sanveer

The conditions of warranty along with the seller are mentioned in the products. You could check that before any purchase.

Actually the GH5 has helped create a sub category of high end cameras where video is the reason for the premium pricing. If the GH5 had a FF sensor it would easily cost Atleast $1000-1500 more. Now imagine the GH5 with BRAW and ProRes, and dual mini XLR and larger screen, 4k at 120fps and even greater battery management. And some serious improvements in photo too. If the Olympus EM1-X doesn't have great video, it will have very poor sales. Photo quality alone won't save it. Even if it's in the 14.6 stop APS-C territory and IBIS that's as good as a steadycam.

True. I remember reading comments saying that they aren't shooting in the recommended ISOs for some cameras. There are many such comments and maby of them merely state what the manufacturers have recommended. Which seems both fair and reasonable.

This new XEVC codec seems pretty amazing. It does 4k (3840) at 10-bit 4-2-2 at 100mbps which is the same bitrate the Sony A-Series does for 8-bit 4-2-0 internal (so this new Codec seems way more efficient than HEVC or anything else out that for compression). It also has 4k at 12-bit 4-4-4 at 240mbps (the BRAW 12:1 is around 215mbps or so I think, I had calculated it roughly from the 4.6k bitrate on the Ursa Mini Pro and done a rough estimation for the 4k based solely on frame size). It suddenly looks like a codec face-off is in the offing.

Maybe the high end will save them in the end. They could have both cost and feature advantage. Something that the big boys don't wanna sell cheap.

Are there ANY Sony sensors that Do Not Do ATLEAST 10-bit at full res??? The GH5 autofocus has improved substantially in video from how it was, when it was released. Though it's still nowhere near PDAF territory.

Olympus has nothing to lose and no cinema line to protect, and that is why it needs to seriously work on its video capabilities. Maybe it needs to collaborate with someone like Blackmagic, since they do compliment each other in many ways. Olympus had superb hardware (great lenses and OIS in lenses, IBIS in bodies, superb weather sealing, good photography capabilities etc); Blackmagic has superb colour for video and excellent video capabilities and codec (BRAW). They both also have the M43 as a common factor, so it should be beneficial for both, that they support each other. Also, unlike Panasonic, Olympus is not a competitor to Blackmagic and also doesn't have a cinema line that prevents it pushing the RAW capabilities down to lower priced cameras. Blackmagic could get a DSLR sized camera that can shoot RAW (and ProRes, in Multiple Flavours), is weather sealed with IBIS, and Olympus could get a DSLR sized camera that does RAW at a fraction of the cost of most players around, and has features as good as Full Frame Mirrorless cameras and better. They naturally compliment each other. Also the Panasonic and Leica collaboration has shown that even big players need to band together.

I don't know why, but since Sony makes the sensors, I suspect that the autofocus and dynamic range (including line banding and low light other issues), are things that Sony had handicapped for Nikon. As long as Sony is the manufacturers of sensors for other major manufacturers, it will either not make certain sensors available to others or have them mildly handicapped in comparison to the ones in its own cameras (A7iii vs Z6). Which is also the case with the sensors in the 1inch cameras that it makes for itself and other companies. Maybe that's why Panasonic and Fuji are in such a hurry to move out of the Sony Sensor monopoly and Canon is still sticking with its sensors.

Whoa. That was a long and wide compilation. Maybe I'll check it tomorrow sometime. Maybe if you added the date to the tests it would help one understand whether they were conducted around the same time, under different profiles, or over different periods of time when their methodologies and co cousins varied. I read one of the tests which showed the A7s or A7s as having 14 stops. That couldn't possibly have been the improvement from downressing it from 4k to 1080p.

You obviously didn't search properly or even sufficiently. Unfortunately.

I could help you understand it, but I am guessing it would be better if you simply did a Google search of atleast 10+ random test results of Cinema5d doing dynamic range tests. It could include any and every camera you can think of. Check the history of the results over a few years and all your doubts will be answered. Your defence of them is either ernest and genuine ignorance or something much worse. Either ways, only you can answer your own doubts. Anything else would be an exercise in futility.

I think they do it as a private joke for themselves or they are genuinely never reliable. I actually suspect that they would have tested the Alexa at UNDER 14 stops, but are too afraid to publish it. The Alexa standard being indisputable, they would probably invite a plethora of brickbats. Almost as ludicrous as that 14.6/ 14.7 stops of Dynamic range on the Panasonic GH5s done by that freak which was published by NewsShooter.com. Cinema5d measured the same camera's dynamic range at 10.7 stops, 4 WHOLE STOPS less. If their measurements differed by 4 stops on the Alexa, one of those sites would have shut down. It is indeed an amusing world.

