seattledv

Andrew, it may be a little off-topic...but if you have enough time on your hands during lockdown it might be worthwhile to create a Sigma FP guide like you did for the Panasonic cameras. I'm awaiting delivery of an FP, and I can  already tell the learning curve on this camera will likely exceed anything else I've ever used. So far I've found very little info on specifics of set up, basic workflow with the cinema DNG files and best practices for using the camera in the field. (Apart from the 30 or so pages in the EOSHD forum re: grading FP RAW files, comparisons to BM RAW etc. that seemed to hijack one of the main forum threads for the FP.)
Any other resources you might suggest for a Sigma FP newbie?

Still external, still crap ergonomics with a recorder, still a wobbly HDMI cable.
I want INTERNAL raw recording.

My comment may be off topic, but it seems to me the Z6 with the Ninja V and the Apple ProRes Raw codec is the most intriguing hybrid Full Frame option for video. I’m looking forward to Andrew and other filmmakers trying this option and giving their feedback from use in the field. I’ve been hesitant to use an external recorder, but the option of having RAW files and a recording time limit constrained only by the size of your SSD and chosen codec seems pretty appealing. 

I really wanted to like this camera... but there are so many other choices at lower price points with arguably as good or better overall features that I can’t justify buying one. It’s hard for me to envision anyone switching brands for this camera or adding one to their existing kit for an additional feature set.  Even for die-hard Oly fans the EM1-mk2 seems like a much better value as a “Pro” camera and for casual use the EM-10mk3 can’t be beat. Not sure who will really buy the EM-1X for $3k. Seems like a real missed opportunity for Olympus to increase their market share.

If you have not seen this Webrunner5...take a look at what Mark Smith did with a Sony a9 while shooting birds in Florida...
 

Probably true for most consumers, but all of these new camera releases seem to have so much hype surrounding them that it’s really hard to separate facts from hyperbole. Do I really need to know how well a new camera performs in Hawaii or Las Vegas under manufacturer controlled conditions? In addition to using exotic locales, professional models and hand-picked reviewers, manufacturer’s often bundle incentives for their new products to boost pre-orders. If I had watched just about any of these YouTube reviewers and pre-ordered an EOS R without knowing it had an unbelievable rolling shutter issue, I’d be angry—angry at the reviewers, angry at the manufacturer and angry at myself for being so easily duped. If you can’t trust the reviews and can’t trust the manufacturer then the pre-order option starts to look pretty dicey. Deceptive marketing whether intentional or not is not good for promoting new camera sales, creating manufacturer loyalty or building a YouTube subscriber base. When you can’t trust marketing  information and the reviews presented on the internet, then whatever gear you currently have starts to look better and better. Just forget about watching reviews or buying any new camera...at least until you’ve tried it yourself with a rental or a retailer that has a generous return policy. 

Andrew, we look forward to your teardown on Friday! ?

Nikon has enough engineering and marketing resources to develop just about any camera they want. The Nikon 1 system with a 1" sensor has the potential to be a Black Magic Pocket Cinema competitor. It's surprising to me that there's been little mention of the styling similarities between the Nikon 1 series and the BMPC. They have similar size sensors as well. Of course Nikon could also challenge the Canon C series if they chose to develop a large sensor cinema line. I hope Nikon has the vision and determination to develop a dedicated cinema/video camera division. They already have a vast array of lenses that could be integrated with Matrix metering, AF, Vibration Reduction and even a power zoom. An innovative adapter like the FT-1 could allow for the use of Nikon legacy lenses. IMO the biggest question is whether Nikon has the corporate vision and leadership to execute a dedicated video/cinema camera division. So far, Nikon has mostly been a sleeping giant when it comes to video and cinema camera development. I hope they awaken with a passion. Otherwise we'll all be waiting until 2020 when Black Magic finally announces it has an M4/3 mount with fully dedicated electronics for ANY feature offered by lenses from Panasonic, Olympus or other m4/3 lens manufacturer.

