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Everything posted by Django

  1. I disagree. In between CS, DR, codecs and specific IQ related features there is a lot to gain by going with one of these top tier cine cams. I mean look at all the cool IQ features in the Dragon-X including various OLPFs and highlight roll off options:
  2. What resolutions were the non 8K R5C Raw images shot at and what's the zoom percentage? R5C 10-bit and Z9 can do 8K and GH6 6K yet they all look substantially lower resolution than the Canon 8K RAW. I ask cuz that plays hugely when comparing the fixed noise patterns etc.
  3. If he's serious about making a film then it makes absolute sense. I love mirrorless for practical reasons but for that cinematic aesthetic nothing really beats ARRI, RED, VENICE & VARICAM paired with cine glass imo. There is a reason why they are standards in big productions and not an A7S3, R5C, GH5 etc. Hopefully he will share with us what pushed him in that direction!
  4. Don't forget they managed to get dual ISO performance on R5C vs R5. Surely that explains the increased DR. There are proven over/under tests out there (ProAV) showing it.
  5. Django

    Fuji XH-2/S

    I had some overheating shut offs on my XT2 shooting just 8-bit 4K24p (arguably in very hot weather). AFAIK this issue got subsequently worst with 4K60p 10-bit, especially on XT4 because of IBIS and bigger/warmer batteries: https://youtu.be/bPG1yAJZq4U I can only imagine what 8K60p / 4K120p would result in with no active cooling.
  6. Django

    Fuji XH-2/S

    Fujirumors claims no active cooling... alongside 8K that surely means overheating. As a pro, overheating is my #1 concern. With high-resolution & 10-bit manufacturers really need to factor in air cooling. All the features in the world doesn't mean a damn thing if your camera can't make it through the day without bricking.
  7. ..If you don't like noisy footage, 6K Pro will be a step backwards in that regard for anything above base iso. You'll not only be losing AF but also IBIS. Also keep in mind EF mount means very little lens adapting choice. Finally be prepared for massive file storage requirements. Now don't get me wrong I love BMD IQ and the 6K Pro is great value but switching to it from a hybrid mirrorless system is a much bigger transition than just losing AF imho.
  8. $11K?! You talking Australian dollars? Z9 is $5,499 USD.
  9. It's hard to find fault on any of these latest-gen cams when properly exposed in daylight conditions. Komodo keeps being the one that impresses me the most: thick, rich & detailed without looking overtly sharp/digital. I'm shooting with one soon, can't wait to check it out for myself.. .
  10. actually @herein2020 is correct: a speed booster as its name indicates .. boosts the aperture speed. you gain a stop of light. but DoF remains the same. that's where sometimes the confusion comes in. it is until it hits the speed booster. a speed booster adds an extra glass element changing the optical design of the original lens. It demagnifies and hence concentrates light adding a stop when it hits the sensor. this article explains it better using the same 50mm example too: I've already explained above that the entrance pupil does not change. However, given that we've now reduced the focal length (from 50 to 35), the formula for calculating f-number has changed. The entrance pupil is still 25mm in diameter, so it now gives us 35/25=1.4. So a 50mm f/2 lens, speedboosted, becomes (not effectively, but actually) a 35mm f/1.4. That's how Speedboosters 'magically' create an extra stop of light. To clarify, our 35mm f/1.4 will give you an exposure one stop brighter than the original 50mm f/2, whether that 50mm is used on full frame or S35. https://www.alex-stone.com/2020/10/29/busting-speedbooster-myths/
  11. woops was comparing to another chart they posted in the test. the jpg file name on the iso250 one still says 800 though.
  12. @hyalinejim if you check the captions that ISO250 DR Boost Off chart is using ProRes, while the ISO2000 DR Boost On is using h265. and as they noted themselves: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”. so the noise reduction you're seeing there has lot more to do with codec image processing not DGO DR boost. I saw another test that clearly corroborated that, can't remember where though.
  13. They screwed-up their test with DR boost off set to ISO800 instead of 250 native value.
  14. All DGO sensors don't work alike: from the test I've seen the DGO on GH6 increases the highlight range but doesn't do much to shadows. It's the opposite of the C70/C300III that emphasises clean shadows but doesn't really boost highlights.
  15. Really? I aways thought GH series had that sharpened / NR look. BMD cams in contrast have very little image processing especially if you shoot RAW. As for GH6's "DGO" sensor, it does seem a little underwhelming when compared to the P4K. Also pretty annoying DR boost mode turns base ISO to 2000. I'd rather it be at a low value like 400. At 2000 you're going to need ND's or close the iris during daylight which is when you want that DR boost.. odd choice.
  16. basically budget, workflow & shooting scenario but that's where the cameras and what they offer is important to look at. on Alexa's shooting RAW is 3 to 6 times the bitrate over Prores. That transforms into cost when you know how expensive the media is on Alexa's. But if you wanna shoot the highest res in open-gate mode then it's RAW only. RAW also requires additional steps in post and time = money. If you've got very fast turnover project you may simply not afford to go RAW. In some scenarios you may want to even bake-in a LUT. Prores makes sense for that. But on RED/BMD you may still wanna go RAW over ProRes because the RAW compression options are so good, ProRes doesn't go up to 4444 and media isn't proprietary. and even then when you've selected RAW, there are a bunch of compression ratio options you may select depending on requirements. for example RED gives out these suggestions: RED qualifies HQ for VFX work where you need extreme detail or when you need to pull stills from motion. Next is MQ — or medium quality. Non-VFX cinema and high-end TV productions typically use MQ. In MQ, a 512GB card can capture up to 48 minutes. Last up is LQ — or low quality. In LQ, it records 77 minutes on a 512GB card. RED says its intended use is for TV, online content, documentary, interviews, and long takes. In the end, I guess my point to you was that it depends on an ensemble of factors.
  17. lol you were the one asking those questions
  18. ..what i said was correct: ARRI/RED/BMD offer internal RAW & Prores. Canons/Sigma FP do RAW & H26x. Digital Bolex is RAW only. Z9 does RAW, ProRes, h26x. Prores (4444) & h26x: Varicam line, Venice line etc.
  19. you're missing the point. I'm talking about price increase within same class/category models (i.e GH / A7S etc series).
  20. FYI, over cranking above 100fps has been around since pre-digital age..
  21. Different sensor tech DGO vs Dual ISO. S5 should do better high ISO, C70 less noise at base ISO. Speedbooster on C70 should help mitigate the need to crank ISO if you've got fast glass. That's what I figured. Not a fan of 30fps, but yeah it gives more fluid motion and is popular on social.
  22. Depends. Very few cams actually offer both ProRes & Raw options. Basically ARRI, RED & BMD. RED & BMD have very efficient compressed RAW which incites to shoot with it. ARRI has ProRes 4444 XQ which may tip the balance the other way. RAW is always going to require a few extra steps so also depends on amount of footage and time/post constraints. For the fastest workflow shooting Prores with a baked-in LUT is preferred. So really, YMMV.
  23. Also ProRes on GH6 seems to be much less image processing heavy so more organic image. No RAW tho. Overall a great looking camera, the main "issue" I have with it is price.. M43 was initially affordable (GH2 retailed at $900!). Obviously the features are night & day.. but this general camera trend of each new model costing more is kind of annoying.
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