kaylee

Is not a picture is a frame grab at 1/100 from 50fps video...... is normal that is soft as there is motion blur....... it was to demonstrate AF at 2.8 while an animal sprinting at 50+ mph.....

This is a picture at 1/1600

Only if you have a seriously powerful computer.  A quick google gave me two sources that said that h265 requires 5-10x more processing power than h264.
It likely is the processing, but unfortunately you don't get to choose any/enough options on that.  Most cameras that offer Prores treat the image with respect and most with h26x do not, so the codec acts as a proxy for the intended market and therefore the level of molestation the image will have gone through.

If you are doing a multi-camera shoot, first put the grey/white card and color chart together, lit by the dominant full-spectrum light source of the scene/event.  Flag other light sources from hitting card and chart.  To avoid glare, the light source should be at about 45 degrees (or less) to the plane formed by the card and chart.
Position all the cameras side-by-side as close as possible to each other, about 6-8 feet directly in front of the card and chart, and perform a custom white balance on each camera.
Then, record about five seconds of footage of the card and chart with each camera.
If the dominant light source of the scene/event is intentionally not full-spectrum, perform the above procedure using a separate full spectrum source with a color balance that is close to color of the dominant source of the event/scene.
If you are shooting at separate times/locations with each camera (not a multi-camera session), do the same procedure above at each time/location with the one camera.
Of course, if you are shooting raw, the white balance will not affect the captured image, but having a custom white balance should provide a decent starting point for your NLE and for color grading software.  The footage of the charts will help in more finely "dialing-in" the color correction in post.
 

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

Remember when the 1D C came out, with MJPEG 4K. 500Mbit/s file sizes were a real struggle in a practical sense.
Now we have this enormous range, anything from 100Mbit H.264 to 3000Mbit RAW.
I am interested what kind of file sizes people are comfortable with and using most in 2022.
Do you find yourself sticking with smaller file sizes like 200Mbit H265?
Would you shoot much ProRes 422 HQ if you had a Nikon Z9 (2700Mbit)?
If so what are you editing from (HDD or SSD?) and archiving master files with?
Looking forward to hearing from you all. Just for reference. Here's what I think...
- Best overall codec is ProRes 422 LT in 4K oversampled from 8K on X-H2. 435Mbit and image quality is flawless
- Bitrate sweet spot for me is around 200Mbit. I find that kind of file size nice and manageable over time. Anything bigger is more of a special occasion thing.
- I don't mind 8bit at all as long as it has some colour science mojo going on
- ProRes 422 HQ in GH6 and Nikon Z9 is too big, not practical in my opinion - may as well shoot raw?
- HVEC on S1 and S1R has some very nice mojo going on and tiny file sizes so a thumbs up to them.
- I don't shoot BRAW, prefer Cinema DNG on Sigma Fp-L. Special occasions only but great for pulling stills from a short burst at 24fps.

Got the bang for buck 8K camera. Only had it for 5 minutes and noticed it has a stuck pixel on the LCD so better get it switched. Quite distracting.
Seems on paper to be one of the most exciting cameras at or under $2k. (£1899 in UK)
First before I get too far into praising this bargain cinematic beast, here's a few things that the usual suspects in the review / shill kingdom didn't tell you...
Handling has some distinct steps back from my beloved X-H1. There is no more drive mode lever, but unforgivably no movies/stills switch either like X-T4! A very strange omission given the hybrid nature of this model. I can however assign custom stills mode to function button and tap in/out from movie mode without having to change mode dial through all the many steps from Movies to PASM.
The finger gymnastics to reach the WB and custom buttons on top panel is ridiculous. Really bad placement.
The overall styling isn't as nice as X-H1. It looks and feels cheaper as if some cost cutting has taken place. For sure it is an uglier camera.
No more inward press action of the jog dials, quite poor dial feel, just in general a slow hacking away of what made Fuji bodies nice like the extra dials and nice styling.
But when we get down to the nitty gritty I expect to be more impressed.
S35 8K ProRes for $2K is pretty special.
I have read that IBIS is better on X-H2 vs X-H2S as well. Any idea why that might be? I can't quite believe reviews have that right.

Very sorry to hear that Kaylee
Tough times.
Hope you have plenty of support. You certainly do here.
Long to live in a world where the science community have cured cancer... They're making great progress. One day it'll happen.

I just wanted to say how sorry I am. I lost the love of my life to cancer in Jan and it's still really hard to think about, let alone talk about, let alone write about
I'm so sorry andrew

To all my friends at EOSHD I have some very sad news.
My sister has been diagnosed with terminal cancer.
She is just 38.
I have just brought the news to the main blog page here, for the full story:
https://www.eoshd.com/news/my-sister-zara-reid-is-in-end-of-life-care-for-cancer/
I might need to rely on my friends here to get me through this very difficult time and keep working.
Anyone who pre-orders my Panasonic GH6 Shooter's Guide will really be helping. I am in financial difficulties too, on top of this.
I want to keep this blog going even though I am a wreak at the moment.
I am going to miss my sister enormously. She was at the heart of my family.
Please don't hesitate to contact me if you wish to pass a message of support onto myself, Zara or my mum.
My email address is eoshd.com@gmail.com
In the future my aim is to get back to work and carry on EOSHD. Sorry it has been so quiet of late.
Thanks guys.

