majoraxis

Another quick and dirty demo just so you know that I'm not sat on my arse not getting on with it.
This is brought to you via the medium of a family pack of Golden Wonder crisps and a microwave to illustrate fast snap between points and also continuous refocus as the king of low cost potato snacks approaches and retreats.
It is using an Olympus 17mm f1.8 lens wide open.
There is no ramping set but as with the 3C app this will be an adjustable parameter.
NB. I was not preparing to put the Leica and those pickles in the microwave.

TOF_31_7.m4v

Hello EOSHD community! I must admit that although I follow your website on a daily basis, Andrew, I haven't really commented or posted much on these forums. Regardless, a big thank you for all the honest, passionate, critical, informative and damned funny content you've shared over the years! In any case, here is my offering, for what it's worth. This was a great little project to focus the mind and soul!

Hi, here is a music video that i was DP, shot with GHAlex.
it´s on the band's youtube only, so compression sucks. but i can upload some frames
https://www.youtube.com/watch?v=R4hmsEW6PKQ&fbclid=IwAR3cYGmVBw47xgaaULwJKtSEQ9n8E9vpatP_55kWdZnOG371OHM_9_V_5zg
 
 

Is all hack not permitted? Or just Magic Lantern? 
Just saw some very cheap cameras at local stores. And what a fun challenge it is!

Here goes nothin'........
Camera #2

Not necessarily....
That's camera #1.  I'm still yet to shoot with camera #2.  Stay tuned.

First in, last out?
( :
 
My entry:
 

Well, I haven't posted on EOSHD for ages, but when I saw this competition I thought that sounds fun. I dropped by on Bexhill-on-Sea on the South Coast yesterday on my way to somewhere else, and shot this footage over an hour or two.  No grading, straight out of camera. Manual settings (although fairly limited choice that's all I'll say). Edited on my laptop this evening. I bought the used camera on ebay for £133. I'm not sure if this is the sort of thing you're looking for Andrew.  As long as I don't come last.
 
 
 

The game is rapidly changing. I am kind of hesitant to buy anything right now.

 

@ currensheldon - thanks for the info - I really appreciate the insights!
It seems like the less expensive FF Raw cameras will be using the same Sony sensor, so each one will have its key features and priced to sell accordingly, probably all higher than the FP.
So regardless of if the FP has all the features one would want. there will be another one around the corner to fill the demand. Its hard to image the RAW output from the same sensor in a different box will be dramatically differently, but may the best color science, feature set and pricing win!

They are talking about a release in the Autumn so its not that far off but, yeah, I reckon if we all roll our sleeves up we can get to 50 pages before we even find out the price  

Hi Mattias,
Just a few discoveries (that might or might not have a bearing on folks' evaluations) based on my watching your test on both a non-retina 27" iMac and an iPhone 8-Plus. The color rendition on the older iMac yielded a less color-saturated viewing experience than the iPhone's True Tone retina screen. Also, using Safari on the iPhone defaults to 360P and needs to be overridden in the playback settings to the max-available 720P for that combo, interestingly viewing on the the iMac via Firefox allows for 1080P resolution.
Thanks for taking the time to put together this exercise, I've been having some fun since last night giving each camera sequence a going-over as a personal observation-test and learning experience. I much appreciate your patience in not revealing the answers quite yet as I'd be a bit miffed at missing out on the chance to thoroughly embarrass myself here on the forum with my forthcoming take on the matters...
First off, can I say upfront that none of the clips wowed me IQ-wise on the lakeside sequences?! I'll get to that shortly...
Two things that stood out to me immediately (and could have been separate tests in their own right) were, 1. for the dog sequence, "why one should never shoot their pet at point blank distance with a wide-open fast lens indoors for the sake of exposure" and, 2. for the shoreline sequence, "can anyone determine the actual colors of that canoe?" Ha! For aesthetic points only, 1. in that most of the dog's face is in focus due to a proper depth-of-field/aperture choice appropriate for the subject matter, goes to B, C, D, J and K...(L is actually focused on your pet's nose! LOL) and, 2. having not seen the original footage myself it's hard to determine whether youtube's compression is adversely affecting (read: compounding) the original compression for each sequence.
Phew, having gotten all that out of the way, my IQ assessments (based on your "go by feel" criteria)...
For the Dog sequence I found I was favoring the warmer renditions that showed overall deeper face focus with K being tops followed by C or G. (FWIW, A is lacking vital detail to my eyes, B would have been a contender except for the cold rendition, C would have been a finalist except for the DOF selection, D is showing too much in-camera sharpening, E might have won if the lens DOF was more subject appropriate and its color flatness seems workable for post, F had color overkill for my tastes and the DOF too shallow, H failed on colors being too rich for my tastes, I's DOF way too shallow for pet photography/videography, oofah, J has overdone detail and way too cold for these eyes, L has some nice detail, too bad about the nose focusing and shallow DOF.)
For the lakeside sequence, none of the above...really. Just looking at the wooden planks atop the floating/bobbing dive platform reveal obvious codec breakdown across the different sequences (some handling it much worse than others...>cough< A, B, E, G, H, J) while viewing at 1080P, something that my eyes just couldn't ignore so I wasn't "feeling" any of them. Color-wise the three major fails to me were B, H and J for trying too hard to look like film emulsions. F is a blurry mess. B, D, F and I all lacking vital detail, conversely G and J being too crunchy with detail. C, D, F, G, H, and J all being too contrasty for my tastes or uses. And frankly (as mentioned) the colors on the canoe are all over the map and I dare anyone (with the exception of the OP) to know what its true colors to be! Ha! That I'd have to choose, then E for detail and shadow retention (giving me the impression that I might be able to do something with it), followed by L for seeming detail retention, and I for its codec (wood dock test) seemingly surviving YT compression.
Anyhoo, them's my votes! :)

