zlfan

funny 24p believers. they even attack you that you are an egyptian scammer because you challenge their 24p belief. they never accept and will never provide scientific evidence why 24p is sacred. but they will attack you because you dare ask them to provide evidence why 24p is sacred. lol.

i knew andrew's website well before this forum. i checked his updates on new cams long time ago, maybe 15 years passed by already. just have not registered on the forum until recently. sometimes it is fun to talk online. people throw all kinds of suspicions on you when they don't like your arguments. i think the other guy who supports 60p has burned out because he may never expect that he will be attacked due to his rich financial status. funny world. lol.

60p afficiando can be a medical doctor, these two are not exclusive. lol.

because i may be from cairo too. lol.

you mean that guy who cheated some one here on board? i don't want to sell you my selected cameras. i want to hold them until in my cold hands. lol.

doubled the buffer size, this is not trivial. means that om1 2 can do 200 raws at 120p, about 2 sec. will see hdmi raw out if it is full frame 6k.

until now, all of votes on my youtube channel are for gp12. this means that image quality is a package, including stabilization; 60p for smooth panning, especially when codec is thin; high resolution; some color grading; beautiful scenes or models; beautiful songs or music. i am sure r1mx and f3 can do better, as demonstrated by hollywood level blockbuster features, but they need sturdy and heavy tripods, steadicams with jacket and arm, dollies, jibs, heavy duty glides, experienced dps and colorists, etc. they are truly for cinema settings.

To be fair, gp12 footage is more resistant to heavy post grading than af100. Not sure why, maybe high resolution helps? So to speak, modern mirrorless cams have their advantages too. But may not be so when compared to F3 and R1MX, because both of them can go through heavy post without much sweat, especially r1mx. For F3, internal painting is so powerful, little is needed for post, i.e., there is not much maneuver room for post.

for the modern mirrorless, i think gp12 is mature enough for me to buy one. unless gp has new cams with internal raw recording, i am happy with gp12 and will not upgrade for a long time. g9 ii is nice, but not as refined as om1, in terms of build quality and ibis. om1 still lacks in several major aspects: 1. buffer size, 120 fps can only do 1 sec. at least 2 secs recording buffer is useful. 2. hdmi raw out is cropped 4k. should be full frame 6k raw out. this is probably the biggest gripe for me. although the buffer size is equally concerning. 3. limited information about the internal 4k recording, is it subsampled or supersampled 4k, like r5c, etc? if so, the 4k iq is good enough, no need for 6k internal recording. otherwise, 6k internal is needed. also, internal 4k is only 60p, it would be nice to go 120p, as om1 can do 120p electronic shutter, and it is stacked cmos sensor. if om1 mk2 can improve on these aspects, i will buy it without any reservation. other mirrorless cams, they may be good, but i like my f3 or r1mx better, either on tripod or shoulder mount.

i like to be anonymous. otherwise, people may lurck into my home, destroying all gears, because i dare to challenge the 24p sacristy. lol. just a joke.

i guess you mean cinema cams when you say film cams. if so, yes.

from the footage i view online, latest mirrorless cams behave very similar to gp12, good resolution, sharp, can be colorful when do heavy grading, but feels thin, when comparing to cinema cams like f3. to be fair, i use cp2 50mm macro, itself alone may be several times more expensive than gp12, but still f3 image feels thick and enriched, like painting. good lens may play a big role here, but maybe something else also kick in.

use f3 as an example, on a sturdy tripod, it generates image quality comparable to the latest mirrorless cameras shooting handheld. only very few camras are good for ibis or digital is, like om1 gp12 etc

yeh, digital is, but extremely good.

from my experience, as long as don' shoot long takes, for a whole day event, it takes about 100 gb footage. so if buying 2-3 1 tgb sandisk extreme pro sd cards, will be enough for a whole vacation. or, use nextodi, buy 2-3 4tgb ssd drive.

nothing beats gopro12, for its ibis and its size. just not useful in low light.

yes, data storage is a real concern when shoot ml raw. about 300 gb per hour footage for crop mood. for 5d3, about 500 gb per hour. some people transcode to lower format like prores444, and delete the original raw files. but transcoding takes time. the most possible approach is to have several 20tb external drives.

very few bm cameras have olpf, red cameras have olpf, some models even have user changeable olpf. arri alexa may have the olpf with that high light rolling off.

i use 100d crop mood, very small size if using a pancake lens. the key for reliable recording is to have a sandisk extreme pro sd card. overclock to 240 mhz, small hacks all on, global draw off when recording, 10 bit 5.2k 1x3 ar 2.4 is continuous. very robust. you can do uhd 1x3 12 bit ar 16-9, even more robust. if you don't mind a little bit larger size, 650d/700d are even more robust than 100d and m. bilal started his crop mood from his 700d. you get an articulate screen, and optional battery grip. only activate necessary modules, if activate all modules, the camera will crash easily.

i think arriraw is 14 bit uncompressed. its log c is also 14 bit. probably at the step of recording shortened to 12 bit.

that is why i never consider sony's lower tier cams after 2014. fs7 fs5 sdi raw out is crippled.

alister chapman also has an article on the bit rate and bit depth. basically, 12 bit uncompressed raw beats 10 bit uncompressed log, and 10 bit uncompressed log beats 8 bit uncompressed rec709 or log. if compression is taken into consideration, then the codecs themselves need to be tested, things get very complicated.

I suggest post editing time for about 10-15 minutes, now it is about 1 minute. I tried many times to edit typo and add more but it is gone.

First AC is the key here. He can use remote focusing system and check on his own monitor away from you. I basically work alone, so if on steadicam or gimbal, it is hard for me to do manual focusing by myself. I think a lot of gimbal users are actually solo shooters. If work as a team, maybe dolly jib etc are more traditional.

even though bm cams have af, it is not on par with sony and canon cams, even not on par with red komodo. certainly you can use it for gimbal, but many more dps use sony cams for gimbal work.