Anaconda_

Thanks @kye - the post was mostly an attempt to get things back on track, thanks for picking it up. That's my thoughts too, stick some fluff over them and have them as 'usable' mics for those times you need to film a kid's birthday in 4k60p RAW, and don't want to add anything to the body. On the subject of audio, with two separate inputs, I was recently pondering an XLR box like this. It could be a fun way to add more mics that other cameras, even higher end ones, can't actually do. With this you'd techinically have 3 separate phantom power inputs. I regularly film live musicians performing for a camera, I have one on legs with the main vocals and guitar going into that and then the secondary instrument, generally another guitar, going into a Tascam Dr40. With this setup, I could have all 3 sources going into one camera, and separate the stereo input from this box into two mono tracks. Alternatively, it'd be good for interview situations with two subjects. You can mic the interviewer and both subjects with no need to sync anything later. hmmm.

With so much attention from Grant Petty being put on the audio options, and with 4 mics built into the camera, what are people expecting from it regarding wind noise? My experience with most cameras of this kind of size and shape is wind is very disturbing and renders the (usually not very good anyway) internal mics totally useless for outdoor use, even as scratch audio. Looking at it, I'm starting to think that positioning the microphones next to the lens mount, instead of the usual places like the top left corner or in front of the hot shoe, might help shelter them from the wind. That on top of the fact that all exposure controls are on the touchscreen means there probably won't be much handling noise while operating the camera. Although maybe if you're adjusting focus, the mics are more likely to pick that up?

Let me put a point on this: Who gives a shit. Can we please stick to talking about this camera, it's highs, lows, competition, accessories and application. If you feel the need to post about other users, or argue about who said what and under what context, I'm sure most people here would prefer you do so elsewhere. Maybe you can contribute here: Thank you.

Quicker link for those who want to sign: http://www.change.org/p/blackmagic-design-we-ask-blackmagic-design-to-add-super-16-windowed-mode-to-pocket-4k-camera

This is ridiculous guys. Maybe there should be a 'bullshit' thread? Is it a good idea to talk about the projects people hope o have this camera in time for? I'm shooting a film festival in September and really hope I have this in my bag by then.

BM just cleared up the cropping thing for me. I was under the impression HD 100fps would not be cropped, but 120fps would be. I thought I heard a rep say that, but according to this, I was wrong. I wanted to share for anyone else who thought the same.

Just to jump back on the Jlog flatness thing. Here's an interview I shot today as an ungraded and graded frame (only 5 minute grade, but it looks nice to me) This had 3 lights, in a more or less traditional 3 point setup. Feel free to give it your own colours and share

I just found this. If you go to page 12, there's a lot of info on what the LS300 does with the RAW data from the sensor, and the various ways the camera lets you process/record it. However they seem pretty adamant that nobody wants RAW, and say in large red font 'RAW access is NOT needed (or wanted) in the broad-market television world.' http://pro.jvc.com/pro/pr/2015/nab/JVC_4KCAM_WhitePaper.pdf Perhaps their stance will change, and they'll add an update once ProRes RAW gets tested properly and is released. It'll then become more accessible and a feature many would look for in cameras of this range.

I came across this and knew you guys would be interested! https://www.theverge.com/2018/5/19/17372510/red-hydrogen-one-smartphone-hands-on-photos-video

So it's not that RAW is the same for all cameras. I was thinking you could copy paste the grade from one camera to the other, so long as they were exposed the same when shot. Giving you a good starting point. Ah well, nice idea but not exactly a deal breaker haha

Does anyone know of a way to take negative photos with the gx80? I'm currently digitizing a whole load of 35mm negatives, so if I can take negatives of the negatives, it'll save a bit of time in Photoshop haha.

Excuse my ignorance, but can Raw files from multiple cameras be treated the same way? For example, if the LS300 did get RAW output, and you recorded it to an Atomos recorder in ProRes RAW, and then shot with the new BM camera as you're Bcam - will the two match pretty well, with much less time and effort than Jlog?

To get the best out of Jlog, you need to over expose a little. This also makes the image a little flatter, in appearance at least. Here's a sample with the Canon 50mm 1.8 (I think), with a non-speedbooster adapter Internal 4k 25p 422 8-bit Edit: This frame is soft, but I wanted to show that Jlog can be flatter than BTM's samples. This is the only ungraded footage I have to hand right now.

Right, but the article isn't about the ovation is what I'm saying. The article is about people taking offence, which to me isn't the news. I could have told you that on Monday. Maybe I could have worded it better, my bad. Edit: just to add to my point about Von Trier's name being bigger than his movies. Remember Tarantino turned up to Cannes with 'Reservoir Dogs', where a man's ear is cut off. Then 'Pulp Fiction' which is also violet, and then he made 'Kill Bill' (not sure if it went to Cannes) but the point is, there is a way to make violence and gore acceptable for the Cannes / mainstream community, but Lars chooses not to do that in order to provoke this exact reaction. We and many others are discussing, arguing and talking about his movie, while other, perhaps bigger and 'better' movies have passed us by.