Whoa. Share the datasheet again. This sounds almost insane.

If that were the case, there would be no place for LuTs and other quick turn around processes. That's the same as saying why do Olympus and Panasonic need to introduce M43 when there already are APS-C and Full Frame sensors? If that were the case, Blackmagic and Kinefinity also would have no place. Thank God Blackmagic didn't feel the same way. The Original Pocket and the new 4k one are genuinely Path Breaking in many ways. New players could offer a lot of benefits and advantages. For one, a Price Advantage. And two, each of those systems has its minuses and pluses (the Compression ratio and the RAW codec itself probably has a long way to go). If the Organic sensor is as good as it claims, this could further shorten the divide between the high end and the prosumer market for video.

That Quad-Bayer HDR is a bit of a scam. It down-resses first (I am guessing to HD), and then up-resses (back to 4k/3860), to improve dynamic range. So the image is soft and not real 4k. If it's the same sensor as on the GH5s then the 14-bit is not in 4k. I vaguely remember it at some other (lower?) resolution. Overall the ECam Z2 is coming along as a great camera. If only they could do great accessories for monitoring and recording (and battery life?), they could have a great camera. And shave off $500 of off the price, while they're at it.

Considering that Fuji seems to have nailed the 10-bit formula (in the XT3), has good Log and other features in its ILCs, the transition shouldn't be too difficult. They could probably start with Cinema DNG and ProRes (off the shelf codecs) and pick up hardware (much of what may be quite easy too). And they have a history of film and photo colours, so they could be great with LuTs and grades. Also the cinema and broadcast market has huge potential for many more players, especially in the $1000-3000, $3000-6000 and $6000-10000 price bands like Blackmagic, Kinefinity and others have shown. If Fuji makes competing cameras to the Canon Cinema line at much lower prices, and more codec options, they could easily take away many customers and attract many more new ones to their entry level cinema line.

Or something even greater. Fuji is making a comeback to motion pictures by producing cameras that compete in the professional filmmaking space. With a sensor that does justice to such an ambitious plan.

Isn't it already S35

Maybe we need a New Thread Solely dealing with issues that DJI needs to address by way of firmware for the Osmo Pocket.

As in, I thought they would move to a larger sensor (Full Frame and larger) to accommodate the 8k resolution.

I had a similar experience as you. I am sure Panasonic has some great service in some places of the world. But I had a terrible experience and the after sales was absolute crap (including one in Adelaide and another in New Delhi).

The Varicam has a super35 sensor. They could do with a larger sensor I guess (Full Frame and larger). Especially if it needs to go 8k. If this is the Camera, I guess they're sticking with the APS-C sized sensor (PL mount). Which seems rather curious.

I hope DJI is generous and adds both D-Cinelike as well as D -Log.

The review seems unfortunate. It doesn't address what issues could be fixed with a firmware and what couldn't. And his running style in the last video was hilarious, but it seemed to highlight an issue with the stabilization correctly. I am guessing that the stabilization could be better if he didn't set the autofocus to fast, or if that was not the case, then it could be corrected by way of a firmware handling the speed and accuracy of the gimbal stabilization could be brought out by DJI. IMHO no review on this should be final, till such time as it is established that the issues can be addressed with firmware. Until then asking for a Version 2 of the Osmo Pocket is silly.

I did a random Google search a nd found the page of the reviewer above. https://myfirstdrone.com/dji-osmo-pocket-vs-gopro-hero-7-black Interestingly he says, "For the best quality, I chose to shoot in 4K at 24FPS. On the Osmo, I used the Pro mode to set the color to “Cinelike” and turn(ed) noise reduction off. On the Hero 7 Black, I used Protune to set the color to “Flat”, then set the max ISO to 1600 since the Osmo can’t go to ISO 3200. I searched for a way of turning noise reduction off on the GoPro, but I couldn’t find anything in the settings or anyone mentioning that as a feature online, so I’m going to assume that isn’t possible." The highlighted (in bold) portion contradicts what Matt at NewsShooter tried to state. Matt either didn't know how to use the Osmo or got a unit with limited features in the firmware. Either ways, his review is (like the dynamic range of the GH5s piece) is flawed. I hope he makes a correction and stops dissing the thing without knowing the facts and tests it correctly.