Video Hummus

We don’t know anything about the camera except it’s name and launch announcement. Which is a two weeks before the R5 and A7SIII News bombs that will be coming early July. So maybe don’t expect much.

With only 20MP sensor the rolling shutter would be better if it’s a newer generation Canon sensor.

Hoping we will see something, anything, related to AF innovation with this new camera. I’ve said it before but a ToF device that picks up AF duties 3 meters in front of camera would be a great stop gap for improving their AF for vlogging and in front of camera talking head stuff.

So Panasonic has the balls to market a G100 (which given the name may be in the same line as the G95/G99) as a vlogging camera. I’m speculating it may have ToF device like the new iPad Pro for AF. I have no evidence to present only that I find that more likely than Panasonic implementing PDAF! 🙃😂

Very Nice @Alt Shoo! I think it depends on the responses JVC got on their camera survey they sent out a while back. I suspect people wanted a larger sensor. 10-bit 4:2:2 internal ProRes recording and PDAF. JVC seems very interested in delivery exactly what people want. Problem is...sometimes what people want is not what they buy. Go figure.

Worst thing you could do is bog down your production with footage your computers can’t handle. That causes a ripple effect along the whole production line. If your clients are happy with what you are shooting now, they will be happy with it for 6-12 months until you can have an editing rig that can handle H265 and the RAW that will be coming out of the R5.

I don’t think it’s a software problem. It’s a hardware one. H.265 or AV1 won’t become mainstream or useable unless there is some serious hardware encoding and decoding acceleration AND for all the major profiles. FCPX has been overhauled under the hood on using Metal 2. I think we are going to see a major push by Apple for performance improvements and integration with their accelerator cards and maybe future acceleration chips in MacBook Pros (think next gen T3 chip). It also appears camera companies have chosen HEVC as their next codec of choice future generation cameras...especially since its in Canons new cameras.

Maybe they are just cheaper alternatives for Leica ASP-C cameras and a possible ASP-C Sigma camera seems unlikely.. The fp is already full frame and tiny and cheap for what it offers. Any new L-Mount partners are more likely to be up and coming Chinese companies like Z-Cam.

Great video Dave. I like the review format with examples of using its features for real world stuff. Never stop doing your quirky humor. I want a Deity Stereo mic that competes with the RODE Stereo Videomic X with an adjustable gain knob, internal long lasting battery, and some of that excellent Deity innovation. Especially if it matches the Videomic X’s surprisingly good isolation and wind capsule. Stereo audio is a sleeper technology in a mono vlogger mic world.

So if say Panasonic releases a new camera with SDI on board and 10-bit LOG RAW (as the EVA1 has) BRAW would be technically supported? If the new camera outputted 12-bit linear instead of what EVA1 does then it would be up to BMD to implement BRAW for that new output format for that brand of camera?

I think it would be the smartest move they could do, besides adding more reliable AF technology to their cameras. Imagine having a GH or S camera with PDAF and BRAW internal at 8:1 And 12:1. The 400Mbps ALL-I they use is still very very good, especially on S1H.

Looks like a $6000 GoPro action camera at 120p. Mission accomplished! S1H at $2000 cheaper looks better than any of the footage I’ve seen from the Komodo posted here.

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

Do you blame them? Best thing to do is not use google services. It hurts their bottom line in more than one way. I’m afraid video is very much part of the future of the Internet even though it is a terribly inefficient way to transmit information. Google already has a monopoly with video on the internet because: 1) It is extremely capital intensive to store, process, and deliver video to millions sometimes billions of watchers. So newcomers to the video delivery service are chocked out fast. 2) They have smartly integrated google search and YouTube search. 3) They dangled the carrot of monetization to content creators initially and then use any opportunity to optimize their revenue, including just optimizing away your entire channel. You have no control or levers to pull to improve your channel except spending cash for ads. Or resorting to shitty clickbait bullshit soul sucking crap. 4) They negotiated with copyright and license holders to create a de-facto shadow copyright system in an attempt to fix the actually broken copyright system (at least in the US). I think for people that care, it is important if you have a YouTube channel to also take the time and energy to turn your videos into blog posts with links to resources and to your videos on YouTube. This has many benefits such as improved content quality over time and extended SEO to and from your video a and website.

To me it suggests, at least for now, if you want extreme shallow DOF and excellent RS and HFR 4K 10-bit, a speed boosted Super 35 or MFT camera will give you most of what you want for reasonable price...except for autofocus (Fix it already Panasonic!). If we are going to see a 6K60p or 4K120p prosumer camera it will be, with high probability, from a smaller sensor camera with current technologies we know exist. I suspect sales of XT-4 to grow since we know have a metabones speedbooster for X-mount on the way.

Those aren’t bad specs if they are official. Mainly, REDCODE RAW, 6K, PDAF, and a R mount if it’s closer to $6K price range.

Do the people buying the custom colors even know what the specs are? Does an NDA notice appear on the packaging and apply as soon as the tape is broken? Like WTH? It’s a little weird.

Wikipedia says Fuji claims X-Trans layout eliminates the need for an optical low-pass filter thus enhancing resolution at the cost of processing requirements. So, considering what they do with XT-4, I’m not sure. Maybe someone with more knowledge can shed some light on it.

What are the practical limitations to X-Trans? More processing requirements for video? XT-4 already pushes out beefy video specs.

No I don’t need FF. You know what is a bargain? Fuji XT-4. Somehow Fuji gives us 1.5 crop 4K 10-bit 4:2:0 at 400Mbps ALL-I H.265 with IBIS and good RS for less than $2K and in a body much smaller than the 1DX3. The 1DX you get 4K 24p in 1.33x crop mode (to get AF and acceptable RS) plus if you add digital IS you are now at about the same crop for $6.5K. There goes all the advantages of the FF sensor for video. I don’t see the appeal, myself. If I shot action sports with a telephoto I would feel much different about it. I do think it’s a step in the right direction so I am excited for the R5/R6.

For a $6,000 camera you still don’t get FF 4K with acceptable rolling shutter and DPAF. You have to shoot in 1.33x crop which is kinda of a big bummer for a FF camera. Hence my original comment. Video focused people could do better for $6K. I’m not into RAW unless I can get 8:1 compression. 10-bit 4K with a balanced bit rate is my preferred shooting mode.

Eh, still sounds like a square peg with its edges roughly trimmed to be jammed in a round hole to fit. The shiny things on the 1DXIII still seem tarnished at closer inspection. Im hoping the R5 will change that. I really hope that camera can deliver on the expectation it is building. I still hoping Panny will announce a GH6 camera in the coming months. I see a lot of value in MFT and am sticking with the format regardless if I have a FF camera.

Wait, there is no 24p in UHD 4K 1DXIII? Weird.

Going to wait for the final product. We’ve all been burnt too many times by Canon...

I would rather have IBIS built in and choose to use a tripod than lack IBIS and be forced to use a tripod. It’s a matter of choosing not to be lazy.