sanveer

I've been saying that for the past 40 years and I almost mean it now.

Hopefully this means a simplified and more unified product line. Looking at their fixed-lens camcorders the last few years, they would have one or two "prosumer" models that were 99% the same as one of the "professional" models; apparently this was done because the "prosumer" model was handled by the Lumix/consumer division, and the "professional" model was handled by the pro A/V division, and I guess both needed to show they had produced something. I think fewer, better models would work better. With the S5ii and G9ii sharing a body, maybe some consolidation is already happening.
I would assume that this means no EVA-1 replacement anytime soon, if the S1H replacement has the internal ND they patented a while ago.

Ok.
Andrew (who owns the forums) prefers that if people post links and videos that they also include other information as well, so that the forum is a place of discussions rather than just everyones bookmarks.
What was it about this project that inspired you?
How is this relevant to how you (or others here) might work?
What things can we all learn from it?

I have an M1 iMac; so, I don't have the latest and greatest, but does really well with FCPX. The problem is, after several hours of processing, I can't really tell much of a difference except for compression artifact in 4k. At least the M1 is super efficient. It does decently with aliasing (electrical wires in 1080p), but moiré is another beast apparently. In fact, I don't know any consumer software that fixes it. The biggest fix for moiré is more resolution out of camera (and even then, without a low pass filter you'll have some frequency with it).

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. 

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.

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? 

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.

Unimaginable tech in an item that is so small.  I have no clue how people can be so smart to be able to design something like it.

Perhaps a more telling image:

I'm still impressed with the GX850/GX800/GF9. Correct me if I'm wrong, but I believe this is still the smallest 4k DSLM setup. It weighs a whopping 269g and 55g for the 14mm f/2.5 lens. Not bad for January 2017. Still waiting for any sort of a replacement.

Is there a new camera module?  The current camera module used by cinepi is imx477.  It doesn't matter how fancy the raspberry pi is that you connect it to, it's still only a 12 megapixel sensor.  If Sony have a 45 megapixel 1" sensor that can read out at 12 bits, it could be cool to see that in a Raspberry Pi camera.

Until then, you'd be a lot better off buying a used BMPCC4K - it costs a bit more, but it's a lot more usable as a camera... and I say that as a person who doesn't like any "pocket" cinema camera except for the very first one from like 10 years ago.
(Or for just. little bit more, a Sigma FP)

Official NDs filters
https://store.insta360.com/product/ace-pro-nd-filter-set?c=2649&from=accessory

For example motorsports (Cars, Buggy, etc) applications is where you want to disable digital stabilization and add ND filter. Nothing worse than stabilization correcting the car movements and lack of motion blur.

Inferior DR did you see a scientific test that measure the stops, if yes can you please post it as I'm curious.

You seem to be very knowledgeable but your examples that you post are not what I would call "action" so not sure that claiming that this is not an action cam feels right.

In between the avalanche of useless YT review there are some pieces that show the potential of the camera.

From what I could see so far:
Gopro 12
+ 10 bit log
+ MAX LENS MOD (this for POV makes a big difference)
+ integrated mounting
+ a bit lighter
+ replaceable lens
+ 2.7k 240
+ a bit better stabilization

Insta360 Ace Pro
+ overall, it seems a bit better image quality.
+ low light
+ 2x "lossless crop"
+ 8k 24 (wish was at least 25)
+ better software
+ stats from Apple Watch
+ HDR mode seems more usable.

In daylight it seems to me that the RS 1inch is still the best one and is now quite old. 

Thanks to you guys I don't click on YouTube links to consume 15 minutes of bad journalism. I'm deeply grateful. 

That will probably be the HDMI cable. I had the same issue. Buy something that's rated for 8K, I use this one without problem:
https://www.amazon.co.uk/gp/product/B0B76YBHPP/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&th=1
 

Funnily enough, I was mocked on here not so long ago for suggesting any of that trivial shit was required so I was keeping it simple.
Not to mention being in keeping with the other thread on here about making a "real" movie with a cheap camera.

 

In their older cameras that I have (GO2, RS, 1 Inch) they have Log profile but is 8bit only and not particularly great. So not sure I would count on it. It would be great.

