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The Chinese are great but they need to watch this And this...

The Alexa has a really fast sensor readout, 2ms... motion cadence on that is of course fine as it is on all of ARRI's cameras, so that probably excludes fast readout as being the issue. Maybe some cameras implement the shutter timings differently to others? Say if you are in 1/50 or 1/40 or 180deg shutter the sensor might still remain in 60fps and it will just expose for longer and then the image processor converts it from 60p to 24p and then the codec maybe fudges things further with trickery like inter-frame compression and inter-frame noise reduction, whereas on a simpler camera like the Digital Bolex there is none of that shit and basically a global shutter sensor and entire image pipeline optimised for 24fps at 180 degree shutter. Maybe some of our modern mirrorless camera sensors have a true 24fps mode and others only have 60fps mode, process the 24p from that. Maybe some codecs are truly awful at motion... On the 50D it didn't have a video mode at release if I remember correctly? Magic Lantern enabled it via the raw video hack, but there's no H.264 mode is there? I could understand why some of the older H.264 low bitrate codecs hurt motion a lot, Cinema DNG and Magic Lantern were like going from digital video to film. The leap was that big. I should do some tests in Cinema DNG on my Sigma Fp-L as it is a direct sensor feed, uncompressed RAW and no pixel binning in the 1.3x crop mode. I bet that looks pretty good at 180 degree shutter in 24p.

So the news is in... https://www.eoshd.com/news/openai-decides-content-is-worth-paying-for-but-only-if-its-disneys/ OpenAI is being paid $1bn. Disney is paying them to license their entire range of intellectual property. You read that right... Disney is paying OpenAI! In return OpenAI will get to use Sora and other OpenAI tools - presumably they would have had to pay for these at some point so factored it into the $1bn. These tools will be used by Disney staff at HQ and in the creative process. In return Disney will also get an equity stake in OpenAI. This strikes me as a very good precedent for OpenAI. They are getting IP holders to pay them, rather than the other way round where OpenAI pays for content rights. There must have been absolutely no chance Disney could have won their lawsuit on copyright grounds for this deal to have any chance whatsoever. They must also have been persuaded that Sora AI fan videos of Star Wars would have an incredible social media reach for years to come, it's like free marketing isn't it? The guardrails must be really tight. No way are you making that Jabba the Hutt sex tape.

varicam 27h has 60p, 3 ccd thus global shutter no debayering, dps from 2000-2010 like its footage and see it as a substitute of 35mm film rolls. maybe ccd performs better even with a relative fast reading sensor?

when i pan with c300 og, the 50mbps mpeg codec makes the whole scene blur. i cannot see anything clearly. once the panning stops, suddenly the image is very clear. i just hate it. i use nanoflash's top codec 280 mbps mpeg and 30p and it is cured. when using ml raw cameras, i see clear images during slow panning (fast panning shows rolling shutter) at 24p. i almost always use 24p for ml raw cams to save bandwidth.

probably 50d has a really slow reading sensor. i know fs100 can do 60p easily so the sensor may be faster.

i think that andrew has a very good insight. maybe the r1mx, the eosm, gh1, do not have a fast reading sensor, so that more optimized (actually limited by the then technology) for 24p motion blur.

interesting, i like the r1mx and eos-m crop mood too. i did not use gh1 hacked before. may try it.

A primer on the fundamentals might be useful as a refresher too...

Ah, my favorite topic (and it comes up every couple of years). Hopefully we can have this discussion without the usual accusations. I've done a lot of personal experimentation in this area because most cameras looked off to me. Where I've landed is that I don't think that global shutter or CCD sensors is a surefire recipe for pleasing motion. I spent a lot of time and money figuring that one out. My list of favorite motion capture cameras is a motley crew and includes the Red One MX (but oddly, not the DSMC1 line), the EOS-M in 1:1 crop, and believe it or not, the hacked GH1.

