sanveer

He's from Egypt. A double Doctorate in Medicine 💊 

What country are you at. You seem strangely familiar. 

3 hours ago, IronFilm said:

Not possible at all while they don't support timecode 😞 

Hmmm ...not sure Panasonic doesn't fix the small quirks.

11 hours ago, eatstoomuchjam said:

Is there that big of a market for people that are hired by Netflix to make content and want to shoot on $2k cameras as the a cam?  Their approved list is only for content they produce in-house.  If you want to sell a film to Netflix, you can shoot it on anything you want - and you can shoot some percentage of footage on non-approved cameras as well.

True. Except that its both a case of perception (of both Netflix as well as Indie Filmmakers wanting to pitch to OTTs), as well as a theoretical and real quality standardization (time code like @IronFilm mentioned, being an important factor). Maybe 100% of footage non commissioned as a Netflix is shot on a Non-Netflix Approved list. But, it's not a case od approved or not. Like I've mentioned above, it's an issue relating to perception and quality/ standardization.

For all one cares the Netflix approved criteria is probably too narrow and probably also suffering from fundamental flaws regarding biases and misplaced conceptions, and high bit depth and much higher bitrates would mostly help CGI and other Post Work. But it exists and its probably the industry's biggest or most referred list right now. 

12 hours ago, PannySVHS said:

GH4 was the second dslm/r camera with 4K after the Canon 1DC afaik. And it was the first affordable one and approachable one with its 4K 100mbit codec.  First 4k dslr from Nikon must have been the D500 i think. @sanveer

You're right, I checked for Canon and Nikon. That $15k price tag, for the Canon was crazy.

Its curious. Panasonic has 2 Inexpensive Netflix Approved Lumix cameras, namely the BGH1 and Panasonic Lumix BS1H box cameras. Both are great for the price, even if they have a few minor hiccups (moiré, HDMI lag etc). Somehow they were meant to replace it's other cinema cameras, at a much lower price point. But that project didn't really take off, maybe mostly due to the modularity and the lack of great autofocus. 

Panasonic needs to have the G9ii, the S5ii and S5iix Netflix Approved. And ensure that they improve their marketing greatly. I feel ever since the GH4, which may have been the first 4k consumer camera (apart from some Nikon one), Panasonic hasn't marketed their 4k filmmaking cameras enough. They haven't communicated things properly to the right audiences, and their supply chain is still very off from Canon, Nikon and Sony.

All this while, Panasonic should have marketed their cameras as Indie Filmmaking Cameras, targetted at low budget film projects. They should have targeted film schools, film festivals and film contests online.

I also feel Panasonic needs to work with Sony, like Nikon and Fuji, to create a Prosumer Camera, that will address every issue with its Prosumer Cinema Lineup (mostly autofocus, even better lowlight, and more shooting frame rates and resolution options). And those two sensors should be in the majority of its M43 and Full Frame sensor, for atleast 3 years. 

The M1 is pretty amazing. I guess the issue is with the algorithms. Those need a lot more work than what is currently with them. 

59 minutes ago, John Matthews said:

I have version 3.1.11. I have had excellent results deinterlacing and slightly upresing 540i 60fps footage to 1080p 60fps. However, when I take 4k or even 1080p footage and try to improve, it's almost never worth the energy (time and electricity). This software is still in its infancy- it doesn't even correct moiré- a major point.

Oh ok. That's very curious. I guess it means that the software isn't prepared for processing by the majority of hardware for higher resolutions. Its way too hardware intensive. It's strange that moirè (and other artefacts) aren't corrected too. It can't possibly be too complicated in algorithms to fix it. 

On 1/1/2024 at 8:44 AM, Happy Daze said:

Don't need to buy anything this year, I have more cameras than talent. Unless of course Blackmagic or Panasonic release an L mount 8K. That will help take my lack of talent to whole new levels and will be more clearly defined.

Roflmfao.

That's each one of us, and almost everyone else. Everyone is busy and everyone is jobless, both at the same time. 

Very Interesting tests. The image holds on pretty well. 

Has anyone worked on Topaz Labs' or other similar software. Maybe upressed 8-bit 4k to 8k, and then increased bit depth to 12-bit when downressed to 1080p. Or is that only exaggerated claims of improving image quality? 

15 hours ago, eatstoomuchjam said:

I didn't catch that the videos are only 8-bit (he mentioned it partway through).  That's a real bummer.

I'm guessing that they would probably bring 10-bit along with the log profile by way of a firmware update.

The GoPro looks bad in comparison in low light, and not as impressive in most other scenarios.

https://youtube.com/watch?v=BJx84Or3Rao

4 hours ago, Eric Calabros said:

Whats the "real" benefit for cinematography? With conventional stacked sensor, there is no distortion even in wild panning, like Venice 2 with its 3ms read out speed. Alexa35 has "useable" 15 stop of DR. Thats where DPs see the benefit. 

They'll find cinematographers who pan cameras around continuously, until audiences feel nauseatic. Then mentioned the absence of rolling shutter. Cinematography be damned 😎

Interesting sensor, even more than Interesting camera.

