Snowfun

Really? Most cameras today are absolutely superb. Compromises, yes but there is so much choice out there that one can find the compromise which suits every need.

My kind and loving offer: ”Would you like one too sweetheart?” was rapidly reinterpreted as: ”Why do you need two?” One cannot win...

I think the intention is to market them via US carriers and also sell directly from Red (or, technically, the Hydrogen sister company if I understand it correctly). Not sure what the market potential at an average 02 shop might be but no doubt those who matter will be looking into it. Apparently Jim stated (to paraphrase) that the cinema module will be very expensive for a phone user and stupidly cheap for a Red owner. Whatever that means... Hints of regret at not preordering?!

H4vuser.net isn’t closed off... (Although owners of the Houdini model are not permitted to review or say disparaging things about it which is fine as it is, and was intended to be, a pre-release model with several firmware updates to be delivered at least partly in response to user feedback). Things appear to be on schedule for the planned November carrier release (with rumours that the 2d “cinema” module might be announced at or around that time... apparently some details were hinted at by JJ on the Houdini event last week). It will be interesting to learn what the compromise between performance and price will be...

So a month or so to decide about storage media. CFast or the T5 SSD? Will be looking to record short (usually a few seconds - very few up to 5 minutes) clips in raw. CVP have the Sandisk extreme pro 128 for just over £300. Plus 40 or so for the Sandisk card reader. Not cheap... Or is the T5 a better option? Still, it is good to be close enough to have to start thinking about practical stuff.

Isn’t this the sort of thing Blackmagic do a lot of? (Speaking only from experience of their web site however so apologies if I misunderstand!)

Looking beyond the Galaxy seems sensible. It’s increasingly difficult to see where phones can go. Better image quality will obviously arrive - incrementally - with each generation but it is unlikely that any one manufacturer will stride ahead (except RED obviously - particularly if JJ is reading this!) If (IF) Hydrogen and h4v makes a significant impact then, presumably, Samsung, Apple, Sony et al will rapidly jump on board and produce similar technology? That’ll be a potentially fun game for a while. Can’t help thinking that the glory days of flagship expensive phones might be over - cheap, functional and efficient might be the new aspirational mass market. Has anyone produced a decent camera in a smartwatch/wearable?

Footage from the Pocket 4k?

In the LuLa statement the author states that climate chamge is political. Nonsense. It is various scientific disciplines working together to understand our plant - which may or may not have a political dimension. And therein lies the problem. You can’t discuss “that” because it’s “political”. Really?

Isn’t making such a statement the best way of causing panic? But interesting observations - thank you. Any indication of when official footage might be available?

I suppose the question is therefore to what extent do Netflix show hdr programmes because (a substantial proportion/majority of?) consumers have suitable TVs as a result of their consumption of sport?

We read a lot about “Hollywood” and indie filmmaking here and how it drives the development of camera gear. But I wonder - is “art” the important factor or is it actually broadcast sport which is the real driver here? BBC showed some WC games in UHD hdr and sport is often displayed on TVs in department stores as a marketing tool. To what extent are developments in gear driven by the sports broadcasters and consumers?

I’m not entirely convinced that it is possible to separate the art from the artist. That does not imply that the art defines the artist - that would be a ludicrous proposition. Further, it permits the idea that the artist now is remote from and can be disassociated from work of a historical nature. But to separate the art from the artist seems to deny the concept of responsibility for action? To suggest that the art is separate from the artist isn’t too dissimilar to the “I was only obeying orders” defence. Yes, you could hand me a printed joke (or script) and I could simply read it with no emotional or intellectual commitment (in other words, a separation). But that isn’t art - it is soulless repetition. I - the actor - would simply be a vehicle or conduit to transmit the act. Doesn’t “art” actual require an intimate connection with the artist? It doesn’t need to be work authored by the artist. Or even work that the artist agrees with. But even the process of selection implies a relationship? Possibly not provocative and not all will find it interesting. But it got me thinking!

Ok. Q: ”what do you call a sheep stuck in a fence on Orkney”? (An island off Scotland) A: “a leisure centre”. Is that “funny”? Presumably subjective. Is that “comedy”? In the context, objectively yes. Substitute “small boy” for “sheep” and eyebrows will (should) be raised. Different observers will raise eyebrows by different degrees. So what? In private, amongst chums, the limits are different to high profile public statements. But it is all tomorrow’s chip paper when we wake up and realise that it is only a first world problem... I posted a comedy (Jim Jeffries) video about gun control on h4vuser (Red Hydrogen site)... big mistake! Let’s get back to discussing the benefits of raw over 422 or FF vs MFT or resolve vs FCP or whatever trivia keeps us engaged and entertained. Final point - this is Andrew’s site so his rules do apply!

What is the optimum way of saving raw files - internal cfast or the T5 ssd? I’d rather not have to buy both so it would be interesting to hear views.

Yes. And a privilege to read.

I suspect that this person might just start yet another “Blackmagic Pocket 4k Cinema Camera” thread and ask the question there? Or, somewhere embedded within the “New Blackmagic 24k Pocket Cinema Camera” thread there’ll be some old-timer reminiscing about the lack of footage from the legendary 4k version.

According to the sales person in JL, it’s actually even better than you imply - you can also open the door AND GET THINGS OUT! Progress.

I wouldn’t want to make such a general sweeping statement but I think (from reading comments here) that non variable nds are likely to have a less detrimental effect on the image than a variable might. An expensive variable vs a cheap non-variable - I don’t know if that changes things. All I say is that as a hobbyist who doesn’t need the best possible image the convenience of a variableND is important (to me). I leave it on the lens and try to use it instead of (or, at least, in combination with) aperture. If I had to swop it’d take me too long, I’d drop it, I’d get dust on the lens etc etc. In short, the fun and enjoyment factor would decrease. But those are my flaws and my short-comings so shouldn’t be generalised!

I like my Heliopan (on BM micro). But the qualification to that is that as a hobbyist with possibly greater tolerance of sub-optimal performance than some of the professionals here, it’s all about convenience. Image quality or convenience... definitely something to think about...

I win! Managed 18! (Excuse - used an iPhone in the light of the Arctic night...)

Once again (yet too rarely stated) thank you.

Is there such a thing as “perfect” colour? Scientifically, I suppose, yes (the correct wavelength). But artistically? Isn’t it inevitably subjective? To what extent will the colour as reproduced by a calibrated monitor be the “same” as that on the viewer’s TV or phone screen or iPad etc? Not an issue if the content is for self consumption but is it an issue more generally?

“If”? This is JJ we’re talking about... (do you cover cricket in your work?)

Interesting to see how many different interpretations there are here. Not just in the like/dislike stakes (which would be expected) but in the technical stuff too.