mercer

I wonder if the internal 8 bit raw can be used as a proxy recording while simultaneously shooting out to an SSD... that way, the raw panel in Resolve could be used in the edit/color before dealing with the massive 12 bit file sizes.

Yeah I have no problem with IBIS. My dream camera is internal raw with ibis and my comment wasn’t a knock on Canon alone because all IBIS has an old watch mechanical construction. As with most tech, eventually digital stabilization will exceed mechanical IBIS without a doubt. But I am glad to see Canon finally having IBIS in their cameras. Their IS lenses are already as good as lower priced IBIS cameras, so I can only imagine how good their IBIS will be.

Yes 8 bit 4K internal may prove to be better than the MOV. But either way, the MOV is a spec already in cheaper cameras and I doubt most people will buy this camera for MOV... but good point and options are always a good thing. I work in the trade show industry and every morning before the show, the reps and marketing team have a meeting in their booth to discuss strategy. They are fully aware of the questions they will receive throughout the day, so if they said “under $3000” you can be damn sure it will be closer to $3000 than $1000. But maybe they are using the attendees as some sort of focus group and they’ll gauge interest by the ballpark figure... hopefully.

I honestly don’t know what to say about it. In the end, I think the FP will live or die based on its price... $3000 is just too much for a 1080p Raw camera... even if it can do 4K external. With that being said... internal 12 bit 1080p Raw, up to 60p, to SD cards... is pretty perfect for 75% of my use. And then I can grow into the external 4K Raw as new projects and my post hardware grows. Is the 1080p Raw cropped or is it FF? If it is FF and it’s $1999 or less... I will preorder and be a test dummy. I’d also order the 45mm 2.8 lens... did you get a chance to see that at the show? I love the manual aperture ring and f/2.8 is plenty fast enough for FF. @Andrew Reid SmallRig has an elegant solution for SSDs... Attach a small nato rail to the strap lug and the camera will still be relatively small with a proper handle... it would be great if the handle had a record trigger too, maybe BTM can think of something? Once SmallRig makes a cage for it, perhaps they’ll implement a handle into the design to keep the unit as small as possible. Their RX100 cage is a great design, so hopefully they go that route instead of forcing this into a huge rig. Btw, how was the screen?

It’s funny you say that, when I glanced at the patent photos, of their IBIS tech, I thought I was looking at schematics for an old watch. With that being said, I’d love to have Canon IS level stabilization on all of my lenses.

So wait, they’re not Chinese? The plot thickens.

You get what you pay for, luckily there are some great inexpensive options. I swear by Bower Variable ND filters. They’re very neutral and only affect sharpness a little bit. They have hard stops and they cost $30 or less. I also like B+W Vario ND. It also has hard stops, is very neutral, and has a great dust repellent coating on it. The one issue is that it only gives 6 stops of ND but that also forces me to stop down the lens a couple stops which usually results in sharper images and deeper colors. I recommend owning a good cheap one and a good higher priced one. I shoot a lot at the beach and I often use the Bower vnd because I know saltwater and sand could end up damaging the filter... that’s much better on a $30 vnd than a $150 one.

No point, really. Just curious. I use a little slow motion, mostly on close ups, so although 4K 60p is cool and definitely helpful, it’s not a dealbreaker for me. But as I’ve said a thousand times... everybody has different needs. On a different note, I recommend the Micro. It’s an awesome little camera and you seem to be a pretty good colorist, so you can probably make it sing. I’m hoping the FP comes in at a reasonable price but I think it will be too rich for my blood... for what it is. Once these cameras reach a certain price point, I often feel I’d be better off saving up for something in the mid-tier, specifically designed for cinema.

Just curious... do you use a lot of slow motion in your films?

Do you shoot narratives?

From their website, they have some kind of cinema profile. But with Raw, you don’t really need a log profile since it’s most likely uncompressed linear Raw. You can put it in a log space in post. Also the 8 bit is only for internal recording... 10 and 12 bit Raw records external to a SSD.

Unfortunately, they’re a crap shoot. The first 28mm 1.8 I had was in beautiful, new condition and the focus ring felt horrible. I eventually sold it and the next one I bought, was a little beat up but the focus ring was smooth as silk. That’s one of my favorite lenses of all time. The 50mm 1.4 I had was pretty good.

They’re nuts if they think will sell a lot of those at that price. I’m only half kidding about the Komodo at those prices.

Yikes... maybe I’ll just save up for a Komodo.

Did you laugh when you heard the price? I suppose there’s more to the L-Mount alliance than just sharing a lens mount. So I’m assuming it’s the same or pretty damn close to S1H prices.

Slightly OT, but how do you like the GH5s? The prices on used models are starting to get to a level that interests me and I have seen some really nice stuff shot with them. External recorders are a hassle but I have seen some ProRes 422 from the GH5s and a Ninja V that looks great. The weight of the image seems way better than the internal codec gives... although I like the internal MOV as well.

I assume you can’t really say but I also assume it’s a lot more expensive than we hoped?

Based on the cameras chosen... the C300ii and EVA1, it seems that a Raw export is required for the BRaw process to work... or it’s the simplest for now. I could be wrong, but I don’t foresee the major camera manufacturers giving too much access to BM, a competitor, so I assume BRaw, in these recorders, will be limited to cameras that already have a Raw export feature. The FP could be interesting since the CDNG files will be exported through USB-C to an SSD. But those recorders are so huge, it makes the design factor of the FP being the smallest FF camera, kinda pointless. I wonder if BM can transcode CDNG files into BRAW in a future Resolve update. It wouldn’t make production media storage smaller but for post and archiving it could help.

Exactly, so BRaw for the GH5 wouldn’t be as simple as BM making a profile, in fact it’s probably impossible unless they’re working on HDMI Raw signal as well. I wonder if BM has to work with the manufacturer to do this. Do they need approval or can they just make any camera that exports Raw compatible?

I assume any camera that’s compatible will have to output a Raw signal. I wonder if braw is only through SDI.

When it gets caught.

Yup, that’s my understanding. Now I do not have a C200, so that information is second hand. But I’m sure it’s in the manual as a footnote.

Just a heads up... it is my understanding that DPAF does not work through SDI to external recorder.

I always love your ambitious posts and plans, Kaylee! I wouldn’t even attempt something like this at my level but I always believe you’ll pull it off. Are you using your 5D3 for this or is it part of the iPhone project you’re working on?

AF seems like an odd feature on these higher end cameras (Canon and Sony) because who is buying a $15,000 cinema camera and putting a $400 lens on the end of it for AF? I guess speedboosters (is there one for FF E-mount) open up some medium format lens options but that’s a category that only a very few will get into. Interesting time for cameras though. I almost wonder if there is going to be a new market for sub-$3000 cinema cameras... not including Blackmagic.