Katrikura

I probably draw the line around 600-800 mbps, which would be 4.5 to 6GB per minute.
I prefer BRAW whenever possible - better than ProRes RAW - and of course it's internal on my BMPCC 6K Pro and BMPCC 4K. I generally shoot Q5 on both, which can average around 5-7GB/min on the 6K and about 2GB/min on the 4K. If I'm doing something that needs green screen work or anything like that, I might shoot Q1 on the 6K, which is a whopping 11-12GB/min or Q0 on the 4K which is about 8GB/min. But that's better than ProRes 422 HQ which is 7GB/min on the 4K.
I reviewed the GH6 recently and while ProRes is a great feature to have, it takes up a ton of space, especially if you shoot the open gate 5.8K. Much prefer to just shoot 200mbps H.265 LongGOP (in 5.7K DCI or 5.8K open gate), which is a lot nicer than ProRes 422 HQ which clocks in at 1522mbps (both 23.98p). For 4K DCI I would use the 400mbps All-I H.264 4.2.2 - I wish Panasonic had at least offered H.265 All-I 4.2.2 for the 5.7K DCI and 5.8K open gate, instead of just 4.2.2 All-I ProRes. Supposedly they did this since H.265 is heavy on computers, but my Mac Studio can easily handle it - even my Mac Mini M1 doesn't have a problem with it.
For me, I use BRAW whenever possible. It's the best compressed RAW codec out there outside of REDCODE RAW. Smooth as butter to edit and of course seamless integration with Resolve. CinemaDNG provides little benefit for me and produces massive files that are simply unwieldy to deal with.
ProRes is more of the a convenience thing than an actual efficient codec. It just works smoothly on a lot of computers without top of the line specs, but once you get beyond 1080 HD, it becomes simply too much storage.
I edit off a few SSDs in RAID 5 configuration, then I have some regular HDDs in a NAS for archival storage.
Hopefully more compressed RAW options open up in the near future once RED loses their patent in this Nikon suit - at least that's what I predict will happen. It will also be hilarious to me if Nikon, the company that has historically never cared about video or filmmaking, is the one to invalidate their stupid patent.
(keep in mind, everything I shoot is narrative film, so high-quality video is necessary - so I'm willing to tolerate higher bitrates, though not excessively so)

I would love an internal 2.8K RAW codec around 300Mbit.
A good balance of image quality and practicality.
I have moved on from 1080p but 2.8K never got the attention it deserved. It's a big step up from 1080. As the original BMCC showed!
Closest at the moment is the 6K C-RAW from EOS R3 in 24p mode at 720Mbit.
Or ProRes LT on the X-H2 which I think stands up very well to some of the lighter RAW codecs and BRAW.
ProRes RAW file sizes are a bit silly so won't be rushing out to buy an external recorder any time soon!
Canon RAW lite seems to edit quite fluidly on my MacBook Pro 16" (m1 pro)
It's a shame EOS R3 cannot downsample the RAW to 2.8K and 4K in-camera as I don't particularly need 6K.

Certainly came out of the blue, did this from Craig. I wish him all the best. Sounds like he needs a break like me. If he sold the site to a good home, and took a good pay cheque from it I hope he can build something fresh and new out of that and use the money to take a good photographic adventure.
Social media brings out the worst instincts in human beings.
Tribal behaviours. Epidemic misinformation and lies.
I didn't see what has been going on with Craig, but he seems to have completely deleted his Twitter and closed up shop there.
The internet is fucked.
Facebook can go out of business as far as I'm concerned, and they've ruined Instagram / WhatsApp too, so they can go in the bin along with the whole Meta group. Fuck VR as well. Nobody wants this shit. It's a distraction at best, at worst it can takes lives or destroys democratic political system.
Facebook and social media has sucked so much life out of my own business - this forum would be busier too, if it weren't for the distraction of Facebook groups and Twitter. Thankfully $200 billion shaved off FB's share price this week so couldn't happen to a nicer company.
I haven't always seen eye to eye with any of the rumours sites. But I genuinely do wish Craig well in what he does next

Hello to everyone on the forum!
A Merry Christmas from me!
I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue.
So that's what we'll do! EOSHD is back.
Read the full blog post here

Yep, it's not EOSHD that's the problem it's me! I need to get my enthusiasm back. It's been a tough time.
Thanks for the comments guys, it is helping me figure things out a lot.

