cantsin

This looks like it was shot on film (16mm color negative Kodak Vision stock) - you can't replicate this fully, only simulate it with plugins like FilmConvert or LUTs like Visioncolor Impulz.

It is not about compatibility, but better image quality. (Better sharpness, less CA with a Speed Booster optimized for a specific camera's filter stack.)

48 minutes ago, Anaconda_ said:

I don't have any experience with the BMPCC or it's cousins, so not sure how much of an issue the IR thing is. From what I can tell, it's 'ok' until you start using NDs, right?

There are many situations in which you need IR filtration on the BMPCC even without ND filters - a scene filmed in bright sunlight or with non-LED light can be enough. You can easily test it by filming some black synthetic fabric, such as a sports bag, and see whether it turns out brownish-magenta on the footage.

In that respect, BM cameras are a lot like older digital Leicas and like RED cameras. More aggressive in-camera IR filtering also means less color resolution/fidelity in the red spectrum, this is why pro cameras often have weaker IR filters.

Blackmagic already answered in its Q&A (reposted here in this thread some dozen of pages ago) that the Pocket 4K will have the same IR filtration requirements as previous BM cameras, so we can expect a thinner filter stack.

I'm eagerly waiting for the 4K video feature to trickle down to the rest of Canon's EOS-M line, most importantly the successor of the EOS-M100. That camera is one of the most compact APS-C bodies ever made, barely larger than the (discontinued) Panasonic GM series, and a killer street photography/always-with-you camera in combination with the 22.5mm/f2 pancake lens.

2 hours ago, cantsin said:

Do you have a sample video?

Seems that the embedded Vimeo video is not playing everywhere - is it geoblocked?

2 hours ago, jonpais said:

It sounds like nobody can question anything at all about the camera, and it hasn’t even been released. If it had dual pixel autofocus, would you also take a pass? a long life Panasonic battery? Or are you in Frank Glencairn’s camp - only sissies complain about battery life?

Features like dual pixel autofocus and in-body stabilization will not come from small/non-mainstream manufacturers like Blackmagic any time soon, because they are highly proprietary, patented technology to which only major companies have access.

Do you have a sample video?

Another point is that it's much easier (and cheaper) to build FF lenses that perform decently wide open while the Voigts and comparable MFT lenses are almost unusable at f0.95.

3 hours ago, DaveAltizer said:

What are the BEST c mount primes then if I wanted a good wide and a good normal focal length? Any advice on Zooms? Any that are amazing?

There are no c-mount lenses that can resolve 4K - most don't even resolve HD.

Is Super Scale a new feature in Resolve 15? I can't find it in 14.

It's very simple - Yongnuo already produces a whole series of EF mount lenses. Conversely, MFT is an open standard and sensors are probably either to source. So they just combine the two technologies that are most easily available to them, even if it technologically doesn't make so much sense.

Wouldn't be surprised if this camera would be sold for under $200, maybe even only $100, given Yongnuo's aggressive pricing.

9 minutes ago, tupp said:

Not sure why Leica couldn't make an outboard version of their fixed zoom on the Panasonic LX100.  It is fast, sharp, and it has a nice zoom range -- and it covers a 4/3 sensor.

The Panaleica lenses are neither Leica-made nor (in most cases) Leica-designed, but Panasonic lenses with a Leica brand license and quality certification. 

It's very likely that this lens design cannot be made an interchangeable lens because it probably has a shorter flange mount distance than MFT (which helps achieving larger apertures in a compact design). Plus, the lens heavily relies on software corrections. Its f1.7-2.8 aperture corresponds to a much lower transmission value if you look at the pure optical image without software vignetting correction.

3 hours ago, jonpais said:

If I misunderstood @cantsin, I apologize. I really respect his contributions to this forum.

 

Sorry, Jon, I can sometimes be acidic. The respect is mutual.

5 hours ago, jonpais said:

What ever gave you the idea that all I look for in a video is sharpness? Did you even bother to read my post? Not only that, but in fact, the resolution of the video you shared, as near as I can tell with the slow vimeo I get here, is actually quite poor.

Whatever gave you the idea that I was responding to you at all? You relate comments to yourself that were not directed at you. I didn't even reply to you or quote you.