You're right. All the major manufacturers have been doing this for a long time. That's why the effort from Black Magic, Ikonoskop, RED, KineRaw, Digital Bolex, Magic Lantern, Vitaliy and the Gh2 hackers are so important. They challenge the status quo and may ultimately get one or more of the major manufacturers to respond with changes in the way they do business.

Loving the image out of the D5200. Thanks for the heads up on that sensor, Andrew. Shot this on Sunday. No CC - just Filmconvert. Really like Nikon's colors compared to my GH2.

https://vimeo.com/64274981

10 bit is the magic word. I too own the GH3 and love it, upgrading will take a while, but when... I´ll never go with an 8 bit codec. Be quick, first one takes it all.
 
btw. long time lurkers first post

Can confirm all of the above. V2 is so fast at writing images to the card you can do a burst of 4.6K JPEGs and almost immediately do another one straight afterwards.
 
I'm considering upgrading too. Just wish the battery was as large as on the V1 and that the camera wasn't so damned ugly.

I shared 4 sequences of raw stills from the V1 (120 images) for folks to try out their own methods/workflows.  I wanted to see how the footage would process through plugins like Twixtor/Motion/etc.  I chose to slow things down to 10% with Apple Motion.  I used the Optical Flow setting and was really impressed with the results.   I scaled things down to 1080p for sake of Vimeo and sharing.  After seeing what can be done with these little 1.25 second clips, I would say this is a seriously cool feature and definitely worth the sub-$300 people are spending on these little cams!
Feel free to download all 120 frames used to create this so you can experiment as well.
 
http://tinyurl.com/ag89cgx
http://tinyurl.com/d3panys
http://tinyurl.com/ca6cduk
http://tinyurl.com/cz5sh2l
 
https://vimeo.com/61863569

I'm well pleased about focus peaking. Little bit scary pulling focus without it when you're shooting stuff intended for the big screen.

XLR accessory is a welcome surprise.

GH3 has the edge on the Black Magic for me, mainly because it means I can use m43 lenses like 25mm f0.95 lenses and f1.4 12mm

Fingers crossed for a BMCC with an m43 mount!

A poster named Matt from Nofilmschool says,

The Panasonic AVC-Ultra family defines an additional three new encoding parameters within the MPEG-4 Part 10 standard, utilizing up to the 4:4:4 Intra Predictive Profile, as well as an additional low bitrate proxy recording mode.

The most efficient new parameter within AVC-Ultra is by Panasonic called, AVC-LongG. AVC-LongG enables compression of video resolutions up to 1920 × 1080 @ 23.97, 25 and 29.97p, with 10 bits of pixel depth at 4:2:2 color sampling, at data rates as low as 25 Mbit / sec.

More over, the AVC-Intra Class 50/100 is now extended to Class 200 and Class 4:4:4. The Class 200 mode extends the bitrate to 226 Mbit / sec for 1080/23,97p, while the Class 4:4:4 extends the possible resolution from 720p to 4K with pixel depths at 10 and 12 bits.

The bitrate settings for Class 4:4:4 varies between 200 and 440 Mbit / sec depending on the resolution, frame rate and bit depth. Both the Class 200 and the Class 4:4:4 are Intra-only coding modes

The AVC-Proxy mode enables extremely fast ENG content delivery and offline edits of 720p and 1080p video at bitrates varying between 800 Kbit to 3,5 Mbit / sec at 8 bits of pixel depth.

if they really want to pack 4:2:2 10bit 1080/60p in gh3 with 80mbit/s they can do it, let´s wait and see

[color=#ff0000][size=5][i]if they really want to pack 4:2:2 10bit 1080/60p in gh3 with 80mbit/s they can do it[/i][/size][/color]

[size=5]If this happens then BAM! [/size]

A good start. I have a lot of M43 and M43-adapted glass riding on this release.