majoraxis

I have an USRA Mini Pro that I would love to have Sage's GEN 4 Alexa LUT for. Instant buy. Thanks!

I’m still on a 1080pm 55” Samsung TV in my living room and from 10 feet away it looks good with HD content. There are multiple reasons that would trigger an upgrade to 4K (or even 8k if the prices were the same). 1. If my current TV stops working. 2. If the kids get a 4K gaming consul for Christmas in the future. 3. If I can have access to technology like OLED (or future panel tech) or advance upscaling algorithm that makes a significant difference and the prices are dirt cheap and I can’t resist. That said I am on a 5k IMac and would not purchase less than a 5k IMac in the future. So I could see 8k as a PC monitor for editing, but not exclusively for gaming or watching TV until it basically comes as a feature for about the same price as 4K. I also think that upscaling 4K content to 8k for 8k display with the right algorithm could be a selling point for an 8k TV. Sony was pitching the upscale angle when they first introduced their 4K TV’s and there was not much access to 4K content and it did look like more resolution than straight 1080p. Seems to me the cheapest best quality path is shoot 6k, deliver 4K and upscale to 8k for display (when prices are cheap enough). Ultimately, I am fine with perfect 1080p content on my 55” 1080p TV watching from 10 ft away. Even though I shoot 4k or 4.6k, I don’t even have a 4K TV and I don’t see the value in upgrading. Now if there was a 6k, 7k, 8k IMac I would upgrade (if it were under $4,000.) Currently, I do not see the value proposition of an 8k PC monitoring Infrastructure versus 4K or 5k...

Is each sensor a clean slate or would doing a version for the Pocket 6k be closer than the other versions as the Pocket 4K is now finished?

@Sage Incredible job! I actually like the Pocket 4K version better, though they are very, very, very, close. Congratulations - this is quite an accomplishment!

The off the shelf version is not parfocal - the information is the link says it is after the cine-mod. I have not used it myself so I don't know from experience. I also don't know if adding the speed booster changes the parfocal performance, though I don't image it would, unless it change the back focus distance.

There is a lot to be said about a fast, par-focal, constant aperture zoom lens with a long zoom range. There are some rehoused par-focal versions the sigma 18-35 by Cinematics and GL Optics, which could be an interesting option with a speed booster to act as a prime-zoom lens so to speak. http://www.pchood.com/index.php?route=product/product&product_id=376

That does look good - kind of like a cross between Sony sensor but with Blackmagic CNG style recording format - wait, that's what it is right? JK ; ) Anyways, that's a very nice image for the money.

12 bit log is RAW enough for me. I thought I needed CNG RAW so I got the USRA mini pro v1 and it turned out I did a session with both CNG and BRAW the difference did not make a difference for the project. Really, this decision is a win for Blackmagic who is already marginalizing RED. That said: RED thanks for the cinema camera revolution! Those were good days when RED was the good guy, on the side of the little guy and I went to bed at night dreaming of 3k for $3k. I miss rooting for RED. Now I’m rooting for Blackmagic. I feel like my future success depends on Blackmagic’s future success, which is just silly, but that’s how my mind sees it. I like believing that there are companies who gets what I need and are trying to deliver it. At this point, as far as I can tell, Blackmagic is the company who Is trying to best meet my needs as a wannabe filmmaker. There I said it: Blackmagic is for all us upstart-no budget-wannabe-filmmakers and I am very thankful!

By downscale I mean that the GH5 takes the full sensor resolution and sub samples it to get 1080p in camera, which saves a step as apposed to shooting 4K and then sub sampling it to 1080p in Resolve.

I do the same work flow with my GH5. I shoot 1080p and it down scale it in the camera and it looks great and saves storage space in the process.

I miss Ed David already...

@currensheldon Great info! Thanks for letting us know the disqualifying disposition due to the time code capabilities on on the pockets regarding making the Netflix Originals approved camera list.

Of note, the usra mini pro G2 is on the Netflix list as well, so BRAW is raw enough for Netflix. Maybe we will see the pocket 6k on the list someday - unless the its dynamic range is not enough - I’m saying it not, but I can’t think of anything else that is holding it back now that BRAW is acceptable.

I admit it. I am still mad that RED never delivered 3k for $3k. I hope that the truth comes out and that RED is either vindicated, if they have done nothing wrong, or pays the price for their actions if they have done something wrong. Either way, I hope Jim recovers from his health issues.

I am still really loving the sound or lack there of, of this Eq. If you don’t own already it, and want a great (not just for mastering) eq, grab it while it is still free here: https://harrisonconsoles.com/site/free-plugin.html Still free as of 10/22/2019 @8:40 am pst...

Hi Audio Guys, This is a great sounding eq. It works like a graphic equalizer where you make a shape with the sliders, except you draw the shape with your mouse. I don't know how long it will be for free so get it while you can. It is regularly $89. Here's the link: https://harrisonconsoles.com/site/free-plugin.html This one is kind of special because graphic eqs and mastering don't normally go together, so they have done some good coding to minimize phase issues and band interaction. You may notice it does not sound tizzy or harsh and the bass is punchy even when cutting, so this may be your new favorite, eq especially for free. Also, it has a useful display mode called lighting, which can visualize the frequency response in an easy to follow way. Enjoy!

The Grass Valley LDX 86 B4 2/3" camera can do15-stops for live broadcast with its HDR (software) option. Here's a link to a US 4K HDR broadcast. Maybe Europe is doing it as well. https://www.theverge.com/2019/9/26/20884246/nfl-4k-hdr-broadcast-first-ever-fox-sports-thursday-night-football-streaming So the new B4 cameras and HDR broadcast standards are making higher dynamic range live broadcast possible and that may explain the difference (improvement) noted above.

Looking forward to some comparisons between other full frame RAW cinema camera and the FP. Hopefully the dynamic range will be 13.5 stops or greater. The price is right for sure.

@Otago Thanks for posting this!

BH Photo has 2 used in stock as of a minute ago - 15% and 18% off.

He says it will be 700 euros... less interesting at the higher price, but it does look to flare a bit...

I remember when doing 6k to 4k down sampling in camera was said to be too power consuming and too heat producing and then NX1 did it and now everybody does it. Same with any new technology - at first it's impossible, then it's near impossible and super expensive, then it's expensive be readily available, then it shows up in consumer product as the next big thing and costs just slightly more that the previous next big thing. This will happen at the high end first then give it 2-3 years after that and it will be available for and affordable price and be seen as cost saving tool because of the amount of time you save in production and post because of the extra margin for error on set - less redos and less corrections etc.

Looking forward to seeing how the this sensor, AF, gyro stabilization and color science trickles down into their future more consumer based offerings. That said, looks like this will become some type of industry standard based on it looking great right out of the camera.

I checked BH Photo and it is still $2499, maybe we will see a price drop tomorrow - first day of IBC. Seems like a good move for Blackmagic to make though I don't think they needed to lower the pock to $1036 to sell it, but still great news for those how were considering purchasing either one.

If it is sharp at f1.8, and produces nice flares it could be of interest and value to many including myself. Looks like I would get the E mount version and then adapt it to M4/3 as needed. 1.33x is pretty lack luster for an anamorphic, but as character lens this may worth price.