchscreen and lots of buttons and dial within finger reach. On Z Cam you will do more menu hunting and moving hands around to reach buttons, plus the rigging and wiring for a monitor makes it more awkward. For handheld a handle like the Rvlvr Clutch is useful with its custom dials.

It can record H.264, H.265, ProRes (all flavors), and ZRaw internally, if your card is fast enough. With the most recent firmware, you can even record ProRes in 120 fps. I'm unsure of the exact ProRes frame rate limits. You can also record ProRes Raw externally on the Nina V (again, some people have problems with it but I have never tested it), and you can record any YUV format externally at 10 bit 4:2:2 or lower. If you're holding the camera by itself with no rig, then the Blackmagic will probably be easier. If you're putting it on a shoulder rig, neither one is ideal to be honest. It is a closely related sensor to the P4K and GH5s, so dynamic range and noise are similar. The color processing is not the same, and the codecs aren't either. Yes. It uses Sony NP batteries, or you can rig it with a V Mount. Yes, it has builtin mics. You can also use the 3.5mm jack in place of the internal mic, and with a dongle you can use dual XLR mics. And you can mix/match internal and XLR, for example using Left internal mic + Right XLR.

I have an E2 M4. I haven't gotten to use it much because of Covid, so I've only shot 2 small interviews, and a half dozen "walk around outside" tests. The minimum setup is a CFast card, battery, lens, and phone. That's how I use it on a gimbal (I mentioned my setup in my post here). If you use it handheld, I would get a handle for each side. With a wide grip, it's very stable. There are some nice grips with control functions, but they are expensive. I would say that no matter what controls you use, it won't have the speed of a DSLR or cinema camera with more buttons and better ergonomics. It's not designed as a run and gun camera. The image is very nice. There are lots of examples on the fb group, and I can shoot stuff if you want a specific test... likely limited to nature shots though. I wouldn't say the image its necessarily better than other cameras in the price range, though I like the color, high frame rate, and codec options. The app and the OFX plugin really set it apart from competition. Some gotchas you will want to check before purchase: - some Android phones just don't work with the app. I'd ask in the fb group for your specific model, if that's how you plan to use it. - Timecode is a pain. You need 2 separate adapters. Or, you can set it over wifi from a jquery post (work in progress but it does work). Internal clock is atrocious, I got seconds of drift over a 20 minute period compared to the Zoom F4. - Viltrox adapters don't work with many Autofocus lenses. Their support told me they don't support the M4... despite supporting the E2. - It doesn't play nicely with the Ninja V. YMMV. Also saw some reports of it frying the HDMI port if connected to specific models of monitors, when both are powered from the same battery.