TBH, I think this is probably well into the realm of diminishing returns.  
The way I see it is that there's stuff that happens before you colour grade and stuff that happens afterwards.  10-bit (or more) matters when you're capturing footage that you need to significantly alter in the colour grade (log, linear) but after it's in a 709 space I think it becomes far less important, unless you're capturing in a 709 profile and plan to heavily grade it after that.
I've found that there's essentially three groups when it comes to colour accuracy:
The general public, where there is zero guarantee of quality, adherence to standards, or consistency in what they're looking at.  They also (mostly) don't care, and most probably can't tell the difference between the colour of a Sony A72 and an Alexa. Professional colourists, where there is almost no limits to the degree of accuracy and the investment in minutia around this, and is often accompanied by a failure to understand the practicalities and compromises of the world.  Their clients are occasionally directors or producers who have some of the most refined taste and colour perception imaginable, so they are aspiring to be good enough for the worlds best.  They will argue to the death about things you've never heard of. Us practical folks in the middle trying to do what we can but without it being the entire universe that we live in.  We care so much more than the general public that they can't understand a word we say, and we care so little in comparison to the pros out there that we can't understand almost anything they say. If you've got a vaguely colour accurate monitor setup in a vaguely controlled environment then I think you're going above and beyond for what most of the audience really cares about.  For this, 8-bit monitoring is totally fine.

@kaylee I didn't think that I did, but maybe I do.
I have a Dell Ultrasharp and the manual lists it as a 10-bit panel, but it doesn't describe it in such a way that makes me absolutely positive that it's a 10-bit image pipeline.  I know that I am driving it with a 10-bit signal from my BM video output device, and Resolve supports the 10-bit output.
Why do you ask?  I'm happy to have a look at my setup if there's any questions you're curious about?
IIRC Resolve lets me choose things like the bit depth of the signal out to the monitor, so I think I can change that easily enough.  I have a vague memory of swapping between 8-bit and 10-bit but don't recall if I saw differences.

I technically do, since all the new OLEDs are 10-bit displays

not me?
please comment let's learn

nah very good thermal ratings under normal conditions. non issue. if you're shooting in very hot environments though the fan exists..

Given that (as far as I can see) onsemi's image sensor capability mostly comes from buying the image sensor division of Cypress Semiconductor in 2011 for $31 million (based in Belgium) and US-based Aptina in 2014 for $400 million, I think there is a reasonable chance that the Arri sensor was developed in US.
As a bit of trivia, onsemi's roots as a semiconductor manufacturer go directly back to Motorola in the 1950s, so it's effectively one of the oldest chip companies in the world. (ON Semiconductor was spun out of Motorola as in independent business in 1999).

https://www.onsemi.com/company/news-media/press-announcements/en/onsemi-imaging-technology-enables-next-era-of-digital-cinematography
"PHOENIX – Sept. 14, 2022 – onsemi (Nasdaq: ON), a leader in intelligent power and sensing technologies, today announced it developed the customized high-end CMOS sensor for ARRI’s ALEXA 35 camera."
“All digital ARRI cameras—starting with the first ARRIFLEX D-20 in 2005, followed by the first ALEXA delivered in June 2010 up to the ALEXA 35 introduced this year—are based on CMOS sensors jointly developed with onsemi,” said Walter Trauninger, managing director and head of business unit Camera Systems at ARRI.
 

In case you haven't been following rumour mill there is one more video oriented APS-C camera coming: FX30.
So far all we know is:
26MP
4k120p
Same FX3 body
Almost the same FX3 video specs
Announcement in late September
$2500
 
It basically sounds like an XH2S (Sony) sensor in FX3 body. But no way will Sony give us 6.2K Open Gate. 
Cine EI, LUT support, Sony AF and active cooling might still win me over as it would be the perfect B-cam to my FS7.
 

I have lots of BTS videos on my youtube channel (and from the sound perspective, which is a very frequently overlooked aspect). Plus the kind of productions which allow me to / don't mind if I do BTS, are often smaller budget productions, and more relatable to your students than AAA Blockbuster Films. 
https://www.youtube.com/c/SoundSpeeding/videos 

Here is another R5C extra secret bonus hack: Turn the camera off when you're not shooting.
I'm kidding, Canon should obviously address this. Poor battery life is what is keeping most away from this camera. Sounds like its Achilles heel..

“Professional”
if I was permitted additional words - convenient, useful, adaptable, manageable, cost-efficient…
I am not a professional broadcaster but for my use they are super little cameras especially when matched to the Atem.
https://aidaimaging.com/hd-100a/
I have two of the cheapest model.

I’d definitely go with 2 (or more) AIDA cameras fed into a BM Atem for this. They are cheap and capable and the setup is easy to use (either live streamed or recorded - in the latter case there are, of course, multiple options either to record each camera separately and mix in post or simply to record a single output from the Atem).
I use 2 x HD100A but there are other more expensive options.
 

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming.
50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry.
Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly.  50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc.
You can't add bitrate in post!

This. Do your own tests and trust your judgement, but here's my opinion.
 
If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld.
Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.