sanveer

Was this guy responsible for the genius idea of putting a CFE card inside Red mini mag and charge 10x? 

There definitely a newcomers who'd be weighing up their options of what to get, and will now choose this new BMD camera. Less buyers for other systems = lower prices on the secondhand market. Simple Econ101
Also there are lots of people who went with ZCam or old REDs or such, specifically because BMD didn't offer what they wanted. But now BMD does!
It's very disappointing it is only one SDI output. Should've been two independent SDI outputs! (or at lead have a second output that is HDMI)
As the lack of this will make using this game on set rather restrictive. 
Am curious what a bag/field mixer/recorder from BMD would be like!
Something even better than the Zoom F8n??

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

YouTube link is now up
 

The more I read about DR, the less I realise I understand it.
I mean, the idea is pretty simple - how much brighter is the brightest change it can detect compared to the darkest change it can detect, but that has a lot of assumptions in it when you want to apply it to the real-world.
I have essentially given up on DR figures.  Firstly it's because my camera choice has moved away from being based on image quality and into the quality of the final edit I can make with it, but even if I was comparing the stats I'd be looking at latitude.  
Specifically, I'd be looking at how many stops under still look broadly usable, and I'd also be looking at the tail of the histogram and comparing the lowest stops:
how many are separate to the noise floor (where the noise in that stop doesn't touch the noise floor) how many are visible above the noise floor (but the noise in that stop touches the noise floor) how many are visible within the noise floor (the noise from the stop is visible above the noise floor) how high up is the noise floor In the real world, you will be adding a shadow rolloff, so any noise will be pretty dramatically compressed, so it really comes down to the overall level of the noise floor (which will tell you how much quantisation the file will have SOOC and how much you can push it around) and how much noise there is in the lowest regions, which will give a feel for what the shadows look like.  You can always apply a subtle NR to bring it under control, and if it's chroma noise then it doesn't matter much because you're likely going to desaturate the shadows and highlights anyway.
The only time you will really see those lowest stops is if you're pulling up some dark objects in the image to be visible, but this is a rare case and with more than 12 or 13 stops you're most likely still pushing down the last couple of stops into a shadow rolloff anyway, so it's just down to the tint of the overall image.  Think about the latitude tests and how most cameras are fine 3-stops down, some are good further than that - how often are you going to be pulling something out of the shadows by three whole stops??  That's pretty radical!  Most likely you're just grading so that a very contrasty scene can be balanced so that the higher DR fits within the 709 output, but you'd be matching highlight and shadow rolloffs in order to match the shots to the grade on the other shots, so your last few stops would still be in the shadows and can be heavily processed if required.

I guess to reply directly on to your comments, yes, the DR testing algorithms seem to be quite gullible and "hackable" which I'd agree that Apple has likely done specifically for headlines.
None of the measurements in the charts really map directly to how usable I think the image would be in real projects, but I haven't read the technical documents by ImaTest, although if I was going to look into it more I think that would be a good idea so you'd know what is actually being measured. 

Sonys were overheating well before IBIS became a thing 🤣🤣🤣
Also the kind of Card used, sensor and body size, heatsinks used, processors used, body type etc should decide how much a camera overheats. Some Canons have improved heat management after firmware updates. 

Since one of the stated reasons for documenting the journey was accountability, how did your first night of shooting go?

Reasonably well thanks - will write it up soon!

Magic Lantern, how about 12-bit RAW on the Panasonic Cameras 😉
 

Script and partial shortlist written. Ready for action tomorrow night when wife is out, so hopefully no interruptions!

Half of the shots in this video I shot are in 8-bit rec709 but graded in post.  Learn your gear and 8 bit is just fine.
 

All good points, but perhaps most significantly, it has a cooling fan.....  in something approaching the size of an action camera.

Sony, etc, have no excuses.

Ha!  You have a point, but that was when 4K was cutting edge.  Do any current Sony bodies without IBIS overheat in 4K mode?  
 
