Cliff Totten

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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)

Andrew,....IBC 2019 is next month. I'm certain that it's going to be a HUGE show this year for you guys on that side of the world. I think everybody is going to drop their bomb shell all at once there.
A7S-III? IBC and NAB have always been the place for this model line.
Lumix S1H - full launch with 6k raw over HDMI?
Nikon Z6 - raw over HDMI firmware rollout. (Atomos has CLEARLY said they the are ready for HDMI raw protocol for ProResRAW recording,...they are saying that it's Nikon's developers that they are waiting on.)
Sigma - Cine camera full launch with 4k or 6k raw announcement.
Atomos Ninja V- Announcement of S1 and 4k raw (super35 frame) support for the Lumix S1 and Nikon Z6.
Atomos Shogun 7 - Announcement of full frame 6k raw support for the S1H and maybe Sigma.
CT
 

I agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

S1 super35 looks gorgeous in VLog.
It's a 1:1 4k readout and deBayer so you don't get the 6k oversample but the dynamic range is off the charts and the low light noise is still superb. I feel the S1 Super35 mode STILL matches or beats other Super35 cameras. (EVA-1 and FS7, Canon C series and Ursa)
The S1 sensor is a really.....really,...I mean, REALLY damn good sensor. (This wasn't fully known until they gave us VLog last week....now it's true DR is unlocked and on display for all to see)

I know two people that are in the sensor industry. One of them has purchased sensors from Sony for his company. He is under NDA but he has told me that this is how Sony sensor liscensing works. Its not "buy a sensor and get everything" deal. You buy the sensor and license what features you want. If you pay for and licence 8bit 30p and you turn around enable 10bit 60p....you get sued! Your license is specific and affects the price you pay.
On the IMX410....we dont know if its that sensor! Why?....because that sensor has dual pixel phase detect architecture! That sensor requires pixel masking...that Panasonic says they HATE doing and wont do on a Panny camera. (Part of their excuse as to why the "prefer" contrast detect AF...even though every moden camera makes the dead pixels on every sensor today)
Maybe it is a IMX410 variant with the dual photosite grid removed in the die. We will never know untill Tech Insights x-rays it.
The HILARIOUS thing is that every year at NAB, the Panasonic booth continues to say that the GH5 and GH5-S are "Our sensors that are made by Panasonic"....yeah right! Nikon says this too!
Why do camera companies HATE admitting they are buying common Sony sensors for their cameras? Is it really THAT embarassing?

I agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

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.
 

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 agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

I agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

I agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

I dont see how Sony could make another A7S 8bit camera. Sony is pushing HLG as the future but BBC and NHK specifically call for all HLG to be 10bit in their spec. Sony is the only HLG out there still stuck in 8bit. Panny actually FORCES you to shoot HLG in 10bit.
If Sony stays stubburn on 8bit only, Panasonic will throw a company wide celebration in all Panny offices!
Sony Alpha "might" make XDCAM managers happy and only allow 10bit over HDMI and not internal. (This could also help Sony fight A7S-III heat too if they insist again on using the A7 small body design.)

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

I dont see how Sony could make another A7S 8bit camera. Sony is pushing HLG as the future but BBC and NHK specifically call for all HLG to be 10bit in their spec. Sony is the only HLG out there still stuck in 8bit. Panny actually FORCES you to shoot HLG in 10bit.
If Sony stays stubburn on 8bit only, Panasonic will throw a company wide celebration in all Panny offices!
Sony Alpha "might" make XDCAM managers happy and only allow 10bit over HDMI and not internal. (This could also help Sony fight A7S-III heat too if they insist again on using the A7 small body design.)

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

With HDR and HLG becoming more and more common, I'm certain that 10bit will keep moving down the consumer ladder. In order to do HLG "properly" as its white papers say, it needs to be 10bit. Currently, only Sony does HLG in 8bit. The market forces are changing and 10bit will be the new standard for most Alphas and XDCAMs in the future. Im sure the A7S-III will be 10bit. Otherwise, it's going to be dead on arrival.

With HDR and HLG becoming more and more common, I'm certain that 10bit will keep moving down the consumer ladder. In order to do HLG "properly" as its white papers say, it needs to be 10bit. Currently, only Sony does HLG in 8bit. The market forces are changing and 10bit will be the new standard for most Alphas and XDCAMs in the future. Im sure the A7S-III will be 10bit. Otherwise, it's going to be dead on arrival.

Ehhh...maybe. However, I think the industry is demanding full frame right now. Micro 4/3 is fine but a huge number of people are looking at large sensor. Even the Sony Venice broke from the Hollywood standard of super35 and went full frame. Plus, this JVC will need to compete with the Nikon Z6, Lumix S1, S1H and future Sony A7S-III. Its going to be hard to steal those people away with a super35 sensor.

Sony has it's superb IMX410 full frame sensor on the market. Its used in the A7III and Nikon Z6. (And possibly Lumix S1 but not verified yet)
If JVC can get Sony to sell it to them, they would immediately have a fully competitive cine camera on that chip alone. If they put it into an LS300 body with ND and 10bit color? If they worked with Atomos on HDMI raw? If they priced it at $4,000?
Huge winner fir JVC!! They would undercut Sony, Canon and Panny easily.
CT.

One of THE most important questions is;  Who's sensor is going in this thing. Everything starts with a great image sensor. If JVC can buy Sony sensors, right off the bat they will have a camera that wipes out BlackMagic's super35 cameras.