Anaconda_

Nice, looking forward to this. As with many things in Cameraland though, it totally depends on personal situation and workflow, and there's more to it that the end result. I wouldn't feel comfortable handing a client h265 files, there are too many things to go wrong, and could result in me losing out on the next job. One of my main clients still cut on Premiere 2017. 🤯 I can give anyone a ProRes file and they can play it back smoothly on full quality and there's no issue. Then I can bake in a LUT if they need it ready to go, or supply LOG footage and a LUT along with it so they can choose. With that said, for personal project with no time constraints, I really like the files out of my Fuji, it looks lovely and they're very flexible.

But how does that help Sony with their H.265 compressed RAW?

How does this sit with the whole patent thing?

I agree, and condemning a film 40 years after release is pretty whack, especially when the writer made similar comments 40 years ago. Nobody watches The Shining and expects to see any form of the real world. Perhaps this is for a different discussion, I know this is about fiction, but what about movies that revolve around or are based on real people / events. Is there a line that needs to be drawn? For example, in the Jimi Hendrix movie 'Jimi: All Is by My Side' there's a scene where he hits his girlfriend over the head with a payphone in public. It shocked me when I saw it, I paused the film and read up on how true it really was. Of course, that event never happened. How many other viewers wouldn't do that and would take for granted that it really did happen? The director / writer obviously thought it was necessary for the story, but where is the line between fiction and reality? What about war movies? What about Black Adder? Then it comes to funding and actually producing a project. For example, the based on true events 'Deepwater Horizon' weren't allowed to film on any oil rigs because it, of course, painted the industry in a bad light. Therefore there must be an element of fiction. Naturally, they tried to make it as close to a true story as they could, with added drama, but telling the difference between fiction and reality in cinema is tougher than it seems. Especially with so many films being based on and inspired by true events. I think ultimately it's down to audience interpretation and standards.

There were plenty of protests before Basic Instinct was even finished. If I remember right, activists even crashed the set on a daily basis to disrupt the filming. The difference here is discrediting a highly regarded film decades after it was made, by holding it to today's standards and ideals. Of course, Shelly's roll in the movie may well have been cut down and to an extent underplayed in the final cut, because she and Kubrick famously hated their time working together. EDIT: I stand corrected and this whole topic is nothing new, not 'Woke film criticism' at all. Sure the film is a great masterpeice, but the man who wrote The Shining, a guy called Stephen King also thought along the same lines as the reviewer... "Duvall’s role was mostly criticized by Stephen King who declared that he hated The Shining very much mainly because of the misogynistic portrait of Wendy Torrance who, in King’s words “was basically there just to scream and be stupid and that’s not the woman I wrote about”." https://www.thevintagenews.com/2019/02/22/shelley-duvall-kubrick/

It can record ProRes from any camera or any other HDMI source. ProRes isn't camera/sensor dependent. But this update isn't specifically for Braw. They've enabled raw over HDMI, which Atomos can make ProResRaw already. Braw is more specific though, so I was thinking they've said 'we have given BMD the possibility to record Braw, it's up the them to finish it off'. I'm sure that's not the case, but thought it might be an interesting question. Blackmagic previously revealed Braw capable cameras, like the EVA1, way before they released the updates for the VA that actually enabled the possibility, but as far as I can tell, haven't said anything about the FP. That said, they announced that before the new VA was even available, so similar to what Sigma have done here I guess.

Does anyone know if Sigma and BMD have been in talks for Braw? I would have imagined Sigma would release this update along side BMDs VA update. But that didn't happen, leading me to consider the possibility that Sigma have surprised BMD and named Braw as a way to grab some hype. Does the Ninja also need an update to capture ProResRaw from the FP? Or can it already wrap any raw signal?

It's to make their next release look good in comparison. They have released their high end FF cameras, which could be a little expensive for hobbyists. Now they've released the low-end camera priced for hobbyists but not the right features. Next they'll release a halfway point with just the right features, but a little more expensive than the hobbyist would normally want to spend. Out of the three options, it suits their needs the best, and the price is put into context by the models on either side. It's called the Goldie Locks effect, and every company does it. People say its a cripple hammer to protect the high end cameras, but it's not, it's to further sales of the midrange product.

4K Ninja Star with ProRes Raw would be unbelievable. The kind of thing worth having just in case you happen to find yourself next to one of the capable cameras. I could be wrong, but this update sounds like it outputs the raw signal and it's up to the recorder to wrap that into whatever raw format it's capable of. Since BMD create Braw on a sensor by sensor basis, Sigma have left that development up to BMD. To get Braw internal, they'd then have to license it from BMD? Making it external means the user effectively pays for that license, through a purchase of the Video Assists. ProRes RAW is more complicated for internal I guess, since Atomos pay fees to RED. If that's correct, in the chain of licensing, Braw only has 1 party involved and ProRes RAW has 3 (Atomos, Apple and RED)

They also have a m43 raw-shooting cine camera for the same price(ish) as this camera. I know it's different markets, but jeez.

