ac6000cw Posted June 11, 2020 Share Posted June 11, 2020 4 hours ago, Andrew Reid said: If BRAW is tied to Blackmagic FPGA that is a completely 360 degree turn away from ASIC and your power economy goes out the window. If ProRes RAW encoding also needs FPGA hardware, the heat management and battery life problems again scupper that. Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run). There is nothing magic or special about FPGAs other than their basic ability to be user programmed/re-programmed, which is their 'Unique Selling Point'. That makes them very attractive for low to medium volume products which need high-throughput data processing - instead of sinking a lot of up-front development capital into an ASIC. It also makes it a lot easier and cheaper to fix bugs and add features after you've launched the product..... rainbowmerlin, Andrew Reid and Sharathc47 3 Quote Link to comment Share on other sites More sharing options...
Francesco Posted June 16, 2020 Share Posted June 16, 2020 On 5/27/2020 at 6:38 PM, Andrew Reid said: The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features. NEW BLOG POST: https://www.eoshd.com/fuji/rumor-fuji-gfx-100-to-get-prores-raw-internal-recording-or-external/ I have the option to buy this camera with 32-64 and 110 for 15k new, or my previous choice before seeing this was Leica sl2 with 24-90 and 90+280 for same amount of money. I'm aiming at commercial lifestyle shoots and fine art over 1 meter in height prints, my question is what would you buy? Quote Link to comment Share on other sites More sharing options...
photographer-at-large Posted June 30, 2020 Share Posted June 30, 2020 Quote Link to comment Share on other sites More sharing options...
Super Members BTM_Pix Posted June 30, 2020 Super Members Share Posted June 30, 2020 Fujifilm have certainly brought the goods with this new firmware update even outside of the ProResRAW feature and I'm quite intrigued by the grain effect . https://fujifilm-x.com/es-es/support/download/firmware/cameras/gfx100/ I'm guessing that @Andrew Reid is currently exiting some shop somewhere with a Ninja V under his arm to give this a go ! Although, as with the update announced for the Sigma fp, I do wonder when Atomos will actually release their firmware to allow this to be used. Quote Link to comment Share on other sites More sharing options...
Sharathc47 Posted June 30, 2020 Share Posted June 30, 2020 No 1080p recording in PRORES RAW! Why is that!? I think it applies for every camera which supports Prores raw via ninja v. Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted June 30, 2020 Author Administrators Share Posted June 30, 2020 It seems a bit of a mystery as to why Atomos can't update their firmware at the same time as the camera manufacturer does There doesn't seem to be a firm date given for it yet. There is no 1080p RAW because the image in 1080p is so dodgy on the GFX 100 You have to go from 100MP to 2MP so the amount of binning is off the charts. I am also not sure who buys a $10k 4K medium format camera to shoot 1080p in 2020 so maybe that is another reason why they didn't bother with it. Personally I would sooner shoot with a more practical 2.8K internal RAW codec but there is no denying the appeal of the image out of the Ninja V. More thoughts on the blog: https://www.eoshd.com/raw-video/fuji-gfx-100-is-first-medium-format-camera-to-shoot-12bit-prores-raw-with-atomos-ninja-v/ @BTM_Pix Downloading the firmware now. I have a feeling the grain simulation is JPEG only but I'll give it a try! Sharathc47 and BTM_Pix 2 Quote Link to comment Share on other sites More sharing options...
rawshooter Posted June 30, 2020 Share Posted June 30, 2020 I totally agree with your analysis, @Andrew Reid. RED is shooting itself in the foot by patent-trolling other camera manufacturers who implement raw video recording. They should continue making their high-profit margin cameras for the professional cine market and, instead of burning their money on nonsense like the Hydrogen phone, offer attractive license packages for their RAW codec so that it becomes a prosumer industry standard. Everyone would profit, RED probably the most. As a long-time Linux user, I am reminded of the company SCO (which owned the copyrights of the historical Unix source code) and its attempt to patent-troll and bully Linux development through a gigantic lawsuit - and ended up going out of business because of that. Lux Shots 1 Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted June 30, 2020 Author Administrators Share Posted June 30, 2020 I can understand why RED does want to be a bit selective and doesn't want REDCODE on an ARRI or Sony F65 for example But the mirrorless cameras are no competition and actually compliment the larger A-cams on most shoots. So to be able to use one or two of them with the same codec as the Komodo or latest RED A-cam would be ideal. I have an interview coming with Jarred Land of RED but he is taking his sweet time to reply Very busy. I'll keep trying to encourage him that this is a good idea, whenever I get the chance. It really would be wonderful to shoot REDCODE on both a Komodo and something like an EOS R5. zerocool22 1 Quote Link to comment Share on other sites More sharing options...
austinchimp Posted June 30, 2020 Share Posted June 30, 2020 On 6/11/2020 at 4:05 PM, heart0less said: If I were to upgrade from X-T3, most likely I'd choose the S1. That's exactly what I did. I kept the X-T3 as it's a lovely camera to use and compact, but the S1 beats it in photo and video quality in every way (except autofocus...) heart0less 1 Quote Link to comment Share on other sites More sharing options...
josdr Posted June 30, 2020 Share Posted June 30, 2020 Andrew, do mention in your interview with Fuji that they should do the decent thing and give us a firmware upgrade for the X-T3, especially for AF/video improvements. It will buy a lot of customer goodwill when the X-H2 comes along... Customer choice will also include new Canon and Sony cameras at that point so customer goodwill will matter. Thanks! Andrew Reid 1 Quote Link to comment Share on other sites More sharing options...
