Cliff Totten

Guys,...stop making fun of Canon. They may not be on Sony, Panasonic, Olympus, Yoshica, Pentax, Polaroid or Kodak's level.....but they are doing they best they can.
The problem is not Canon, its YOU people that have ridiculously high expectations. Canon ahouldnt bend over backwards to try and meet your unrealistic ideas
Just buy the damn thing and be happy with the 30p you get!

This all hinges on weather Apple can shoot down RED's internal raw patent. Even Sony had to surrender on the F5, F55 and FS7 as they legally HAD to make an "external" Sony box to do their compressed raw format. I mean, Sony has already explored this RED patent from a legal perspective.
BlackMagic's "raw" is actually deBayered and compressed. So is it "really" raw? Seemingly not enough for RED to legally trap BlackMagic.??
Unless Nikon, Sony and Panasonic want to go the "deBayered raw" road and compress the sensor data and record it in-camera that way???
I dunno,...I'm sure camera companies just want to output plain raw and not worry about ANY law suits from RED as I have to think that RED will "try" to go after BlackMagic in court.
I'm sure Atomos' pitch to Panny, Nikon and Sony is;  "Don't risk compressed raw internally, it's not worth the legal danger,...just let Atomos do that for you and you will be perfectly safe"
I'm certain that Atomos is rooting AGAINST their buddies at Apple and hope they FAIL at shooting down RED's pattent. Atomos is RELYING on RED's patent to hold up in court.
CT

Have they fixed the severe blue light clipping problem that the S1 has in VLog? Once that blue channel is smashed, it's impossible to repair in post.
 
 

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Atomos becomes happy friends with Apple.
Apple gets ProResRAW to promote Final Cut.
Atomos provides the recorder that gets arround the "internal" raw recording pattent. Everybody is happy.
Camera's just need to give non-compressed raw output. No legal worries for any camera company as Atomos handles the rest. Everybody is still happy.
Apple suddenly turns arround and attacks RED's "internal" pattent to potentially kill Atomos' only reason for raw over HDMI's existence.
If Apple wins, ProResRAW or equivalent can be recorded INTERNALLY by any camera....effectively leaving poor Atomos' raw over HDMI dreams out in the cold. It literly wont be needed anymore if Apple wins.
Atomos to Apple - "Thanks for nothing good buddy"
Wow!
 

Alright guys....[sigh]....it's possible that I have found a chink in the S1's VLog armor: (a gaping hole maybe)
I noticed some extremely severe blue light clipping that goes on in VLog at any white balance and at any ISO. Something extremely nasty is going on with LED light tests. I have seen this in Sony SLog as well, but this is incredibly bad. I'm calling it "Blue Hole Sun"!
Can anybody identify what in the Hell is going here?...Andrew?...Anybody?
 

I ordered mine from B&H not long after Panasonic announced this. I got into a strong but polite debate with a B&H representative. I told him about the Panasonic deal, he disagreed with me and said I was wrong. after 20min it was politely escalated with a B&H manager. They literally were NOT aware that Panny was doing this for free. B&H was adamant that I MUST pay the full price. I was adamant that it was FREE. I linked them to several articles including their own B&H Q&A section of their web site.
They told me they must call me back. The next day, they did! The apologized for giving me a hard time. Due to my insistence and escalation, B&H contacted Panasonic and verified that I was telling the truth. They put me on the waiting list and then got my code last week. It seems that I was the customer that informed B&H that they needed to do this. Panasonic had not even informed them yet about the free deal.
I have to say that this was NOT B&H's fault, I dont think. They were caught completely off guard by my text chat and phone call to them.  It was Panasonic that should have communicated this free deal to their largest dealer in the US in a better way. 
 
CT  

I dont want to tease you,...BUT!  When your VLog comes in, forget everything you have seen in your S1 thus far. Just forget that stuff.  VLog makes it a completely brand new camera! You will understand what I mean when you get yours! 