I like some of Von Trier's films, I've not seen all of his movies, but there is something to be said about a man who keeps making exactly what he likes regardless of the criticism he's faced over the years. Cannes is simply not the audience for him. I'm working there this year, filming on the red carpets, junkets etc. There's not many fantastic films here compared to previous years, and the ones that stand out tend to be very 'leftist'. A few that spring to mind are 'Girl', about a transgender ballet dancer, 'El Angel' about a homoerotic gangster (based on true events) and 'Sauvage' about a rent boy looking for love. - None of these are competing for the Palms, but 'Girl' in particular is expected to run as Belgium's foreign language Oscar next season. On top of that, 'Total Recall's Paul Verhouven - also of 'Black Book' and 'Elle' announced his next movie, a love story about lesbian nuns called 'Blessed Virgin', which he assured buyers will not be pornographic, but artistic. Oh and then there was 'Star Wars' of course. With this brief list, and of course there are films I've missed out, but where does a hyper violent art movie fit in? Von Trier has never really been loved at Cannes and has previously been banned by the festival after his bazaar nazi comments in the press conference for 'Melancholia'. They're simply not his audience, but as long as they keep accepting his films, he'll keep playing them there. There's no such thing as bad press, and for a Von Trier it almost seems like negative reviews from the press make his real audience want to watch them more. If the general public and movie press don't like a film, then they simply don't understand it right? Luckily, those who can see the subtleties in the art of genital mutilation will stand by their loved Danish director, regardless if they actually like the film or not. Lars has made a name for himself and in many ways, that name is more important than the films he makes. He could piss in a bucket and people would watch it. And honestly, if its filmed like the first scene of 'Antichrist', I'd probably enjoy it too. Sorry for the rant, but to me Cannes rejecting a Von Trier movie is just not news. If they applauded him after the screening, then I would have been surprised. ------- TLDR: just a whole load of BS really

BM are just catching up

I still use the LS300 almost daily for interviews. It's a great camera, and I've said before, I prefer using it to the FS5, although that might be due to lens choices on either cam. We only have the Sony 18-105 on the FS5, which I hate, but the LS has Sigma 18-35, and Canon 50mm 1.8. So that's of course going to change the image ALOT. As far as if that camera is a good buy in 2018, I wouldn't buy it again now, unless they can squeeze RAW output. It's been a great cam for me in the 2 years I've had it, and I've loved using it every time I have, but with the little devil of a camera coming out (hopefully) soon, I'd rather get two of those than an LS300 with the Ninja V. I'll definitely keep and use my LS300 for a little longer though, it really is a great camera and I love the form factor.

Apparently we won't see any rolling shutter - Although I guess if you swing the camera around trying to see it, you will see it.

Ah I missed that, but it makes sense. I'd read about a lot of people hoping Panasonic update for RAW output of the GH5, so assumed the Ninja V was already capable. I was shocked to see that it wasn't, but if they already have the update ready to go, then good stuff.

I was looking on Atomos's site about the Ninja V, and noticed there's no mention of ProRes RAW at all, even on the specs page. https://www.atomos.com/ninjav As far as I can tell, at least for now, it's only the Shogun Inferno and Sumo 19... does anyone know any different? I though since it was announced at NAB, along with the announcement of ProRes RAW, that it was all in the same box, but it seems I was wrong. Sorry if there's another thread for this, I couldn't find it.

My bad, when you said everyone, and then named me on your post, I assumed it was directed at me. You know what they say: to assume is to make an ass of u and me.

@jonpais that's not what I said and you know it. Prores Raw is great for cameras with no internal raw, but doesn't add anything for BM.

Only in this case. I can see why users of cameras that don't have internal raw are interested. But I don't see it offering much that BM already has, other than being able to print thise words on the side of the box. Like they said at NAB, they already have a great RAW workflow that uses open-source CinemaDNG. They have totally uncompressed and 2 differently compressed formats as well. Then Prores HQ 422 and LT. What will ProResRAW give them? A compressed version of something they already have. Cool. I'm not saying it won't be nice to have the option, but I don't think it's a priority for them. At the very least, they might hold onto if for 6 months and release a firmware update, renewing interest in the camera a year after it was announced. EDIT: @John Brawley @jonpais and anyone else, can you take this bullshit somewhere else?

That means it's compressed no? If you're worried about shooting RAW, you also want minimal compression, which BM have offered since day 1. So I don't see why they'd bother with Prores RAW. At this point, it's just a new buzzword .