Resolve 16 beta is fantastic - they are on the 5th 16 beta update.  So far the Resolve Studio updates have been free with no update fees - which is unheard of for the amount of time this product has been out.  Getting this type of power included with the camera is a huge benefit because they are designed to complement each other.  I think of the Blackmagic cameras and Resolve as part of an eco-system where the sum is greater than the parts.
In the camera comparison above the I think that glass, gaffing, and grading will make a bigger difference regarding which camera appears to have the better image than the actual camera it self - except for green screen work where all things being relatively equal, the better, sharper, higher resolution codec will make a significant difference.
Blackmagic will eventual release a relatively affordable 8k camera, so investing in the Blackmagic eco-system is a pretty good business decision for the long run.

Resolve 16 beta is fantastic - they are on the 5th 16 beta update.  So far the Resolve Studio updates have been free with no update fees - which is unheard of for the amount of time this product has been out.  Getting this type of power included with the camera is a huge benefit because they are designed to complement each other.  I think of the Blackmagic cameras and Resolve as part of an eco-system where the sum is greater than the parts.
In the camera comparison above the I think that glass, gaffing, and grading will make a bigger difference regarding which camera appears to have the better image than the actual camera it self - except for green screen work where all things being relatively equal, the better, sharper, higher resolution codec will make a significant difference.
Blackmagic will eventual release a relatively affordable 8k camera, so investing in the Blackmagic eco-system is a pretty good business decision for the long run.

Hi Andrew,
6.1 is the last version that has Cinema DNG.
6.2 adds BRAW and Removes Cinema DNG for the Pocket 4k, it can still be rolled back as it is only compatible with the Old LCD version.
6.2.1 is for compatibility with the new LCD and can not be rolled back if you have the new LCD.  In this thread someone said that they could roll back from 6.2.1 to 6.1
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=90870
so I they must have the Old LCD. The 6.2.1 firmware identifies if you have the Old or New LCD and allows or disallows rollback based on the hardware identification.
It makes sense to keep a copy if the installers for 6.1 and 6.2 so you can upgrade and rollback depending on the functionality you desire.
 

Hey guys, just back from a trip -
Thanks RCV! Yes - but it'll be an approximation for ~4000k fluorescents/leds. For daylight, you'll want to use an accurate WB (from a white card), with the Daylight variation
Fantastic video; exposure and WB were on point
Yes, though Vegas is a complete black box for me. Perhaps one day I'll give it a try. The same principles and order of operations for Resolve/Premiere apply to Vegas (granted the particulars of the NLE)
With NDs, its quite important to WB accurately. They very often give a green cast (also the case with the reference Firecrests)
Working towards it; P4K is next, then S thereafter
I would like to do an S1 variation, but it'll be a while yet. In either scenario, the exposure target of 45 middle gray will remain the same. With the current variation, one would lower the highlights in the NLE in advance of the conversion (rather than expose darkly in camera)
It was learn as I went; I had no idea how to code in C++ when I started. It was a daunting task, but I did used to code in ti-basic a long time ago. The challenge was about learning the particulars of C++, getting back into that mode, getting my head around the idea of 3d color manipulations, and coding with modern full computer potential. On the calculator, efficiency was everything.

Hi Andrew,
6.1 is the last version that has Cinema DNG.
6.2 adds BRAW and Removes Cinema DNG for the Pocket 4k, it can still be rolled back as it is only compatible with the Old LCD version.
6.2.1 is for compatibility with the new LCD and can not be rolled back if you have the new LCD.  In this thread someone said that they could roll back from 6.2.1 to 6.1
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=90870
so I they must have the Old LCD. The 6.2.1 firmware identifies if you have the Old or New LCD and allows or disallows rollback based on the hardware identification.
It makes sense to keep a copy if the installers for 6.1 and 6.2 so you can upgrade and rollback depending on the functionality you desire.
 

Hi Andrew,
6.1 is the last version that has Cinema DNG.
6.2 adds BRAW and Removes Cinema DNG for the Pocket 4k, it can still be rolled back as it is only compatible with the Old LCD version.
6.2.1 is for compatibility with the new LCD and can not be rolled back if you have the new LCD.  In this thread someone said that they could roll back from 6.2.1 to 6.1
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=90870
so I they must have the Old LCD. The 6.2.1 firmware identifies if you have the Old or New LCD and allows or disallows rollback based on the hardware identification.
It makes sense to keep a copy if the installers for 6.1 and 6.2 so you can upgrade and rollback depending on the functionality you desire.
 

