Anaconda_

4 minutes ago, zerocool22 said:

I see a lot of ups on the samsung T5, but all problems I saw on fb groups are also people who are using samsung T5's. (prolly the T5's are not the problem, but the cable probably gets hit during recording, so you might want to invest in some cage that tightens these connections)

To add to this - The cable that comes with the T5 works flawless for me. I've tried other USBc cables, and they gave me issues. So it's not only the media you should look at, but what you're using to connect it to the camera.

I can't speak for the 6k, but I've never had a problem witb the 4k.

Blackmagic have a list of recommended media to record to. My first question would be, are the people experiencing issues using the recommended media, or cheaper alternatives?

The quality difference between 4kUHD and 4kDCI will be exactly 0, and performance difference will be close to the same. The only difference is DCI has extra pixels on the side. Sharpness, DR, rolloff, aliasing, moire etc. is all the same.

Downscaling 4k DCI (17:9) to 1920x1080 (16:9) will either add black bars at the top and bottom to preserve your aspect ratio, or crop off the sides to force 16:9.

The question is, do you need to deliver in 16:9? If not, you could export at 2kDCI (2048x1080) which will preserve your 17:9 aspect ratio, without cropping anything or adding black bars to the file.

If you need to deliver in 16:9, I'd suggest also editing in 16:9, so you can keep an eye on what's being cropped. You could still shoot DCI, which would allow you to reframe slightly if you want more or less space on the left or right side of your frame. But if you edit in 17:9 and let your NLE crop the sides during the export, you'll have estimate what's going to be cropped for the 16:9 ratio.

7 hours ago, kye said:

It would work the way that any camera works.  The basic logic must be that the image is taken from the sensor and processed, then for each display (eg, the screen or EVF or video-out) it must be processed separately considering that each one will be a different resolution and have different needs for the OSD etc.

But does the EVF get it's display (OSD and image) from the HDMI port? If it does, then there's no clean HDMI out. If that all comes through USBc, then there's no SSD recording. The image and OSD shown on the EVF has to go from the camera to the EVF display through one of the ports, and I can't imagine it's coming through the two pins... those are for power right?

So either this does pass through USBc, or the FP-L has a better way of recording internal raw, so you don't even need the SSD. (Please Braw internal!)

If it's not any of those options, you'd to have to choose between and EVF and 12bit raw.

I wonder if you can have all your info on the EVF display, but still get a clean feed through the HDMI to a monitor... How would that work? 

The only was I see it working is if that information is sent through USB, but then can you still record 12bit raw to SSD?

2 hours ago, zerocool22 said:

Have to agree the S5 firmware update is disappointing. I would love BRAW from the S5 though, but not through a bulky monitor recorder, I would take a hotshoe samsung T5 sized device that records braw though(without a monitor). 

Just imagine if Atomos release a new Ninja Star for ProRes Raw - or BMD do something similar for Braw. I'd buy one, or both in an instant.

30 minutes ago, kye said:

Essentially I'm staring into the black hole where a decent camera option should be, but isn't, and I think lots of people would also like there to be one here, but there just isn't.

What about the Z-cam E2c. It's the cheapest 4k raw option around, also internal ProRes, and about the size of the Blackmagic Micro.

I think All setting and monitoring can be done with a phone with no added hardware.

It'd be the closest thing to low cost, high quality crashcam... But is it low cost enough to purposefully smash it?

Can you find a Z-Cam E1 anywhere - I bet that'd be close.

46 minutes ago, TomTheDP said:

Why isn't uncompressed DNG an option though, does RED own that?

Because file sizes are ridiculous. Sigma FP does this, and a 64gb SD card gets you 5 minutes at 4k24p... Imagine trying to shoot 4k120p.

Really, they should get internal ProRes raw, or Braw. That'd put an end to it. 

That's going to drive up the prices of the EOSm.

1 hour ago, gt3rs said:

I'm still puzzled that they did not offer the possibility to start and stop on the transmitter so you could even use the transmitter as standalone recorder.

I'm under the impression that there's a phone app coming that could start/stop recording over bluetooth. Of course, that's only good if it does actually start/stop in the first place.

8 minutes ago, IronFilm said:

You could just plug a Deity D3 Pro and plug it into a Rode Go?
https://www.bhphotovideo.com/c/product/1448999-REG/deity_microphones_vmicd3pro_v_mic_d3_pro_directional.html

I've done exactly that with the VideoMic NTG, and NTG4+ with XLR-3.5mm cable. It works very well for a wireless boom setup.