Trek of Joy Posted June 30, 2020 Share Posted June 30, 2020 Pretty amazing update. And without the year-long saga like the Z6. Looking forward to footage. Chris Lux Shots 1 Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted June 30, 2020 Author Administrators Share Posted June 30, 2020 1 hour ago, Trek of Joy said: And without the year-long saga like the Z6. Probably had to run everything by legal first. Quote Link to comment Share on other sites More sharing options...
Caleb Genheimer Posted July 1, 2020 Share Posted July 1, 2020 The complete non-starter issue for me on all these external RAW updates over HDMI is the fact that it’s always C4K or 16:9. What’s the heckin point of a “medium format” or “full frame” RAW camera if I can’t even use the FULL frame? #anamorphicproblems Seriously though, I want to use the full sensor height. Anything else is just infuriating. I assume it’s some limitation of the HDMI hardware, either the camera’s output, the signal format, or the Atmos’ input, but that doesn’t make it less frustrating. When there’s a camera that can shoot RAW and be speedboosted into IMAX 15/70 territory, I’ll be there with bells on. Until then, my GH5S and Blackmagic Pocket 4K will tide me over just fine. heart0less 1 Quote Link to comment Share on other sites More sharing options...
buggz Posted July 1, 2020 Share Posted July 1, 2020 It isn't neccesarily the sensor size thing with HDMI... I still love and use my GH5 and always shoot in HLG anamorphic open gate mode. Can't do that via HDMI either, NOR can you even view an output. tweak 1 Quote Link to comment Share on other sites More sharing options...
androidlad Posted July 1, 2020 Share Posted July 1, 2020 4 hours ago, Caleb Genheimer said: The complete non-starter issue for me on all these external RAW updates over HDMI is the fact that it’s always C4K or 16:9. What’s the heckin point of a “medium format” or “full frame” RAW camera if I can’t even use the FULL frame? #anamorphicproblems Seriously though, I want to use the full sensor height. Anything else is just infuriating. I assume it’s some limitation of the HDMI hardware, either the camera’s output, the signal format, or the Atmos’ input, but that doesn’t make it less frustrating. When there’s a camera that can shoot RAW and be speedboosted into IMAX 15/70 territory, I’ll be there with bells on. Until then, my GH5S and Blackmagic Pocket 4K will tide me over just fine. It requires far more aggressive line-skipping to readout the full height of the sensor which is 8736 pixels. Currently GFX100 uses 2/3 subsampling vertically to derive a 4352 pixel Bayer from a 6528 pixel height, and that already saturated the maximum readout time of 32ms required to achieve 30fps video frame rate. Quote Link to comment Share on other sites More sharing options...
Video Hummus Posted July 1, 2020 Share Posted July 1, 2020 Maybe a good time for Panasonic to announce a GH6 with ProRes RAW internal with full sensor readout 4:3 anamorphic 😏 tweak 1 Quote Link to comment Share on other sites More sharing options...
zerocool22 Posted July 1, 2020 Share Posted July 1, 2020 18 hours ago, Andrew Reid said: It really would be wonderful to shoot REDCODE on both a Komodo and something like an EOS R5. Yeah that would be amazing. Allthough REDcode crops when you use lower resolutions right(it was like that back in the day with the scarlet-x)? But the 8K is my main problem with the R5. 4K would have been plenty. Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted July 1, 2020 Author Administrators Share Posted July 1, 2020 5 hours ago, androidlad said: It requires far more aggressive line-skipping to readout the full height of the sensor which is 8736 pixels. Currently GFX100 uses 2/3 subsampling vertically to derive a 4352 pixel Bayer from a 6528 pixel height, and that already saturated the maximum readout time of 32ms required to achieve 30fps video frame rate. https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/ What 100MP quad bayer capable sensor were Fuji referring to in this document (if not the GFX 100)? It doesn't look like the GFX 100 actually employs this readout method. So is this something they are saving for a future camera? Quote Link to comment Share on other sites More sharing options...
androidlad Posted July 1, 2020 Share Posted July 1, 2020 4 hours ago, Andrew Reid said: https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/ What 100MP quad bayer capable sensor were Fuji referring to in this document (if not the GFX 100)? It doesn't look like the GFX 100 actually employs this readout method. So is this something they are saving for a future camera? That's their 100MP X-Trans project that has since been shelved. Quote Link to comment Share on other sites More sharing options...
buggz Posted July 1, 2020 Share Posted July 1, 2020 14 hours ago, buggz said: It isn't neccesarily the sensor size thing with HDMI... I still love and use my GH5 and always shoot in HLG anamorphic open gate mode. Can't do that via HDMI either, NOR can you even view an output. Though, I see this head line in multiple places: I don't understand... Atomos Introduces 5.8K and 4K ProRes RAW External Recording to the Z CAM Cameras Quote Link to comment Share on other sites More sharing options...
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