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Interesting. I've been working in REC709 for the sole reason is that I'm just not ready to jump in to REC2020 and the learning curve that it might have. I also might need a new monitor or something. At some point I'll learn all about it as it seems to have huge advantages over REC709 and I want to have them. (Another thing that I want to one day learn about is ACES, another big scary thing.) My D16 has a colour space that is like HLG called Bolex Wide Gamut. It keeps the full dynamic range of the image but isn't flat looking like Log would be so is watchable even before using a LUT or something. Here's a white paper about it. https://digitalbolex.com/wp-content/uploads/2016/05/Bolex_Log_Bolex_Gamut_TechSum.pdf

The US raffle is open. My entry is in. If others enter, I wish you the best! https://fujifilmeventsusa.com/x100vi-le/

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)? We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video. When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

If you stare at them for hours and hours then you start to notice differences and they start to look normal. That's how all the YT "cinematic" content now looks nothing like cinema. I just watched Kill Bill 1 again, and yeah, it might as well be a different universe... When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

I especially love the second shot. @mercerLooks fantastic. I have not come around filming anything for almost a year now unfortunately. All my colabs have moved themselves into the shady hideaways of oblivion and my aspirations to be a full time crewmember have been very low after my accident I had on a job. But your posts are some of the very few on this forum which inspire me to start filming again. S35 is fine for me on my S1H btw.:) Also waiting for some more fine reads from @QuickHitRecord 😊

I lost my thinking reading through the back and forth of this thread. It is headspinning. But it is the only active thread alive at the moment.😂 I will be very grateful when og poster will feel inspired enough to come to a decision of buying that personal camera for video or photo/video after a year long of searching and wondering.😂 Well, a bit offside, some 8bit 420 100mbps HD goodness, a teaser for a short I dped and codirected five years ago. Still not finished with the edit, though I had it finished at 80% five months after wrap. But I felt left all by myself. So the moving image has many more challenges to face than worrying about the differences in image quality of 10 bit dslms.😊 Grading is a bit off but I wouldnt even bother so much any more as most of the look is in the lighting, framing, setdesign anyway. Shot at 800 Iso, at around T2 and T2.8.

Will check soon! Thanks 🙏 Under very clear differences and Fuji and canon have a much more appealing image. That said I show the clips to family or friends and they always pick canon then Fuji

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy! I include an image of the point that was failing

im going to be very honest, i think its crazy you can see the difference between cameras with their stock 709 lut. To me they all look samey, boring and bland.

Interesting comparisons and definitely a step up in quality. When used zoomed-out like this the image is quite good I think - it's very "action camera" but has nice clean colours etc. The DR wasn't bad either I didn't think. Maybe they'll be able to apply whatever improvements they've made to the X4 to the 1" model and it will be better again! It was interesting looking at the stats for the Insta360 Pro 2, which uses "6 x MicroSD cards + 1 x Full SD card" so rather than have an expensive media setup they just went for lots in parallel. The "Bitrate per lens: Up to 120Mbps" so is practically around the 600-700Mbps (there would be some overlap between lenses so not all bitrate would go straight to the final image). Maybe a "Pro" model could be a compromise and have dual media slots, with 200-300Mbps being written to each card. That would be a good compromise. The fact that the image would be across multiple files shouldn't be too difficult to manage considering that these files need specific support to process the image anyway. You might be right about a renewed push to 360 VR and 3D 180 VR, and I have a vague recollection of camera models that could fold one camera around, so it could be a 360 VR or a 3D 180 VR camera depending on how you configured the lenses. Having two card slots with one per camera makes sense in that way too. The fact that the ONE RS was modular also indicates they might be open to such a thing.

I should have qualified my comment to say that it only related to my personal preference using 10-bit HLG and OMLog400 from the OM-1 - I've never used HLG or Log from other cameras. I'd actually prefer to shoot in a modified version of one of the standard picture profiles on the OM-1, but they are not available in 10-bit mode - HLG or Log are the only choices. It's interesting how different the log transfer curves can be on different brands and cameras (scroll down the pages to the step chart images) e.g. OM-1 - https://www.optyczne.pl/59.3-Inne_testy-OM_System_OM-1_-_test_trybu_filmowego_Użytkowanie.html GH6 - https://www.optyczne.pl/62.3-Inne_testy-Panasonic_Lumix_GH6_-_test_trybu_filmowego_Użytkowanie.html A6700 - https://www.optyczne.pl/79.3-Inne_testy-Sony_A6700_-_test_trybu_filmowego_Użytkowanie.html FX3 - https://www.optyczne.pl/46.3-Inne_testy-Sony_FX3_-_test_trybu_filmowego_Użytkowanie.html R7 - https://www.optyczne.pl/65.3-Inne_testy-Canon_EOS_R7_-_test_trybu_filmowego_Użytkowanie.html C70 - https://www.optyczne.pl/48.3-Inne_testy-Canon_EOS_C70_-_test_kamery_Użytkowanie.html S5ii - https://www.optyczne.pl/70.3-Inne_testy-Panasonic_Lumix_S5_II_-_test_trybu_filmowego_Użytkowanie.html XH2 - https://www.optyczne.pl/66.3-Inne_testy-Fujifilm_X-H2_-_test_trybu_filmowego_Użytkowanie.html

Unfortunately, it is a consumer device. @kye I agree with you that they should do a pro model, ideally dual 1 inch, SD UHS-III, 800+ Mbits, 10 bit LOG and better DR. With the revival of VR (Vision Pro, Quest 3) there may be more demand for VR180 and 360 content that may push Insta to create a pro model and maybe even 180 3D one.... time will tell.... Anyway, finally there is a noticeable step forward in quality after years of stagnation....

