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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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At this rate they will shut down for good in very little time. That's cool. Have fun! And while you're at it maybe copy-paste your GH4 review on DPR on your new site before it's too late! 😆 -
Yes! I'm pretty sure 90% of the slightly older gear serves perfectly well for high-quality video. There are some true gems out there that seem to be relegated to obscurity, being the most egregious example Olympus' E-M1X. In the DSLR front I'm also certain Nikon's D780 is more than good for most video situations, or even Canon's good-ol' 90D. This only makes sense if you're buying used, of course.
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At least so it seems https://www.dpreview.com/news/panasonic-did-what-apple-sony-and-nikon-couldnt-overturn-a-red-raw-video-patent/ -
The FX2 makes a lot more sense than people give it credit for. If you actually need open gate, internal RAW, 4K120 or the stacked sensor, then sure: FX5. If you don't, you're paying nearly another $2K for features you may never use. FX2 gives you full frame, 4K60, S-Log3, proper AF and an EVF already built in. For a lot of jobs that's enough. Different job. Different tool. -
That works for long-term storage, but there are really two separate problems here. Transcoding R3D NE to H.265 solves the archive size. It does not solve the card capacity, ingest time, temporary disk space or transcoding time. A more efficient compromise might be to keep R3D NE only for the selects that actually benefit from RAW flexibility, then batch-transcode the rest to H.265 in REDWideGamutRGB / Log3G10. So the weak internal H.265 still matters. The workaround is viable, but it moves the cost from storage to workflow.
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