Motion cadence will be impacted by every step in the image pipeline from the sensor onwards. The way to think about this analytically is anything that influences the quality or quantity of the motion blur within each image will impact the motion-cadence, or anything that lets the contents of any frame influence the surrounding frames. So it will be influenced to some degree or other by: shutter speed sensor modes (RS, etc) in-camera NR in-camera compression (codec, especially bitrate and IPB vs ALL-I, etc) processing in the NLE (NR, sharpening, colour grading, noise, etc) NLE export compression (codec, especially bitrate and IPB vs ALL-I, etc) streaming platform processing (NR, sharpening, colour grading, noise, etc) streaming platform compression (codec, especially bitrate and IPB vs ALL-I, etc) viewing device refresh rate vs video FPS mis-matches viewing device motion smoothing settings ambient viewing conditions and screen view angle etc I think of there being three dimensions within video. There are individual-pixel things that impact each part of the frame in isolation, like temp, tint, exposure, contrast, saturation, etc. There are spatial things where one part of the frame influences other parts of the frame, like softening, sharpening, halation, bloom, NR, etc. There are temporal things where parts of one frame are influenced by the content of other nearby frames, like temporal NR, grain algorithm, etc. We talk a huge amount about the first category, we talk anecdotally about the second one but no-one is really tackling it as a whole, and the third one is rarely even discussed.

Agreed completely on your assessment of the image characteristics. I truly appreciate the performance of classic anamorphic adapters and am happy that they are coming down in price. I just picked up a baby Kowa Anamorphic 8 2X for cheap and it's a jewel. A few examples of what I consider ideal performance below. First three are the ZIA 1.5x with an older Leica 50 Elmar collapsible, which is a tiny and wonderful combo that just covers full frame 3:2. Second is the baby hypergonar 1.75x with a Voigtlander 75 2.5, which also covers full frame but is a bit more muted (although this adapter can be fickle against the light sometimes).

I've been thinking about global shutter for a specific project, after being unsatisfied with test shoots using my S5. There are several to choose from now, but you're totally right that it's surprisingly difficult to find quality reviews or comparisons, particularly older models like the F55 in a modern context. If I move forward with it, I'll probably end up with a Komodo--but I've struggled to find direct comparisons between the Komodo, F55, Ursa Mini 4K, and A9III, not to mention comparisons with IMX410 cameras that I'm already familiar with.

I have one and it really is a good camera when it comes to the image quality. I love the image it makes. It's brought my own filmmaking to another level. It's not a run and gun camera though. More of like using a 16mm film camera. Nothing automatic. Manual everything. The dream of an all-in-one isn't quite true with it though. You need to rig it out with an EVF. (Although I don't have and have never used the shark fin shaped viewer with the mirror so maybe that's okay.) I used to see them come up on eBay a few times a year but now they rarely do. And people are asking US$11000 with accessories. (I also notice that nobody is bidding on them at that price and the listing ends without any bids, then gets relisted.) I occasionally see them listed for about US$5000 but they don't last long at that price. They're a good camera, worth $5000 but not worth $10000. I think that it's no longer such a unique camera image-wise and you can get a close enough image with a used Alexa or Blackmagic Production camera 4K and be making your movies. (Still if one came up and you could afford it, get it.) If you're handy you could make your own using the same sensor. Check out this project: https://github.com/lafauxbolex https://www.youtube.com/@LaFauxBolexDigitalCinemaCamera/videos

The canal is not in South America. It's in Central America which is considered to be part of the North American continent. There's basically no part of South America where a canal would make any sense. As far as oil, I wouldn't be surprised if we decided to take a real interest in Guyana, given the recent coastal oil discoveries there. Brazil's oil is already more or less in the hands of multinational companies. For minerals, I'm sort of surprised that we haven't taken a more active interest in Bolivia's lithium reserves, but I suppose that Chile and Argentina have both commercialized their adjacent ones enough to sate our appetites for the time being.

I think there are reasons for even video folks to choose the A7V over the FX2. It's interesting, because they could put that A7V sensor into a cine camera body and mark it up $500-800 and have a successful release. Maybe they still will? Still makes the FX2 feel like a weird release that, even if it hadn't received a lukewarm reception, they undermined almost immediately. Almost feels like one hand doesn't know what the other is doing at Sony.