There's no other location like this one today, no kudos are enough to express it, I feel it invariably underestimated...
I don't even think anyone including Andrew can comprehend the whole extent of the impact of his work and legacy as one of the first original influencers of this segment of the camera scene : )
 
This is a truly indie home where there's always place for filmmakers to come first. Where else nowadays?
Industry ties don't hang out really well with free spirits.
Priceless affordable tools for creators don't rule when business aspects prevail.
Andrew has created something completely unique to get rid us of all the customary useless paid crap.
 
Frankly, I don't see us living without the standards EOSHD has become us used to.
It would be a sad world in/for this craft without it.
 
Pretty sincerely,
EAG :- )

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

Ah but Andrew, this is why YOU buy camera gear and I buy camera gear and many others buy camera gear, but I suspect we are actually a minority in this market.
There are far more who are “gonna” but never actually do other than with their intentions. Nothing wrong with that and they are just harmless and if anything, help keep the camera industry alive for us pros and serious amateurs who do actually use our kit.
I have no idea what the actual numbers would be but the percentage of kit sold to folks who actually really make use of it, for financial return or not, has to be single figures surely?
Personally I find Gerald pretty harmless and a seeming straight up guy. I don’t think he is pretending to be anything but what he is which is a YouTube reviewer of gear who focuses on the technical side of things.
He didn’t love the FP-L but then I didn’t either when Sigma sent me one for test.
I wanted to. In fact I had hoped that having one hands on might allow me to find some reason to justify purchasing one, but the reality was it did just the opposite and confirmed it has multiple insurmountable flaws for my needs. 
But I did buy the 65mm f2 (that they also sent me) off the back of that test and it arrived yesterday! I shall now not make a YouTube video about it but it becomes my primary video workhorse welded to my S1H for the foreseeable future 😬

Thats why I got a Pocket 4k.  I got tired of the farting around with compressed formats.  External recorders are the way to get around that nut thats also a hassle.  Now I can shoot 3:1 Braw on a cheap SSD directly on the camera or at least 5:1 on an internal SD card. Now that some DSLRS are getting external raw support I still don't really care.  Its an added cost to get an external recorder and its a lot more hassle than what I have now.
I'm also kind of a freak for 4:4:4.  I know visually it actually doesn't make a huge difference.  I studied VFX in college and can pull damn good keys with 4:2:0. To me its more about why 4:2:2.  Its a left over from the analogue days and we don't really need it anymore. We have fast and cheap enough media now to not worry about 4:2:2.  Its an old broadcast video standard and really has no place in our digital world today. h264 and h265 are also very capable of 4:4:4 but we are barely getting cameras to add 4:2:2 and 10bit let alone 4:4:4.
So Braw on the P4k represents something I have been trying to achieve ever since I started with SVHS and have been trying to get something better than video standards. Its not just because its raw.  To me its because its RGB, 4:4:4 and color space agnostic.  No more butchered rec709, no more unnecessary 4:2:2. I know visually I could probably do the same with a lesser format but to me its just about starting clean and go from there. It represents what I always dreamed of being able to do with video. Oh yeah and its 12bit which will be even harder to make an argument for than the 10bit vs 8bit argument. But hey its there and doesn't hurt so why not.
Fun fact.  12bit has 4096 samples.  DCI 4k resolution is 4096 wide. Thats exactly one sample per pixel for a full width subtle gradient or in other words the perfect bit depth for 4k. Not sure anyone could ever tell vs one sample every 4 pixels like 10bit has but hey there it is. Basically posterization should be physically impossible on the P4k shooting Braw.