DR of course is not world leading.... In less-than-ideal light is not great, but I would say better than the 1 inch that is surprising. You can see from the motion blur that probably it was 1/60 or less (no ND of course), but still some details in me and the bike.. Compared to 1 inch: In quality is definitely a big step forward, I honestly did not expect this much. I think a combination of more pixel, double bitrate and improvement in processing made it possible. Here an iPhone 15 Pro Max 4k screen grab....

Yes @Emanuel, but look at how you're talking about them... these words from you explain it well: they actually shine for what they are I usually divide between usable and unusable only for internal consumption aka no professional use at all these toys must be seen as complementary tools They don't replace anything etc. But let's look at these comments more deeply. Theme 1: They're toys If they had a serious codec then would they still be toys? I mean, in good light a small sensor camera is more than capable of creating professional images - lots of ENG cameras had VERY small sensors! Even if they released a PRO version with a CFExpress or SD UHS-III slot and could record 8K at 1,000Mbps... what would be left that would make it a toy and not a professional tool? Theme 2: They are just to add to the existing tools Let's imagine you're recording out in the real world and don't know where to point the camera because you don't know what will happen - what is the alternative to one of these? Option 1: Insta360 Pro 2 You can't realistically ask someone to carry a 1.5kg / 3.3lbs camera on a stick while they're actually doing things. So that's out. Option 2: Ask the person to carry a "normal" camera You can't realistically ask someone to be a cinematographer and aim a camera at what they're doing while they're actually doing something - plus you can't record the world and also their reaction to it at the same time. So that's out. Option 3: Use multiple camera-operators to walk in-front of the person This completely ruins any spontaneity of someone actually doing something out in the world, your fly-on-the-wall reality content just turned into a film set. So that's out. What else????? There aren't any other options to record content in the way that you can when you get someone to carry a 360 camera in one hand or strap it to their backpack or to their bike/scooter/etc and then just tell them to ignore it. By getting someone to hold the camera on a stick about eye level and a few feet in front of them, we can capture the situation the person is in, and also the person reacting to that situation, simultaneously. It's the perfect way to have a "fly-on-the-wall" perspective, only it's floating in-between the subject and the world, all in the form of a sausage on a stick which few people pay much attention to. If we had an invisible camera that could fly it wouldn't do a much better job than these things do. I genuinely believe these things are just a better codec away from being the main camera to record in some situations. They are an entirely new product category, and yet they're turned into toys because of a stupid design decision that limits any decent use in order to make them more usable for morons.

PS yet to you @kye... these toys must be seen as complementary tools, no other because it is what they are. Specialty capture devices. They don't replace anything but they can help when others don't or cannot. The point is to know if they are ready to couple with or not yet. I think they can do the trick already even though when they don't excel. Fair is fair : ) I haven't found replace for my One X2 either. Just 100% of the cases, no footage to use. I think this time the thing has reached a different level, not the optimal nor the sweet spot but enough to get the job done when needed under strict control, obviously :- )

I don't doubt, mate, no worries @kye I understand you and even fully concur your concern for sure, well seen and said : ) However, what puzzles me is what I've seen it from these devices. There are surely limitations but looks like they actually shine for what they are. I usually divide between usable and unusable. This time 8K and 4K 100fps acquisition seem to me fairly usable under certain circumstances not for delivery at same resolution, of course ; ) When before only for internal consumption aka no professional use at all, no resolution is able to save the grace, as matter of fact :- )

Can you provide an example of each?

I actually prefer HLG to a standard LOG profile. The reason is that HLG has rec709 levels of saturation and the main part of the image (everything below about 50%) and so when turning the image back into a 709 image from HLG you're not stretching out tiny differences in a flat LOG profile. The disadvantage of HLG in this sense would be the clipping of colours, but HLG retains the full DR of the camera so it will only clip on very very saturated colours and those will mostly be clipped due to being too hot (e.g. tail-lights) which would be clipped either way.

Don't get me wrong, I WANT these things to be good. If they could make a 360 camera that was high-quality enough then it would be useful for filming in very busy situations and you could crop out the interesting moments in post. The issue is that even if they had 27K resolution, the fact they only have 200Mbps means that any crop that isn't an extreme wide angle just isn't good enough. I mean, 12Mbps of h265 is similar to 24Mbps of h264, but seriously... imagine that someone released a camera in 2024 that was 24Mbps! ....and if you want a camera angle tighter than that? You're practically pixel-peeping. I'm not even asking for much - V90 SD cards are common these days and they can write at 720Mbps. Having an EXTREME PRO mode in the camera that has a maxed out bitrate wouldn't be that hard - these things are premium products.

For low light, there's the 8K output from Ace Pro, even though they usually don't recommend it, I do ; ) 8K acquisition helps ANY cinematic properties with detail, processing... without mention the fine grain which is always welcome to overcome the customary artifacts seen going along such tiny sensor size form factor devices ;- )

Indeed, looks like a game changer...

In good light the X4 is just on another planet compared to the 1 inch. Is not apple to apple as is the same location, mount but different time of the year but still I could never get such details from the 1 inch or the R. Just look at the mountains in the background and the detail on me.... Unprocessed screen grab from 8k 30, 200 mbits, sharpening low Processed X4 Processed 1 inch from 5.7 30 I will compare also in low light, but for a first quick look I feel they both look similarly bad 😉

Possibly, but he's seeing first-hand the HUGE shakeup in RED and he decided to cut ties before the sheet hit the fan. That in itself speaks volumes about the new Japanese work-culture that will be enforced sooner rather than later. It's Nikon we're talking about. One of the most, if not THE most, hierarchical imaging company out there.

Yep, the future will bring really interesting things to the video world. Hopefully, with less expensive gear.