Video Hummus

Yeah, I think we can generally put the image quality question of ALL-I vs IPB to bed with most modern cameras with decent bitrates above 150Mbps. Really comes down to editing performance but even that is less and less these days.

Does Canon still lock the white balance at time of recording in AWB mode? The one thing I really hate is changing the kelvin manually on R5. Too many button presses. On Panasonic cameras there was a dedicated WB button it was as simple as 1 button press and a wheel scroll. Same with setting custom white balance...holy mother of god. Everybody complained about the EOS R touch bar on the back but I wish they would have put a hybrid of that and the new controls on 1DXM3 instead of scraping it. I find myself rarely using the joystick anymore with such good tracking.

A FF organic sensor S2H could really shake things up but my guess is we will see a S35 Organic Varicam model first after the specialized prototype cameras are possibly used in the olympics. If Panasonic isn't going to move beyond DfD for their AF they need something else, because buying sensors from Sony that are already in new Sony cameras bodies 4-6 months before anyone else, with awesome AF, decent color, and 3,000 Youtube videos at launch, doesn't leave room for much of a completive edge... Camera manufactures need something to propel them away from the gaping maw of smartphones photography/video.

My iPhone is awesomely convenient, but the god awful flaring of light sources, especially at night, ruins it for me...and the plastic skin tones, and the flickering HDR auto modes, and the clunky controls when I want to manually control anything, and the ergonomics in my hand. I'm not that convinced smartphones are going to eat everything or that traditional cameras will be regulated to a niche of a niche geek obscurity. Video is exploding. Production values are going up. Technology is advancing on all fronts.

Clinical in the video sense is basically any lenses that does a fair amount of lens aberration correction either by optics (Leica APO being on the extreme end) to purely software based corrections...many times both. The new ARRI master primes are a good example of a move to more "corrective" lens design in cinema lenses.

Here you go. 20 seconds straight from camera in clog. The only thing I did was strip out the audio and exported as ProRes HQ. Oh, it's also in a 2:1 aspect ratio but it was shot in 4K DCI. https://www.dropbox.com/s/y9m9mg6g10ddkfq/R5_4KHQ_4KLQ.mov?dl=0

Blasphemer!

I could probably hook you up this weekend.

I can imagine this would be bad for some Sony cams that already have a green tint in the color. Maybe not so bad for Canon which almost always leans into magenta.

Almost all variable NDs suck when it comes to color shifts and polarization artifacts. They will all tint your footage, especially at higher strengths. But in general I would go with one that: Has hard stops Has smaller range; 1-5 and a 6-9 I use an aurora-aperture 1-6 stop ND. It’s pretty solid. The 7-11 stop version is not very good. I’ve been looking at the polar pro mist+nd combo going forward. Still haven’t made up my mind.

This was the conclusion I came to when weighing A7SIII (rumored but pretty solid specs at the time) and the Canon R5/R6 and Panasonic. Panasonic S5 AF still kinda crappy so it’s out immediately. Panasonic fix your shit. A7SIII amazing specs but 12MP is just crap. I don’t care if it was fine in 2007. My baseline is 20MP. So it came down to the R5 and R6 and I sprung for the R5 for the MP, the video crop mode, the internal RAW, the typical canon pro body build, and RF & EF ecosystem with canon adapters and focal reducers. Sony then released the Sony A1 and its superior in many ways but $6500 bucks, so Im happy as a clam after using the R5. The camera needs clog3 or even clog2 though, so I can’t wait for the new firmware update.

I like my FHD downsampled from 8K to 4K and then downsampled again to FHD. 😂

I agree. I would say Sony has already met and in some cases exceeded Canon's DPAF. Sony now has 10-bit codecs with more refined colors and S-Cinetone for easy workflow and an army of YouTube influence peddlers. Canon still the only one offering internal RAW in mirrorless or DSLR form factor. It's not very compressed and hard to work with but its there and more accessible than anything from Sony. I think Canon R1 will set the tone for them going forward, or at least it should if they are smart. Sony is really killing it as far as technical specs are concerned...and its showing.

I think it will be Panasonics only saving grace, that, and continuing to bring more cinema level features to smaller and more affordable cameras. S2H: "yeah we don't have good AF... but we got a new organic sensor with 18 stops dynamic range, built in eND, false color, and Varicam color science for $4K with a flip screen and tilt screen!