Kind of depends.  ProRes is in my opinion one of the best formats the industry has ever had.  With that said its not a very smart format. It just throws the same amount of bits at a frame no matter what the content. The beauty of formats like h264 is that they are smarter and they look at each frame and try to figure out how much is really needed.
Yes bitrate is important for that but its such an efficient format that it can get away with a lot less bits than a dummy format like ProRes could get away with. When ProRes drops down to LT or Proxy its sacrificing quality across the frame no matter what the visual impact might be. h264 breaks the image into blocks. mpeg2 did the same thing but the image was all 8x8 pixel blocks. h264 is even more sophisticated and can use 1x1, 2x2, 4x4 and 8x8 pixel blocks. So the macro blocking can be much smaller in fine detail areas where a macro block may be 2x2 pixels instead of 8x8 that mpeg2 would use. This means we don't see macro blocking as much and visually we get a very solid picture.  The image then saves bits in those flat areas so they can be used for the more detailed areas. h264 also spreads those bits across many frames. It uses difference between a group of frames to determine what has actually changed. So if a camera is locked down and only a small red ball rolls across the screen then each of the proceeding frames only have to use bits for the macro blocks that cover that red ball. The more the frames change the more bits they need for each of the following frames.
The problem is yes sometimes some h264 encoders do not get enough bits. most of the time 100 mbps is enough. If you get a shot with a lot of random moving fine detail like tree leaves blowing in heavy wind then that 100 mbps may fall apart. ProResHQ is dumb but it has the advantage to look good no matter what the situation. A locked down blue sky will compress as well as those complex moving tree leaves. Its just that both will take the same 700 mbps no matter how simple or complex. h264 on the other hand can get by with much less.  It would be a complete epic waste to give h264 the same 700mbps.  It would not need it at all.  In the above example that small red ball just does not need that much data to store 100% perfectly. I'm not sure there is a magic number as to what bitrate should be used.  Really depends on the scene but for the most part 100 mbps has been pretty solid on many 4k cameras. 150 mbps for 10 bit on some cameras has been even more solid.  Thats another thing to factor in.  ProResHQ is 10bit 4:2:2.  So its not really fair to compare to 8bit 4:2:0 h264 formats directly in terms of bitrate.  Again its a dummy format and even if you send ProRes a 8bit 4:2:0 camera source it stills encodes it as if its 10bit 4:2:2. So the 150 mbps 10bit 4:2:2 h264 formats are a better comparison and visually they hold up very well compared to ProResHQ.

Agreed.  All the photos we look at online are 8bit and rarely is 8bit an issue. For normal rec709 video profiles 10bit is a tad overkill although there can be some extremely rare cases where it can help.
The bigger plague of 8bit is some h264 encoders that are too aggressive in how they assume color samples will not be noticed as different and merge them as a macro block. You can have a frame from a h264 video in 8bit and an uncompressed png of that image also in 8bit and get more banding from the h.264.
Encoders try to figure out what is safe to compress together. The stuff we can't see with the naked eye.  If we can't see it there is no point wasting bits on it. So a 8x8 pixel block with very subtle green values may decide to make that a 8x8 block of one green color. This can cause banding where one would normally not have any in 8bit. Panasonic suffered from this on the GH4 when they added log. The log was so flat that the encoder assumed it could compress areas of color into big macro blocks because the values would not be noticeable. If the shot stayed as log they were right but because the log was flatter than other log profiles it really struggled with areas of flat color like walls when graded. Sony's encoder did better at not grouping similar colors.  At least up to S-log2. S-log3 could suffer from the same issues as Panasonic V-log on the GH4 on older Sony cameras.  The GH5 had an improved encoder that wasn't as aggressive with 8bit and areas of similar colors.

It's not even 4K.  I mean hellooooooo...  2012 called and wants it's camera back!

I don't see any point in getting an Alexa ever. No IBIS and no AF... total waste of time.

In 99% of cases there seems to be little benefit to using 10bit other than more difficult to edit, larger file sizes.
10bit is one of those easy to get excited about specs on paper. It’s a bit like the amount of memory in your PC or the speed of the CPU.
The higher number, the better!
What actually makes the difference when it comes to image quality? Well it’s a bit complicated. RAW is the ultimate codec, and the ultimate pain in the ass. LOG is great, no question. Lots of dynamic range, small file sizes, easy to edit and to apply a LUT. And for great LOG you need 10bit, right?
Well it seems that on the A7S III the difference is much of the time impossible to even see.
Not that this was not already proven by the Canon 1D C and that infamous MJPEG codec. The 8bit Canon LOG mode on that was incredibly nice. Fast forward nearly 10 years and there’s far less difference between 10bit 4:2:2 and 8bit 4:2:0 on the Sony A7S III than you might expect.
New blog post:
https://www.eoshd.com/news/sony-a7s-iii-10bit-image-quality-vs-same-camera-in-8bit-with-surprising-results/