Sony will probably put in the next version of the Venice and price it similarly to the new Alexa35. Even with the reduced dynamic range. 

Also, suddenly, I am very curious, can Sony make a 2-Layer Transistor Pixel technology sensor with GS, finally solving issues with the dynamic range.  @androidlad do you know any such sensor in the offing? 

1 hour ago, Andrew Reid said:

PS - this is the sensor I think the Panasonic S1H II will have

Should have. Sony usually doesn't share its best sensors with others. And they have a particularly bad disdain for Panasonic 😁😁😁

That's so true. 

It's like the diacussion in one of the threads about overheating in ILCs. Companies need to get serious about heat management. Especially in any camera above $1000. 

Just now, ntblowz said:

The current CPU used since A7RV is quite hot (literally), look at overheating E1/A6700/A7CII..

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues.

Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

"Shutter speed is freed from the limitations of conventional mechanical shutter image sensors and achieves a maximum shutter speed of 1/80,000 second (1/16,000 second during continuous shooting), making it possible to capture at high speed without any distortion."

Powering the camera is the Bionz XR processing engine, promising eight times more power than the a9 Mark II’s processor."

INSANE !!!

I thought 1st April arrived late or early. 

1 hour ago, markr041 said:

OK, here you go: using the D-Log M 10bit setting and the official DJI D-Log M LUT (I hate LUTs, but what can you do)

I read somewhere that D-Log M is a terrible version of a regular profile, masquerading as a log profile (D-Log).

DJI should just release a firmware update for proper D-Log for the Pocket 3. The fake log profile probably has lighlights clipping and noticeable reduction in dynamic range. 

My replies disappeared ... 

Wouldn't anyone notice scenes with varying f-stops? Wouldn't the varying depth of field make continuity or sequence shots seem strange? Or its not really noticeable. 

2x, 1.5x and No Crop means nothing. There are different zooms and prime to cover every focal length. 

I remember not too long ago, I used to watch TLC hedonistically, and hog on meat and drink like a camel and tiger mix, thereby turning into a fat pig. Many of the shows were presumably shot on the Canon 5D, and many of them were out of focus, or the depth of field was quite shallow, and thus most things appeared to be out of focus.

23 hours ago, Andrew Reid said:

Take a Super 16mm 26mm F1.1 lens on a GH6, and compare it to a 50mm F1.2 on full frame, and also the same 50mm but stopped down to F2.2 to match the equivalent aperture of the S16mm lens at F1.1 wide open.

On the otherhand, the advantage of full frame might reveal itself more clearly when the focus distance is further out, and the subject remains a little bit separated from the environment, whereas on the 2x crop camera they'd be on the same focus plane, 'infinity' might start from about 3m outwards.

Very Interesting. A slightly faster lens, at a shorter focal length may theoretically remove the depth of field advantage of Full Frame, whereas it would be a lot more difficult for FF to get the wider depth of field of smaller sensors. 

2 hours ago, kye said:

Not too small to pick up and work with (which they were) - they were literally too small to see on the piece of plain white copy paper he'd put them on.  To give you an idea, they would easily fit into the grooves on your fingers that make your fingerprints!

Aaah ,very interesting.

I thought it may be too small for attaching it. Maybe larger node sizes help with keeping costs low as well as helping with working with them outside of automated factories

I've always wondered whether Mobile SoCs can replace Rasberry Pi kindda computing units. The only issues I can think of is size, price (perhaps more applicable for the 8 Series Flagships) and easy availability. A Qualcomm Snapdragon 7+ Gen 2 could be a great processor for something like a RAW shooting self made cinema camera. Though the SoC may be tiny and may not be as easily available over the counter, like in the case of Rasberry Pi kindda computing units. Qualcomm Snapdragon 7+ Gen 2 may have less issues with heat as well as superb  connectivity for uploading and sharing.

I am just wondering. I have no idea about any of this. 

16 hours ago, androidlad said:

Improved in Every Way, from a much larger sensor, twice as fast readout, twice as large lcd, log recording, semi articulating screen etc. Hope they keep the price the same or similar. This could do pretty well. 

23 minutes ago, androidlad said:

 

Its looking pretty exciting. Hope the sensor has been tuned like their drones. Also things like a hires photo mode, variable video bitrate option, and a few other goodies should make it a runaway hit. I wonder what the size of the new rotating screen is. 

On 7/24/2023 at 3:32 PM, BTM_Pix said:

The actual lens on a Pocket 2 is 20mm f1.8.

On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.

As well as also simultaneously being able to us magnetic ND filters too.

On 7/24/2023 at 3:32 PM, BTM_Pix said:

The actual lens on a Pocket 2 is 20mm f1.8.

On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.

As well as also simultaneously being able to us magnetic ND filters too.

If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.

Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.

Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.

Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Hope they have lens attachment options for ultrawide and anamorphic. This could be a killer pocket 3, if they get a few things right.

This could be good enough to shoot the next $70 Million Feature on 😉