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Yes, indeed, there was a Sanity X. And here it is: https://drive.google.com/drive/folders/1Ia_XapId-Ag-8tH-2L8jLoWnIcuS4XNb?usp=sharing The only difference between Sanity X and Sanity 5.1 pertains to the 24P 1080 settings. In Sanity X the high setting has a bitrate of 100M and the low setting is 38M (which is the same bitrate as the high setting of Sanity 5.1). So, you actually have Sanity 5.1 available inside of Sanity X. All the other frame sizes and frame rates (including interlace) are the same as Sanity 5.1. The only real change is the addition of the 100M bitrate for 24P 1080. Is it worth it? I'll let you be the judge!

Hi, I'm the author of the "Sanity" patch for the GH2. I just uploaded the last version to my Google drive, if anybody is interested in using it. https://drive.google.com/drive/folders/157bZ_DRA0FzA-7QUWG3lXwQmfoTEtXQl?usp=sharing Here's a little background on why I developed it. When Vitaliy unlocked the GH2, there was a gold rush to create patches with very high bitrates. While the image quality looked great, those patches were terribly inefficient. I took it upon myself to create a patch that had the same top image quality, but at more "sane" bitrates. I can say with confidence that I succeeded, because I pixel peeped and compared the image frame by frame to the uncompressed output from the HDMI port. This way I had an absolute reference to shoot for. That was a long time ago, and I have long since sold my GH2. If anybody actually uses "Sanity", I would love to hear about it, just for old time sake!

I'd be interested in testing it. I currently have a Nubia Z60U which is capable of capturing 4k 60P RAW without any dropped frames using Motioncam. So, yes, this phone is a power horse!

Exactly.

I had a feeling the case was going to be dismissed. Here's why - Nikon was approaching the case with evidence that Red should never have been granted the patent in the first place. None of the other companies Red sued took this approach. My guess is that Red realized there was a good chance they could lose the case. Rather than risk having their patent taken away, they walked away instead.

This is a superb article! Very, very useful. Would it be possible for you to upload the camera original clips somewhere? I would love to play with them in Davinci.

It's true the internal layers are for stills only, but I'm not sure that is the whole story. If you examine the rear of the 4K unit, you'll see video inputs for Layer IN and Layer Matte IN. There's also H Matte IN, which I assume means Holdout Matte. So, there seems to be a lot of potential here.

If there's a way to get the focus info of the physical camera into Unreal (in real time) so that it can be applied to the virtual camera, the answer is probably, yes. The question I have, is how do you get the foreground object AND it's matte out of Unreal as two separate video signals so they can go into the Ultimatte?

Blackmagic has released not one, but four Ultimatte hardware keyers! https://www.blackmagicdesign.com/products/ultimatte And from the sound of the blurbs, the technology is truly state of the art. It will be interesting to see whether they're really as good as they claim. I hope they are.

The footage looks bloody fantastic! Thanks so much for posting! The only thing that bothers me is it appears to be excessively sharpened. Is there a way to turn down the sharpening in-camera (uh, phone)? Also, I would love to see some 4K 60P footage.

Would it be possible for you to upload some of the original 6K 50P raw clips? I would love to be able to try them out in Davinci on PC.

Thanks! Have you shot any raw 8K 50/60P? I would like to know how it handles in post.

QUESTION: When the camera is in standby, is there power to the lens? Can you adjust the aperture in standby? Does the lens only go dead when you hit record?

How do you know this? Source, please.

Some observations: The clip is obviously dropping frames. No doubt the SD card the person popped into the camera wasn't fast enough to keep up. The clip was shot with a frame rate of 25P. I figured this out by interpreting the clip at different frame rates and at 25 the sound syncs perfectly with the picture. You can hear the clicks on the camera when the operator was changing the exposure. Each click should sync with a change in brightness of the picture. And this happens when the clip is playing back at 25P. All in all a good showing.