Certainly seems like there's been an uptick of bad behaviour in COVID times recently.
I was also the victim of postal theft in Berlin earlier this year, and my girlfriend was the victim of a serious identity fraud at the same time. Two cases were related. Police didn't bother to link them and never prosecuted.
I even found the guy selling my stolen camera with same serial number and accessories later on eBay classified ads and so I set up a police sting where I arranged to pay cash on collection with him in a public place and he hands over the camera... I went there with the undercover officers and they did their thing. They did absolutely fantastic job, very skilful and forcefully arrested the guy - but as soon as the police bureaucratic detective department gets involved everything goes limp. I still haven't even had the camera back from the police after months as the guy won't admit he was handling stolen goods and now it has to be signed off by a judge.
The back story is when this camera was ordered, it was delivered to a neighbour by incompetent DHL even though I was in. It had the very bad luck to arrive at the same time as the fraudster's goods we didn't know were being ordered from several online shopping sites to our address in Berlin! What I suspect these thugs do, is that they go round ordering a shit ton of expensive stuff on invoice using somebody else's name and address stolen from the internet, and wait for delivery by timing & monitoring it closely via online tracking.
When it arrives they pounce... One of the delivery guys in Berlin was recently chased down a street in an expensive neighbourhood by a guy with an imitation handgun.
In my case, some fucking jewellery the fraudster had ordered using my girlfriend's personal details was intercepted when the criminal sent someone round to bang on our neighbour's door, because DHL helpfully sign posted them to the right neighbour they had dumped the stuff on along with my camera at the same time. A delivery card hung on the outside door facing the pavement. Can you believe it!?! Zero fucks given for secure delivery.
I was even in at the time and DHL didn't bother going up to top floors and knocking on the door. Our stupid neighbour handed over everything without checking for ID and that was that.
Found the empty packaging later ripped open in our staircase and in a neighbouring apartment building.
In this blog post, some poor guy has been through years of handling fraudulent eBay buyers...
https://turbofuture.com/internet/How-To-Scam-People-On-Ebay
He basically says what the tricks are they use. It is so easy.
Pretty much describes the same things happened to me. These people know every trick in the book and know eBay let it fly and that the police don't deem it serious enough to prosecute.
So basically eBay know there is a huge problem and do nothing about it.
As long as buyers keep coming and the billions of revenue keeps stacking up, they literally don't give a toss.
It is obviously a much more flawed platform than I thought and dangerous to trust.
They advertise "Seller protection" on PayPal, etc. It's nonsense. Did't protect me. Didn't protect the other guy.
If you do use eBay to sell expensive cameras I recommend taking everything off it immediately as this is now becoming a common occurrence.

I could certainly try opening my own camera store here at EOSHD. Need a clear out and really would hate to be scammed over something like an Iscorama or Leica SL2.
I think I will continue raising some awareness of how dangerous eBay is for sellers and then go my own way.
Thanks for the support guys.

For the current TV Series I'm on, then we're using an EVA1 for 2nd Unit as their A Cam, and an EVA1 on Main Unit as D Cam. (and an AMIRA is G Cam! ha)
 
That's me! (when I'm not working 100hr+ weeks....  but sometimes even when I am)
The secret is to pre-drink 😉

that's true!the point is how much more i should spend..for a little monmey why not, otherwise you are absolutely right

So you want to spend more money so that you can then get a "XT4, rarely used"??

No, that doesn't seem like a wise way to spend money at all!

Wait until you have "XT3, well used" first!

Make the most of what you have currently, before thinking about spending even more money. 

Many don't realize it is Sigma's philosophy to do things differently. They make foveon cameras with some of the most unique shapes out there. Who else does? The fp series probably wouldn't exist if their full frame foveon didn't run into complications, but when deciding to use a bayer sensor they still wanted to do something to differentiate themselves. I applaud them for it.
The "reviews" seem to go out of their ways to find complaints in the camera. Instead of thinking about the many ways to use it to it's potential, complain that you're "confused" (you don't sound very knowledgeable when you keep saying that). He appears to have tested rolling shutter in the worst possible mode at 1.3x crop (31ms) that does full readout resulting in the best quality with slower readout, but didn't mention the normal 1.0x (21.7ms) crop that has better rolling shutter than cameras like the S1H. Or the 1.24x crop RIGHT NEXT to the 1.3x crop that gets a 17.5ms readout. Quite decent. Sure, it'll worsen the quality, but there are options again for what you want to prioritize. Can't open the battery door with the plate you're using? Get a smaller plate. Can't grip it well? Put a grip on it! Worst camera menu system? Have you used a Sony camera? Don't like the idea of rigging it up to be very big? Then don't! Don't like the no memory media message without a card? Now you're definitely looking for reasons to complain... what were you planning on shooting without media? 
CinemaDNG is often spoke of as a negative because it's "too big". It is a clean, untouched, uncompressed, with maximum flexibility in post. Might as well as call any raw video a negative. It goes to one of the cheapest/gb storage medium you can buy without the need for a huge recorder with fans, power requirements, etc. And you still have both options of raw output also, but I wouldn't choose either over cinemaDNG unless you already have the recorder. Hardly any hybrid camera lets you record to a ssd, and I don't know any that still allow cinemaDNG. It's a huge plus.
Comparisons to other cameras are getting out of control. Sure there are a couple things I wish it had that other offer, but I only got it because it offers things others don't.

