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Caleb Genheimer

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  1. I think whoever integrates BRaw in body outside of Blackmagic will see big time adoption. BMD I think might be prohibiting it to protect the Pocket line, but honestly they will see Resolve Studio/Pocket sales on the tail end as folks buy B-cams and full versions of Resolve. Heck, they could limit “third party” BRaw files to Studio version only. I can’t stress how much better Resolve is versus FCPX, ergo how much better BRaw also is versus ProResRaw. I really want BRaw as the “new ProRes” industry standard, and I think BMD could do it easily if they let other parties put it
  2. Yea, I read more than a few articles at the time which seemed to think it wasn’t challenged from the ideal angle, but I’m no lawyer
  3. I still don’t understand RED’s stranglehold on the RAW patent bs. Like, it’s a painfully obvious method for compressing RAW, based on already-existing open tech (even when they originally “invented” it.) What, did the lawyers tasked with contesting it a while back just do a crap job? Or does RED just have a bunch of Big Dick Energy lawyers?? It’s absurd, and I’m still baffled that the big dogs haven’t banded together to take that patent out back and toss it in the dumpster where it belongs. Everyone wants internal RAW, and the codecs exist to do it easily. That’s what I want
  4. yep. They’re gonna lose me too if they keep it up with the external recorder crap. The AF is lame enough that I may as well get a better camera without it, it’s the same difference. Those are the two things they NEED to remedy this iteration: real AF and internal Raw. ND would be nice but not critical.
  5. The body shape is just... disgusting (and that’s coming from someone who owns and uses a P4K). They should just make the screen AND EVF each a $500 extra, and reshape the body into something more like RED/Kinefinity/ZCam/BGH1.
  6. What, they’re gonna repackage Sony sensors? Good luck competing with Sony or Panny then
  7. Define “very soft,” because I’ve seen my stuff on theater screens which have only ever been 2K, and it looked fantastic. 3883X2912 is very comfortably over sampled if delivering a 4096X1716 DCP, even if it’s “soft.”
  8. Yeah, I have several. I have a Kowa Anamorphic-35 1.75X (a variant of what most call an “Inflight”,) which, while for 35mm gate size, is easily usable on MF (considering everyone and their mother uses 16mm gate scopes like the 16-H on full frame cameras without issue.) I also have plans to modify my B&L CinemaScope Attachment II, which is natively for projecting 70mm prints, and has an absolutely ginormous rear element. I honestly don’t care how much my rig weighs, or how big it ends up being. I’m gearing up to shoot narrative fiction, not a YouTube vlog. I’m after unique, immersive
  9. I can’t imagine Sony being very afraid considering they make the sensor. I’m a broken record at this point but the big sensor feels wasted when there’s no open gate video mode. If it had that, I’d be all over it at $6K. Unfortunately the S1H is still a much smarter buy in the LF video arena.
  10. Not sure how I missed this thread... I have one! Currently doing a rehousing project to use it on my 16mm camera at 18/24/50/70mm set.
  11. Wow, this sounds way less oppressive than Adobe subscription plan! I’ll have to look into it!
  12. I’m kinda with Gerald on this one. If it was a grand or so cheaper, I think this would be a very different discussion, but as it sits, it’s in a pretty tough bracket, where (IMO) being a bit out of left field in size and shape don’t set it apart enough to ignore technical deficiencies versus the other options. I hope they’re still building this platform in 5 years, because at that juncture, I think we’ll be looking at a very different playing field, where even the “alternative” brand offerings will have more solid feature sets. I’m absolutely in love with their size/shape/styling. If
  13. My GH5S is free-99 because it’s the camera I already own AYYY But seriously, most every camera in the last 5 years looks pretty dang good.
  14. This is a free and open SDK only for cross-platform decoding as far as I can tell, not for in-camera encoding. Sure, they’ve made it free and open for 3rd party developers to implement it in their software, but I don’t get the sense it’s open-use for cameras. There may still be other reasons Japan wouldn’t use it as you’ve mentioned, but then they’re each going to end up with their own “RED Patent Workaround” RAW codec. I wish Blackmagic would work out a way to convert other RAW format footage in post into BRAW (ProRes, CDNG, etc.) because it edits so smooth and stores permanently
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