I ordered mine from B&H not long after Panasonic announced this. I got into a strong but polite debate with a B&H representative. I told him about the Panasonic deal, he disagreed with me and said I was wrong. after 20min it was politely escalated with a B&H manager. They literally were NOT aware that Panny was doing this for free. B&H was adamant that I MUST pay the full price. I was adamant that it was FREE. I linked them to several articles including their own B&H Q&A section of their web site.
They told me they must call me back. The next day, they did! The apologized for giving me a hard time. Due to my insistence and escalation, B&H contacted Panasonic and verified that I was telling the truth. They put me on the waiting list and then got my code last week. It seems that I was the customer that informed B&H that they needed to do this. Panasonic had not even informed them yet about the free deal.
I have to say that this was NOT B&H's fault, I dont think. They were caught completely off guard by my text chat and phone call to them.  It was Panasonic that should have communicated this free deal to their largest dealer in the US in a better way. 
 
CT  

I'll shoot 30 seconds of FF VLog and Super35 VLog and upload the files straight from the card to my Google Drive this weekend.
There is, of course "some" difference is noise shape and pattern between FF and Super35. I did some lens cap noise tests between the two modes. The full frame mode has the advantage of 6k oversampling and the Super35 does not, it's of course a 1:1 4k readout. So, the ff scaled down noise is a finer grit. It's texture is very small. Whereas the Super35 is a larger, more common looking pattern but still truly excellent for a super35 camera. 
Panasonic amazingly gives us some noise reduction control! As you know, noise reduction is a DESTRUCTIVE process. Once it's applied to an image, it can never be removed in post. It's artifacts are burned in. I record entirely with noise reduction pulled back to "0".  I would MUCH rather surgically and more carefully remove noise in post than have any camera do it in real time for me. (for serious projects that I care about, not simple dumb stuff)
Again,...this S1 sensor is clean, clean clean. Even the tiny noise that it does produce is "pretty" looking.
I can't stress enough just how much it's dynamic range is in VLog.....wow!
CT

I was only told specifically about the S1 getting 4k raw over HDMI. I was not told anything about that S1H. You can be certain that it will have everything the S1 has plus even more. I can only assume it will go beyond 4k and do the full sensor width at about 6k. (it will at least do 4k raw in super35)
I think we will find out both at IBC next month.  

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF.
Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio.
This image sensor in VLog is blowing my mind.
CT

It's funny. Zillions of people are waiting and waiting for the A7S-III. Its like Charlie Brown in his field waiting for the Great Pumpkin!
The A7S-III is HERE and it's right under everybody'nose!
It has:
Full frame sensor (Very likely Sony Exmor)
6k full pixel readout to 4k scaling
14+ stops of dynamic range
10bit 4:2:2 4k with clean HDMI out
4k 30p 4:2:2 full frame no time limit internal recording.
4k 60p in "Hollywood" Cine super35 frame size.
Full size HDMI with 4k raw on the way.
Waveform scopes
Huge battery
Varicam color science....so delicious!!!
NO OVERHEATING!
Boom!.....that's 99% of what we wanted in the A7S-III....yet nobody is paying any attention to the S1 yet. (Only some people)  The S1 should be the industry talk of the town but too many people seem to be unaware of it still.
Sony is going to target the S1, not the S1H. I dont know if they can match the S1 using their tiny A7 bodies but lets see how far they go. 
S1H?....haha...Sony wont touch it! With 6k raw, Its going to be WAY over spec'd for Sony to even attempt to try. They dont have the bawls and XDCAM + Sony internal politics will never allow Alpha the chance.
 