In the YouTube comments “this was the smoothest bloodbath in a while”.
On social media slick ninja-like assassins strike again in the middle of the night, and the unfortunate victim always seems to be the Sigma Fp series.
In what’s a common theme the original Fp and now the Fp-L, I don’t think many of the social media glitterati get this camera.
In the case of Gerald, I don’t think he gave Sigma a fair crack of the whip in at all.
New blog post:
https://www.eoshd.com/news/why-gerald-undone-is-wrong-about-the-sigma-fp-l/

The 5DIII with magic lantern is definitely one of the best image around to this day. That's pitting it against current cameras too IMO. It also gives you a great and still very relevant EF lens eco system. 

If you are a Panasonic guy though I highly recommend the Pana S1. The GH5S is nice but the S1 is better in almost everyway. 

The GH5S has better HD and of course if you have a lot of M43 glass you wanna use it makes sense. 

Canon 5D Mark III with Magic Lantern.

Adobe Creative Cloud finally has some competition.
Communist Creative Cloud has been launched today in Berlin!
The three PC terminals are subscription based, and are wheeled to you once per month for the important competition of your communist propaganda leaflets.
Each terminal comes with a Nikon 1 series mirrorless camera with extremely large format sensor developed in Sochi by the renowned soviet scientist Mr P. Utin.
As you'd expect for subscription software, pricing is extremely low starting at $0*.
The true price you pay for this is in your committed allegiance to the "Die Linke" party and a green tax where you have to dissemble your entire apartment piece by piece and replace each brick with wood. You may also offer blood.
In keeping with the famous Moto "From each according to his ability, to each according to his needs", the software ships only with the level of tools for your feeble abilities. YouTubers get a version of Communist Premiere Pro with a thumbnail creator containing two special presets - "Amazed face" and "Shocked expression". A special Chris and Jordan mode is available which gives all ex-camera-salesmen the belief they are famous filmmakers for the glorious region of Kamerastalingorsk. All editing tools are removed apart from the digital zoom. Wedding photographers get a special Communist Photoshop that only allows photos shot wide open at F1.2 and a clarity slider that ends at -20.
*The use of the terminal is limited to 1 hour due to radioactive emissions from the special CRT monitor.
EOSHD hands-off report
On a tour of the Communist Creative Cloud offices in Berlin today, I could see a hive of activity. Proud workers huddled around a machine (of course adhering to the mask policy of the German C.C.C.P regime) putting images of Stalin into a transform tool. The beta test programme had gone well with only several deaths, and minor spillage of radioactive material from the Robotron CPU.
I was not allowed to go near the software but was informed by a member of the Stasi CC that the Communist Creative Cloud doesn't just feature apps like Premiere and Photoshop. Office productivity tools are included and these I'm told are expected to be a big hit with the Berlin city authorities, like the municipal vaccination coordination offices.
Meanwhile you may sign up to Communist Creative Cloud by creating a special personalised profile of yourself and uploading it to the Communist Cloud server based in Moscow moderated by Mr V. Puttit.
Dubbed "Sputnikbook", it is part social media photo sharing website and part personal activity tracker.
Already 100,000 people have gladly taken part all on their own accord.
I am told Communist Creative Cloud (CCC) Premiere Pro can handle 12K video, the K standing for Kosmonaut. For videos not shot with 12 Kosmonauts you are limited to a standard resolution of just 12  green lines and the standard CRT refresh rate of 1 frame per month. Still, more productive than the average leftie! Long live Communist Creative Cloud!!