At least in the case of the R5, the heat management is a little bit improved, but also Canon just stopped doing stupid things like having a hard-coded cooldown timer instead of basing it on actual temperatures.  That should probably set some sort of record for dumbest decision made in the development made in a modern camera.

Sonys were overheating well before IBIS became a thing 🤣🤣🤣
Also the kind of Card used, sensor and body size, heatsinks used, processors used, body type etc should decide how much a camera overheats. Some Canons have improved heat management after firmware updates. 

Actually, I take back my comments that overheating testing is incomprehensible, because I found this.... (linked to timestamp)
...and in case you don't want to hit play, the BM Micro Studio Camera was used to film inside the race car of a 24 hour race in Daytona, and:
it was being powered from the car it was recording 4K to a 4TB SSD in BRAW 8:1 it recorded for 24 hours straight with no overheating and no dropped frames the average temp in the car was 120F / 48C the suspension in a race car is stiff and shaking the camera too Just goes to show - all these huge cameras that overheat in air-conditioning are just flat-out design failures.

I legitimately think that the consumers will eventually abandon any manufacturer that tries this. And, if they all try it together, I see a mass revolt against new models and perhaps even a movement to “older” cameras. 

No thank you.
I have very few subs to anything and even for my Adobe suite, massive annual discount because of someone I know, (sorry, cannot pass you their details!) and if I did not have that discount, would be using something else.
I recently cancelled my annual Musicbed sub and switched to Audio as it’s about 10x cheaper and for the types of tracks I use, a no-brainer.
Otherwise Netflix and AppleTV but that’s it for monthly or annual subs.
Re. some stuff, if I am not buying it outright, I expect to pay a sub such as Netflix, but having to pay for firmware often with stated or unstated bug fixes? More than a bit unethical and grasping IMO.

Indeed.
It's a pity that reality doesn't fit in a sound-byte.

There’s talk in the camera industry of introducing a subscription model for firmware updates, with Sony being one of the companies believed to be considering this as an option for larger updates in the future. Currently, Sony is planning an A7S III update in the coming weeks with DCI 4K and content authenticity ID, but major updates have been few and far between for a camera released nearly 4 years ago.
https://www.eoshd.com/news/firmware-updates-could-become-subscription-model-under-new-plans/

I have known for ages literally everyone is running around completely blind on this planet.
Deaf as well, by the way.

Looks like the reviewer has an extra finger on his right hand.
Elon is suing open AI for changing their mission from non-profit / open source to for-profit / closed source and to stop Microsoft from licensing AGI from OpenAI...
 

I also read that Sony was fabbing their new sensors at TSMC, so its most likely a matter of patents, and not so much anything else.
These kind of monopolies, in general are bad. I suspect that they are among the reasons for the downfall of many companies that rely on such sensor makers, who restrict patent use (remember the debate, for the longest, that suspected that Panasonic was restricted in its access to PDAF, since it made video powehouses, and that's why we had the terrible Depth-from-Defocus (DFD), for the longest).
 

A few years ago, Nikon was talking about a 1inch sensor they developed which was absolutely class leading. Wat above and beyond anything else in the 1inch sensor space, and better than many FullFrame sensors. And then, like the mythical Organic Sensor of Panasonic, it vanished into thin air.
Sony seems to be the RED of the Image Sensor world. I am guessing they have way too many patents regarding sensors, and they and a few others prevent anyone else from creating something absolutely crazy.
I mentioned this, because its curious how such promising sensors, that should be in modern cinema cameras, never really come to fruition. RED has been bullying the industry on RAW video, and a few others on sensor and hardware development? 
 
https://nikonrumors.com/2021/02/17/nikon-announced-the-development-of-a-new-1-inch-17-84mp-stacked-cmos-4k-1000-fps-sensor.aspx/
 

At least all the armchair camera engineers go quiet for a while