I'll shoot 30 seconds of FF VLog and Super35 VLog and upload the files straight from the card to my Google Drive this weekend.
There is, of course "some" difference is noise shape and pattern between FF and Super35. I did some lens cap noise tests between the two modes. The full frame mode has the advantage of 6k oversampling and the Super35 does not, it's of course a 1:1 4k readout. So, the ff scaled down noise is a finer grit. It's texture is very small. Whereas the Super35 is a larger, more common looking pattern but still truly excellent for a super35 camera. 
Panasonic amazingly gives us some noise reduction control! As you know, noise reduction is a DESTRUCTIVE process. Once it's applied to an image, it can never be removed in post. It's artifacts are burned in. I record entirely with noise reduction pulled back to "0".  I would MUCH rather surgically and more carefully remove noise in post than have any camera do it in real time for me. (for serious projects that I care about, not simple dumb stuff)
Again,...this S1 sensor is clean, clean clean. Even the tiny noise that it does produce is "pretty" looking.
I can't stress enough just how much it's dynamic range is in VLog.....wow!
CT

I'll shoot 30 seconds of FF VLog and Super35 VLog and upload the files straight from the card to my Google Drive this weekend.
There is, of course "some" difference is noise shape and pattern between FF and Super35. I did some lens cap noise tests between the two modes. The full frame mode has the advantage of 6k oversampling and the Super35 does not, it's of course a 1:1 4k readout. So, the ff scaled down noise is a finer grit. It's texture is very small. Whereas the Super35 is a larger, more common looking pattern but still truly excellent for a super35 camera. 
Panasonic amazingly gives us some noise reduction control! As you know, noise reduction is a DESTRUCTIVE process. Once it's applied to an image, it can never be removed in post. It's artifacts are burned in. I record entirely with noise reduction pulled back to "0".  I would MUCH rather surgically and more carefully remove noise in post than have any camera do it in real time for me. (for serious projects that I care about, not simple dumb stuff)
Again,...this S1 sensor is clean, clean clean. Even the tiny noise that it does produce is "pretty" looking.
I can't stress enough just how much it's dynamic range is in VLog.....wow!
CT

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF.
Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio.
This image sensor in VLog is blowing my mind.
CT

U
Yes, this is how it works. Atomos goes through the pain of getting pattent liscensing with RED so that "they" become the sole ProRes recorder with with compressed raw.  Any camera company only needs to create a standed raw  (not compressed) output using Atomos HDMI bus spec. (I was told that Atomos also utilizes the Gigabit Ethernet channel specification built into HDMI pinouts to use as a data buss for raw)
Anyway...Atomos did the patent work so I dont see Panny or Sigma or Nikon wanting to ever get involved in their own internal compressed raw...because Atomos took on that task for everybody.
BTW....Atomos told me that ProResRAW is NOT 100% owned by Apple. It is joint-owned by Apple and Atomos! That supprised me!
So,...Atomos ALSO has a say on how ProResRAW is liscensed in future hardware and software!
If Nikon, Sigma and Panny wants INTERNAL ProResRAW, they will need to go to Apple and Atomos together to get approved. (DJI did it)

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF.
Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio.
This image sensor in VLog is blowing my mind.
CT

I saw demo footage shot with the Z6 raw out to the Atomos V in ProResRAW. That was on display at NAB.
I also know that the S1 will also have raw over HDMI this year too. This was a high up Panny decision that went against some lower managers in Varicam and EVA1 that did not agree with the idea. 
 Unfortunately, Nikon dragged their feet too long. They had a chance to beat everybody by 6 + months on raw over HDMI. They had a window to be the first any only camera doing it.
Its looking like Panasonic will have theirs ready right when Nikon is ready. Sorry Nikon...missed opportunity. The big question is Sony. What will they do to answer Nikon, Panny and Sigma in the raw world?
Jeremy Young jokingly said at CES;
"If you want Canon to do something, get Nikon to do it first. If you want Sony to do something, get Panasonic to do it first"

HA!,...its funny that you say that as I'm holding my S1 with the MC21 adapter and the Sigma 18-35 f1.8 right now as I type this. It REALLY looks great. I can tell you also that ramping iris open and close is pretty smooth too. AF in video is very accurate with "AF-ON" one push AF.
Don't worry about Super35 mode. It looks just as beautiful as FF in terms of VLog, dynamic range and signal to noise ratio.
This image sensor in VLog is blowing my mind.
CT