Thanks for the info! In my experience, USB powerbanks trigger a warning on the Pi with a camera attached, they only just give it enough juice, unless you use a big powerbank, but that defeats the point. Instead you can get cheap LiPo connectors that solder onto the Pi and make the whole setup smaller. My camera is fully functional, but it's currently not assembled into anything usable, since my buddy who was going to help with sensor placement is away for a few weeks. Once it's all up and running for real, I'll happily share all my codes etc. For now its h264 only, but I'm hoping that can change at some point. Recording raw on this is a pain in the ass and I don't have much knowledge to get it all together. I can record a raw rgb or yuv stream, but there's no way to play it back. I've tried all the suggestions, and even tried to view individual frames, but I'm just seeing static. In another post, I've shared a dropbox link to some video files - both h264 and the raw recordings. Feel free to have a look and try to make some sense of it. There is a program called raspiraw but it's extremely un-user friendly and the person who made it seems to be refusing to help anyone get a handle on how to use it. My system is: 4gb Rpi - Power switch - Power LED - Rec switch - Rec LED - LiPo battery connector & charger - 1inch Monochrom OLED screen (which is currently misbehaving, but I'm working on it)

Videomic NTG or Deity D3 Pro?

Yeah, and The Revenant is about a guy who gets injured and then walks home. I feel like you must have missed a lot. While what you say is the premise at its most basic, there are other things going on. Not wishing to give spoilers, the old lady reveals a history that repeats its self, and possibly the reason they’ve come at this moment. As well as why the hipster glasses find what they find and what happens to them afterwards. the radio caller reveals military coverups, systemic racism and again a repeated history. these things aren’t spelled out in the story, but that’s part of the charm. I like a movie that you can sit with and theories about for a while after it’s ended. glad you watched though, I guess we both like different kinds of films.

The writer/director also created the production company behind the film. Doesn’t get more Indy really. when it did hit festivals, it won awards at them including a trophy at TIFF - arguably the most important festival in recent years (certainly top 5)

That's awesome, congratulations!! Great JVC have started trying to promote this camera... took a while.

It's of course a lot of money, but barely the catering budget of the summer blockbusters we see all too often. And self funded. Whether he's a hedgefund kid or worked really hard and ate nothing but restaurant leftovers for 10 years, I think it's admirable that the guy put his own money into his idea. He had a story that he had to tell, did it on a shoestring budget and pulled it off. Easily one of my favourite films of the year so far.

I recently watched this film, and thought it was fantastic. Story really is everything. It's the writer/director's debut, he saved up $700k from doing commercial work to self-fund it. Filmed in just 4 weeks with only 5 characters. The cinematography is excellent and I've never seen some of the techniques before. I'm usually a 'show don't tell' kind of guy, but with this, I was so happy it's more like a story in realtime. The characters are interesting and engaging and it takes you far beyond the 1950s small town backdrop. Interview with DOP: https://variety.com/2020/artisans/news/vast-of-night-amazon-prime-tracking-shot-1234620232/

But then why can't you take a camera that could record external ProRes raw, plug it into the VA and record Braw? If you can, then why is their EVA1 support even a thing? If that's correct, by default BMD also support any other camera that can output raw over HDMI. I'm under the impression that the VA can't wrap any raw signal into Braw. BMD need to know the sensor data for their partial de-mosaic stuff. With that said, I still feel that Braw is sensor specific. Of course, please correct anything that's wrong here. Would love to understand it better.

I could be wrong, but the SDK for NLEs to work with the files is free. They didn't publicly say anything about companies using it to capture. The codec is built individually for each sensor, so Braw for the Pocket 4k will be different to Braw for the Pocket 6k and every other camera that currently records it. I would imagine BMD will keep that development part behind closed doors. Prores raw, as far as I know, is more generic (for want of a better word) and will turn wrap any raw signal. The Atomos recorders don't need to know which camera it's plugged into, but the VA do.

I've been wondering that. BMD have already built the profile for the EVA1 to record Braw on the new Video Assists. I would imagine if it ever does become internal, Panasonic will charge for it. Like that paying extra for Vlog bullshit.

It could be that the shots with these custom lenses didn’t make it to the trailer. She speaks about wanting Milan to have a magical quality, but the trailer is action packed, so I think the more ethereal styles scenes haven’t been shown yet.

I just saw this interview, I think it's pretty cool. They filmed the movie with glass from the 1800s to get the right feel in camera as much as possible. Lens talk starts at 1:14

You can, Braw was added in v6.2, so v6.1 was the last update with DNG. You can get it here: Update notes - Mac - Windows If I remember right, it's just a case of removing any other BMD update software from your computer, installing this and plugging the camera in. It should then install v6.1 (on cameras that shipped before Braw)

@SteveV4D exactly that. I’ve always said the P4k is an editor’s camera. Post work is a breeze. even with a heavy grade it plays back super smooth on my old laptop. I have to make proxies to even watch untouched h265 clips. @Andrew Reid As far as I know, if your camera shipped with a DNG firmware, it can roll back. If you got a camera that shipped after Braw, then no you can't. I tested it myself with the first two updates after Braw came out, but haven't tested since. There is a chance the new updates stop that from happening, but I doubt it. Yes 2.6k is cropped.

I don't know when you last updated, but the recent ones only add features for use with the ATEM Mini, turning it into an unmanned studio camera if you need it. There was also an update that adds a horizon level cross. Other than that, if you have Braw, you've had the last major update. EDIT: that's not true - they've also added 120fps in 2.6k - 75fps at 4096 x 1720 - and 2.8k anamorphic up to 80fps Have you had time to test the real world battery life with the grip? Is there any improvements on letting you know when the battery will die? I've been using a v-mount which has its own indicators, so pay little attention to what the camera tells me.