There is no way in hell that camera has 10.7 stops of DR @ 25,600 ISO. If it had 8 it would be amazing.

There was no change in "highlights" to our log curves or otherwise. The previous manual dynamic range chart was incorrect, and was corrected.
There is also no inherent "highlight rolloff" in digital cameras from the sensor. They are all (mostly) linear capture devices. Same with Alexa, Red, etc. When they all clip in linear, they all clip suddenly/harshly. All of them.
 "Highlight rolloff" is really about total dynamic range, how you expose, and curves (which you can manipulate yourself).
Our log curves are optimized to store data in 10bit SDI and video files so the highlight roll off in our existing log curves is merely a function of optimising the dynamic range to fit in this data range with relation to the "native sensitivity" and desired ISO. The more dynamic range the sensor has the more highlights will roll off in the log curves, the same with Alexa/Red/etc. You want to use your own curves after in grading to create the roll off you want. Expose the sensor so middle grey is lower and leave more dynamic range in the highlights, and you can create a very nice gradual highlight rolloff in grading - with mostly any modern digital camera.
But it's pretty much all down to total dynamic range, exposure, and curves.

From the Laforet Youtube video description: “What’s impressive about this package is the micro four thirds sensor. This sensor has an incredible roll off of highlights that I seldom see which really opens up your ability to capture an incredible dynamic range, from the deep shadows to extremely high highlights all the way to the sunlight”.
I wonder which Blackmagic Camera version update this was shot with to allow the sensor to display its "incredible roll off of highlights".  Were they shooting 6.1 with Cinema DNG? Were they shooting 6.3 or 6.4 and Blackmagic has silently rolled in better highlight response or was it there the whole time and the newest Resolve 16.4 beta or some future release beta unlocks the sensor "incredible roll off of highlight"potential with the way it process BRAW.
At 4:54 in this video, it illustrates and describes the highlight issue.
If Blackmagic has some how improved the highlight rolloff characteristics with pocket 4k generated video files,  it would be great to know what combination of Pocket 4k hardware version, Blackmagic Camera version update , recording format and recording format post processing to unleash this potential.
If nothing has changed on Blackmagic's side, maybe Laforet could share his recording technique to achieve incredible highlight rolloff with the Pocket 4k because this guy does beautiful work, so I am hoping he knows something I don't know and will be willing to share his knowledge with the community, or that he will tell Blackmagic and they can share it with the community.
Hopefully someone will clarify how this was made a reality.

It's kind of funny that to really make the Pocket 4K work well, it usually ends up looking like the Ursa. 

Interesting post on RedUser today:
http://www.reduser.net/forum/showthread.php?176501-New-article-The-Cameras-Behind-Netflix-Best-Series-Spoiler-RED-Dominates&p=1856294&viewfull=1#post1856294
This seems like a more sensical and honest marketing tactic than Red had for the Red One. The David Finchers of the world are exactly who want to use this camera system, and its ergonomics and ecosystem demand the same resources (if not more) than you'd want for an Amira shoot, so it's hardly entry-level.
(The David Finchers of the world are sort of the opposite of the Werner Herzogs.... this metaphor makes sense to me but probably not to anyone else.)
This is a major departure from Red's original (questionable) pitch for an "affordable" cinema camera for everyone. Red's new high end systems are about as expensive as Arri's. The Raven, meanwhile, seems to have disappeared and the 3k for $3k camera never materialized, and probably never should have. What was the market for that? I'm curious to see if the Foxconn thing ever materializes and in what form. It seems the high end is where the money is still. Despite everything. Also, Red is privately owned by a billionaire so it could still be unprofitable for all we know.
Another issue with the sub-$10k camera market is that you have a lower level of production that's using it, and so footage shot with those cameras doesn't look as good as it could for that reason (the original Red suffered from this, too). And how big is this market in the first place and how high are the margins?
I'm curious how profitable Canon's, Sony's, and Panasonic's cinema divisions are. Ditto Black Magic. They've cornered a market segment between dSLRs and Alexas that Red seems to be in a rush to abdicate, and there is likely a reason for that. (Selfishly, I hope these cameras stay around because I like them.)
Someone posted a teaser months back showing an EVA1-style body that was hinted at during NAB, so this probably has that form factor... more or less... 
I love the EVA1 and Varicam's color and noise texture–my second favorite image to the Alexa, bar none. Curious if this is positioned above the EVA1 (which is already processing 6k fwiw) or below it and if it maintains that "look" I like, sort of a C300 Mk 1 look with really rich colors.
Edit: bar film, I guess. 

cDNG is better. Period. And such comparison above-posted proves it once again.
P4K brings higher resolution possible to find on doll's hair as for instance, but loses compared with BMCC as far as color concerns; .braw shows less detail.
Just checked on a screen 80" wide along a calibrated 4K projector from a 1080p copy. Fairly visible.
 
Last but not least and overall, BMPCC outcome is the worst sample shown there IMO.

very impressive RS numbers on the G2 thanks to about double readout speed :
4.6k - 7.59ms
4k crop - 6.32ms
2k crop - 3.16ms