I also regularly use my Wireless Go with a Zoom recorder. Have the mics going into the recorder, then plug the Wireless Go into the output and send the audio to the camera. Perfect for monitoring from the camera, and syncing the HQ audio later, but also gives the option for super mega fast turn around where necessary. Providing you get the levels in the zoom correct before sending the signal to the camera, of course.

It will probably be in the same update that brings gen5 colour to the other pockets. 

I use this, you can order which ever direction you want the 90degree end to be. I'm happy with it.

https://www.amazon.de/dp/B076YB79DL/ref=cm_sw_r_cp_apip_WwFqPMlmPMo1W

3 minutes ago, KnightsFan said:

Seriously all the they need is 32 bit float recording on the transmitter and it's an instant buy, professional or not.

Doesn't the Tentacle Sync Track E already do that? The only difference is there's no receiver (while recording). In fact, it's on SD cards, has a locking connector and timecode for syncing later.

Regarding this Rode though, I read the internal recording is 24bit, with a -20db pad, then converted to 32bit float in post (still not clear on the benefit). I think you'd only really clip that if you're shooting a Michael Bay movie.

1 minute ago, scotchtape said:

it would be even better if you could control when the recording starts/stops and/or if you could use sd/microsd.  On a longer shoot day you'll need to lug around a computer to offload the files to make sure you have space for uncompressed recording.

I think they're also working on a Android/iOS app, which might help with the recording part. Start/Stop would be fantastic. If you're leaving it running all day, maybe use the compressed version for 24 hours of recorded audio? Or if you only need one of the mics, switch them after 6ish hours? 

3 minutes ago, gt3rs said:

If I understand well is not recording 32bit float, just exporting in 32bit....

But records uncompressed. Honestly, I don't even know what that means, but I imagine there's enough headroom. Will have to wait for real world tests.

6 minutes ago, KnightsFan said:

One big disadvantage is that there is no locking 3.5mm connector on Go's though.

That's basically the only thing missing now. Although, I've been looping the lav cable under the clip and also using some tape to keep it in place. It's not exactly pretty, but gets the job done. The thing isn't in the shot anyway, so it's fine. Of course, it depends on your use though.

It seems very snazzy to be honest. All these points are in the video below, but here's what I like and don't like:

• It records on a loop, so if you don't backup the recordings, they get written over once you run out of internal memory.
• If you record uncompressed internal, you can then get a 32-bit float file off the transmitter. No need for -20db safety track
• If you record in Sum to Mono mode, the internal recording has a -20db safety track
• If you experience any audio dropouts to the receiver, the internal recordings will have a marker at those points.
• You can add markers manually with a single tap on the receivers power button
• Update in the works for gen1 transmitter to work with gen2 reciever

Surprised there's not chatter about this here. Anyone know how it gets around those transmission and recording patents?

https://www.rode.com/microphones/wireless/wirelessgoii

I also can't find exact details on recorded audio formats etc.

Quote

Each Wireless GO II transmitter has on-board recording capabilities, with enough internal memory to store over 24 hours of compressed audio and seven hours of uncompressed audio. When active, recording will begin as soon as the transmitters are connected to the receiver, so you will always have a backup of your recording in case you experience dropouts or other audio issues.

15 minutes ago, Marcio Kabke Pinheiro said:

With a crop.

How would you ever stabilise in post without crop?

This basically has the SteadXP built in. Something all camera's could do with, and Blackmagic previously suggested would come for their cameras, but so far never has. Maybe now it'll start to become a standard.

Isn't anyone interested in the gyro Metadata to help stabilize in post with Catalyst?

That's an amazing feature.

33 minutes ago, IronFilm said:

The OG BMCC EF and BMCC MFT were announced at two different times.

Which came first? 

9 minutes ago, chadandreo said:

what applies to one person doesn’t apply to everyone. 
for interviews in which the subjects move around, good AF is invaluable, especially if the production decides to shoot with a more shallow aperture than f8. 

The first part is true. And the second part can be. But I've shot plenty of interviews, and a camera op and journist, 1 man job at f2.8 and sometime wider on 35mm sensor. It's absolutely fine. 

The key is to get the subject on a chair that doesn't swivel or have wheel etc. 

Like you say, what applies to one, doesn't apply to all.

1 minute ago, Thpriest said:

A quick thought, will they make a 4K MFT version?

I think that would be seen as a backwards step. I would also imagine if that was planned, they would have unveiled them both at the same time.

Where would it even sit pricewise?