The 8k 24 is a strange story as apparently reviewers are not allowed to post 8k 24, only one so far did it.

Looking forward to see some real work and not these YT reviewers madness.

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

I saw it almost twice because I have a friend who works at a theater where they were showing it and I went to catch it. The script is nothing much and it gets lost in the end. Just another movie.
Let's face it: it was discussed so much for a very simple reason: all independent filmmakers and the kids (including white-haired ones like me) je***ng off with their little cameras in the backyard thought: if he made a blockbuster with my own little camera, so can I.
But picking up on the thread title "Will The Creator change how blockbusters get filmed?" I venture to say that This was a whim of a very particular director (his resume proves it) but the film industry doesn't give a shit about the camera used for the film and nothing will change.
As I said 8 pages ago, if there is one reason the film will be remembered and may change the way these blockbusters are shot, it is the visuals.
The film is a visual treat. But not because of the camera or the lenses used but because unlike 99% of other similar films they chose not to create everything by computer but to use real locations as much as possible to which, in post production, the necessary modifications were applied (mainly for budget reasons i suppose). There are scenes shot in real Buddhist temples in Nepal, ruins in Cambodia, hotel, train station, and Bangkok airport, to which they added futuristic details. The futuristic lab you see in the trailers is a real nuclear accelerator in Thailand. the result is mind-blowing. The locations are real and fuck if you can see it.
The visuals have a great scope that the Star Wars productions look like South American soap operas in comparison.
In short seeing the total CGI reconstructions of entire landscapes in other much more expensive and famous films you get the impression that perfection has been achieved. Then you see this film and knowing the technique used (I would almost call it augmented reality) you realize that there is still a long way to go.

Here, in my opinion, this will be something that will change the approach of other productions.
 
 

I have been spending too much money on equipment in recent years, and WAY too much time researching it. I really don't need anything else in terms of kit. What I do need is to replace my wardrobe and make some repairs to my home and my vehicle. Also, I'd like to spend more time producing passion projects.

So, I'm making a commitment that I will not buy any new gear between November 30th, 2023 and November 29th, 2024 (got to give myself the option to take advantage of Black Friday deals). If I need a specialty piece of gear, I will rent it.

The exceptions are expendables and direct replacements, should anything I'm using break down.

I've never done this before and I'm posting this to help keep myself accountable.

Ambient temperature was 30C/86F which isn't a real stress-test but is better than the stupid people that test these things practically in the freezer, either to game the results because they're dishonest or because they're too stupid to realise that there are warm countries on earth too.

Cheaper alternative to 12S Ultra is the Xiaomi Mi 10 which can be had for about 200-300 euros used.
This produces 6K RAW reliably at 24fps in Cinema DNG from a 1/1.33" sensor, same size as a top-end Galaxy and much larger than the older phones with their tiny 1/2.5" chips.
Oneplus 8 Pro is the MotionCam's developers favoured device. It's reliable, fast, great sensor, good selection of lenses and does 4K/60p in RAW.
McPro24fps is very handy for 10bit when you don't want the massive file sizes of RAW.
By the way MotionCam can transcode to ProRes on Android phones in-app, or you can do it in post with their free app too.
It's the Magic Lantern of phones basically.

FYI, the Xiaomi 12S Ultra does not enable 10-bit recording through 3rd party apps like the mcpro24fps.  
Not a big deal for me, but if you're in the market, be aware.  Best bet is to just ask the developer directly if the hardware you wanna use is compatible with 10-bit.  

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 😁

It doesn't quite work like that. If you shoot a sequence at 120 fps & 1/240s with the GS camera, and compare the results after processing (by taking the images and processing them to reduce noise) to native RS camera at 24 fps, 1/48s, then the latter will still have more dynamic range (unless an ND filter was needed to get the slow shutter speed in too bright light).
 
Phone cameras get away with a lot of stuff, including somehow merging the images even in the presence of moving parts in the image by algorithms only because the images are viewed as a tiny part of the human visual field so the imperfect guesses by the AI don't bother us as much as they would if they were shown on large screens. The images often look unnatural and fake to those who are experienced in looking at actual photographs, though.