Any camera manufacture beholden to buying Sony Semi. Conductors sensors are always fighting an up hill battle. You bet your ass Sony's contract around buying sensors from Sony Semi. Conductor is a good one. They always get the latest technology first. The last generation of cameras were all using the same sensors. A7III, S5, Z6, SL2, Z7, S1R, SL2. I'm sure I'm forgetting some too. It's all about how they are wrapped now and I'm afraid all these other camera manufactures are doomed If they can't come up with better wrapping (AF, ergos, colors, codecs, processing, internal RAW). Perhaps Nikon has an edge here with ProRes and BRAW. I just don't have much faith they can execute it well given their history. And Canon, is well Canon. But at least they have DSLRs and mirrorless with internal RAW, albeit not very compressed RAW.

I think for what the Wireless Go II is and considering its form factor it's a great product. I could totally see them releasing a Pro version with two channels, internal recording, and 32-bit float and ability to monitor at RX. The 2.4Ghz frequency transmission still would make it a no-go for most weddings venues, however, unless they added safety of recording the captured audio on transmitter as well as at the receiver. I almost bought Wireless Go 2 weeks ago. It was backordered so I didn't. In the back of my mind I thought...maybe an update is coming soon. Especially since other Rode products were backordered too, like the Rode NT-USB I ordered 4 weeks ago.

I feel for you man. What a disaster.

I believe part of Panasonics woes is this exact problem. The Sony juggernaut marketing machine is now eroding the classic word of mouth professional back-channel chatter. At the tip of Sony's Marketing spear is YouTube.

They are lifestyle channels now. I swear all of Matti's camera "reviews" are the same video. They all follow a script and marketing material with nothing added except their lifestyle stuff. Yes, Gerald at least is still releasing quality information about products without unnecessary hype, most of the time.

Simple answer, because Panasonic didn't send them a bunch of stuff and a free camera to review and return.

Yes, and they sent him a bunch of swag in a pelican case to "sweeten" the review. How is that not payment? They have to disclose that Sony didn't sponsor them or have control over the review in anyway, yet they send him all this crap as an implicit: "look at what you won't get if we don't like your review". Everybody knows if piss these companies off they won't include you in their YouTube marketing and you won't get free shit.

Andrew is so right about this camera. When I saw the release I was like...OK so this is a worst A7SIII for $400 more with a XLR top handle but all the important cinema features are missing: No internal ND No XLR on body No audio controls on body Same shitty LCD screen without an EVF to save it No SDI They didn't even include a way to secure the HDMI PORT! LOL! Cinema camera my ass!

Oh man. I would have returned immediately to BH saying it was defective. I have seen other people experiencing something similar. Sorry, I don't have any solutions. I fear with the camera market shrinking that camera companies are cutting on manufacturing quality, parts, and assembly to increase margins. Another pet peeve of mine is "weather sealing". If the warranty excludes weather related damage in their fine print, obviously the company does not feel confident about their product, and anything they say around the subject should be taken with a grain of salt.

ND, polarizer, BPM 1/4. ND is used the most by far. Would love an internal ND solution in a mirrorless camera.

I'm really excited for M1X or M2 powered Macs, especially a refreshed future Mac Mini. As far as video editing is concerned, the MBP 13" just eats H265 without breaking a sweat...on battery power for 3+ hours with 20% battery remaining. The performance (video editing) is amazing, but the power efficiency is what really impresses me the most and what really makes the new M1 powered Macs impressive. I have an Anker USB-C PD battery bank that can output 30W charging, adds 94Whr on top of 58Whr internal battery in the MPB, and could probably power this laptop for over a week or more, even with some video editing sessions. Which might be handy for people that might be off grid or traveling where mains power is either spotty or non-existent. I can't speak for Premiere Pro but in FCPX I have background rendering turned off and viewer set to Better Quality. I can throw in 4K H265 10-bit 4:2:2 at 480Mbps ALL-I (from R5), apply the Canon Rec709 WideDR LUT and even Image stabilization and play back with no dropped frames. Everything cuts and slices and moves around the timeline without any hiccups. Its so so nice. PC will get there and probably surpass performance but probably not power efficiency. So exciting times for Mac laptops in any case.