Are you talking about the US or Venezuela? 🙂

By the way the collapse in price of the vintage stuff is extraordinary, you can get an Iscorama close to 500 euros now, almost back to 2010 pre-DSLR video prices

Yeah, thanks this shot is exactly what I'm talking about - the muted way it handles the sun is not what a good cinema anamorphic should look like. They don't have the big stretched ovals in the horizontal flare, the fatter flare lines and blooming. All these kids putting down pretty significant $$$$ for all this sterile stuff from China No question is it more practical though.... But better image it ain't 🙂

In terms of colour in LOG and rec.2020 the only difference between cameras these days is how easy (or otherwise) they are to grade, for example C-LOG on the old Canon 1D C was so easy, it only needed the addition of contrast and barely any colour grading at all to look cinematic. Now there are massive differences between LUTs compared to between LOG curves and colour. So when you see all these reviews, tests and comparisons you are just seeing a LUT! It's almost comical really, nobody gets under the skin of what the camera is doing - they're just putting their grading skills and LUTs on show. And the codecs are all so good... no more 8bit banding. I compared the Sony a1 SLOG3 H265 8K to Nikon Z9 NRAW 8K and there was nothing in it really, not even in terms of noise and shadow detail. You could do just as big a grade or white balance shift on the H265 footage as you could with NRAW. Now the way I like to think of RAW as useful is as follows: - As a way to bypass poor camera image processing... Hardly needed now... In the old days, light and day difference between something like 5D Mark II compressed H.264 and uncompressed Magic Lantern Raw (in Cinema DNG), even at 1080p it was a different league of image quality. - As a way to increase image quality with drawback of huge file sizes. Now we get if we're lucky a 1-2% increase in image quality for a 1000% increase in file size (over H.265 10bit) - As a way to turn off in-camera sharpening and white balance (do it in post). However image processing has got so flexible you can turn sharpening off in LOG... look how smooth and natural Canon LOG looks on the old 1D C or EOS R6 III 10bit H.265 for example - A file format to show to clients that says you're serious 🙂 And we all know why the majority of videographers are fawning over raw delivery whereas ARRI ALEXA DPs casually go round doing it all in ProRes That is another comparison the YouTube bros refuse to do well... the ALEXA ProRes vs ARRI RAW and Canon LOG vs RAW I haven't seen a single good comparison!

I have the 35/50/75 Saturn in E mount and haven't experienced any focusing issues on the A1, and of course that's with no Desqueeze support. It does have a bit better EVF than the Panasonic cameras, but I haven't found the EVF to be a night and day difference. I own the 35 & 50 Saturn in L mount and have had great results on the S1RII. The 35 isn't quite as well corrected as the longer lenses, so it has a bit of character, especially against the light. Still, none of the Sirui lenses can rival the results I get with my favorite anamorphic adapters, but there is something to be said for simplicity and reliability. Also - I'm not sure if the S5II was included, but the recent update for the S1II/S1RII now provides 1.6x desqueeze. Still attached from the 35 Saturn on S1RII.

We can assume they are pretty safe yes, unless they contain a canal of major interest for international maritime trade, or mineral ressources/oil, or are not already ruled by an extrem right-wing felon-buddy😅

The modern lenses are closer to the Panasonic LA7200 in terms of look, just a lot sharper edge to edge. Whereas the Iscorama even when there's no flare still looks more cinematic and it borrows from the look of the taking lens you pair it with as well so you can play with that. There are no decent adapters as good as the Iscorama 2x. Still for £150 I am not complaining 🙂

I've yet to see any that have the rendering of an Iscorama or Soviet era LOMO, or the TOTL Hollywood lenses. They need to dial the coating down a lot and get rid of the very thin chickenwire flare. Anamorphic flare is much more than that as an aesthetic.

Well Venezuela is a dictatorship, so in a sense they're right to go after them for national security and drug cartel reasons. On the other hand, we'd be naive to think this is just about that coveted peace prize... And I'm not talking FIFA Peace Price The thing with Trump is it's weird how well he gets on with all the other dictatorships, isn't it? Perhaps it's because Venezuela's government claims to be socialist ("Chavismo") He only gets on with the right-wing dictatorships not the socialist dictatorships