Let me say it loud and clear: Your behavior on this forum is increasingly aggressive and narcissistic. You should consider taking a break as a moderator.

- And yes, Vimeo uses adaptive streaming. If you have a poor connection, the video image will have poor resolution.

You can also record ultra-crisp video with it if you prefer that look. It's just a matter of how you post-process the raw image.

2 hours ago, HockeyFan12 said:

The black magic cinema camera barely has 12 stops of dynamic range, though, and HDR requires 15+. )

Both numbers are wrong.

For stock footage, a RAW video camera really makes sense, because it makes your footage future-proof for codecs and standards that may not exist yet.

For example, if you bought a Blackmagic Cinema Camera in 2012 and backed up your camera files from that time, it would be no problem to render the footage as HDR video today.

@Anaconda_ How should a 4K s16 crop work on a 4K sensor? If my math doesn't fail me, a s16 crop (equivalent to the sensor size of the old Pocket) should result in a 2.7K image.

10 hours ago, Nathan Gabriel said:

Does anyone have experience using Resolve in Linux? How smoothly does it run? Does it have limited video codecs in Linux? Or just any of behaviour that you wouldn't expect?

It runs fine, and has the same functionality, but is difficult to install on distributions other than CentOS/Red Hat Enterprise. There's no h264 rendering, which is not a big deal since it's better to export to a high-end codec (such DNxHR) and use ffmpeg to transcode that into h264.

Best go to Blackmagic's user forum where there is a long thread on Resolve's Linux install issues that also contains other useful information. (Such as scripts that repackage Resolve for Ubuntu/Debian etc.)

It's simply logic: If you downsample the video signal, you can reduce or eliminate moiré through clever processing. If you read out the sensor 1:1, moiré will stay. (Blackmagic's cameras always been have a good example for this.) So it makes sense to put an OLPF in front of such a native 4K sensor. And you see where Blackmagic is cutting costs.

29 minutes ago, webrunner5 said:

Well the GH5s sensor, in a Canon camera, with their Color Science, and DPAF, would not be a bad thing!

Canon won't do that - they develop and manufacture their own sensors. It's part of the reason why they are so profitable. (And part of the reason why their camera specs are behind everyone who uses Sony sensors.)

9 minutes ago, capitanazo said:

what about an eos m1 with a cheap focal reducer plus magiclantern, some good prime lens or and a cheap tokina 28-70?
with magic lantern sd speedhack could be a really nice option.

Yes, but most of the Magic Lantern raw video modes work with sensor crop, so you'd lose the full frame look...

12 minutes ago, Cliff Totten said:

Here is the shocking part. If Sony didnt develop such an incredably advanced STARVIS IMX294 sensor, (or IMX272 ) would we be this excited for this camera? If this camera used a common CMOSIS or Fairchild MFT sensor that topped out at 800 ISO.....would all of these other great features be wasted?

Is the image sensor of this camera driving this entire show?

Has Sony single-handedly enabled or gifted the "small"  Micro 4/3 format with the power to actually compete with large sensor cameras?...(something M4/3 could never do in the past?)

The Sony IMX294 is no better, but actually worse than the APS-C sensors Sony built into the a6300/6500 and the full frame sensors used in the A7 series. The a6300/6500 sensor has higher resolution, is better in low light and even has triple native ISO (as some people have found out by analyzing its RAW stills). If you use dpreview's camera comparison tool, then the RAW stills of the GH5s are clearly behind the RAW stills of the a6300/6500, although those cameras are a couple of years older.

The only difference Blackmagic really makes is that its cameras record the sensor signal in RAW, which can make a huge difference for the quality of the final video image if you use highest-quality debayering, denoising and color correction in post (as opposed to a quick-and-dirty, low-quality, high-compression pipeline in-camera).

The absolutely cheapest way to shoot video with full-frame look is to buy

• a used Sony NEX-5N body for $200;
• an off-brand Speed Booster/focal reducer for E-mount (for example with Nikon baynoet) for $70;
• a second-hand, vintage, manual focus 50mm/1.8 DSLR lens for no more than $50.

I actually have these lying around and could shoot a test video just for the fun of it.