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Jimmy G

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  1. Like
    Jimmy G got a reaction from MaverickTRD in External Recorders/monitors   
    To the OP...Methinks the whole camera-manufacturer crowd are missing the mark on what the consumer market wants and needs right now, internal RAW recording. Having just traveled down the path you're on looking for the same RAW recording solutions for my Panasonic S1's I've walked away from the whole idea for the time-being as the market choices for recording RAW are extremely limited at this moment in time...as you yourself have discovered, Ninja V or VideoAssist 12G and, then, all the attachment/mounting gadgetry and compatible SSDs and cables, ad nauseam. Wish I had better news to report.
    Ideally, if internal RAW is just too difficult a problem for the camera manufacturers to solve, then I'd like to see an outright ditching of the current HDMI mindset and an embracing of USB-C/TB4 ports on cameras which would allow external recording of RAW directly to smartphones and tablets and directly into one's mobile NLE...screw all of this extraneous gear and drives and doodads just to accommodate the unnecessarily-expensive and overly-complicated HDMI workflow! One could be shooting and streaming on-the-fly or immediately editing on-scene with a Camera>USB-C/TB4>smartdevice setup.
    I'd be wet-my-pants-giddy and love to record ProRes RAW straight to a new 2TB XDR iPad Pro (or upcoming 1TB XDR iPhone 13)...heck, someone could market a camera cage with a swivel screen apparatus for mounting the smartphone-or-tablet/recorder for use as a fully-articulated display! (Patent pending, ;) ...Haw!) Stoopid easy and stoopid smart.
    Anyhoo, best of luck on your search for answers, sorry I couldn't have been more helpful.
  2. Haha
    Jimmy G reacted to billdoubleu in Panasonic S1 V-LOG -- New image quality king of the hill   
    No imaginary control is more real than when Apple can't out lawyer it and China can't ignore it.
  3. Thanks
    Jimmy G reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Full Disclosure: Besides being a camera enthusiast and working camera dude (I get paid weekly by my corporate clients in the photo and video realms), my day job is as a Sr. Software Engineer.
    To put things simply, a patent usually has a particular claim that is novel. The spell out in excruciating detail exactly how their technology achieves that claim. They also try and make the claim as broad as possible, to try and cover any and all possible uses and implementations.  A quick look here will make you utterly sick with how broad and catch all many of the RED patents seem to be. But a quick look at this patent in particular, and you can see the claim, and how they accomplish what they do, and why it is novel, and that being visually lossless compression of a RAW motion video RAW of at least 23 frames per second.
    Of course there may be some ways to get around this. Just know that if you do try, you will most definitely have REDs lawyers knocking at your door. If they shut down Apple, they probably can shut down any company.
    As an aside, legal at my company really dissuades us from even looking at patents, as their is stiffer penalties if a company knowingly infringes on a patent, as opposed to creating a technology naturally that may violate a patent. 
  4. Thanks
  5. Thanks
    Jimmy G got a reaction from MicahMahaffey in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I've been debating whether acquiring a Ninja V to experiment with what VLOG/ProRes RAW might offer over the internal VLOG options for HDR.
    I was a bit disappointed in finding out through my inquiries this past week that the only option to record ProRes RAW is with the Ninja V...is this all this much in it's infancy that there exists no other market choices?!
    I was also disappointed after watching last week's LUMIX YT presentation to learn that Panasonic still had nothing to say regarding piping the RAW data packets over the internal PCIe bus to the internal CFExpress cards and will instead continue to only make that data dump available through the HDMI pipeline to external recorders. There was a fair amount of talk inferring thermal capacity of the S1 body as a limitation but what still does not add up to me is that they state (on one hand) that the heat is generated by the internal processing done before sending data to their cards for their internal codecs, but did not satisfactorily (to my viewing and listening) reconcile (as they stated on the other hand) that packet-izing the RAW data requires no internal image processing (so less heat), only sensor data transport? So, simply put, packetizing the RAW data generates less internal heat than that caused by the internal image processing that is sent to the internal cards.
    Sooo, if internal codec recording times are dictated by...
    1. Sensor image processing heat + writing to card heat = 15 minutes, why is it if...
    2. 0 sensor image processing heat only RAW packetizing + HDMI piping = unlimited record time, and...
    3. Sensor image processing heat + HDMI piping = unlimited record time, that...
    4. 0 sensor image processing heat only RAW packetizing + writing to card heat ≠ at least 15 minutes?
    By what the Panasonic reps stated, scenario 4 should generate less internal heat than scenario 1, so why not allow the RAW data packets (with time limits, if that needs to be so) that fit the S1's thermal design...i.e. 15-minutes, or whatever it works out to (they have the thermal numbers)?
    My point, all along (and I will not tire from this), I'd prefer to be focused on shooting the bird and frog, etc. activities (that actually require my attention!) while I'm out in the field rather than fiddling around with a recorder and settings and connections and snag points and added weight whilst missing vital irreproducible action, I can fiddle with the RAW data to my heart's content in FCPX when I get home.
    And I'm sure I am not alone in wishing to be able to record RAW internally (just like all the other codecs) without the fuss and muss of extraneous gear. 🙂
    -Jim
  6. Like
    Jimmy G reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I don't remember what angle the S1H was set to for that particular shot. I have long since trashed the original files as this was my second and last music video, as the only thing that pisses me off more than a bridal diva is a creative diva who can't get 10,000 free soundcloud streams  😁. It may be okay for some to make a $1000 in a day, but I make that in a few hours for corporate work with dedicated creative directors and set creators setting up the look just the way they desire. All I have to do is create pristine video and sound. With indie music videos, you need to do everything.

    I think I wouldn't have a problem using ISO-10000 with H.264 with my S1 or S1H. I once pushed to ISO-16000, but that needed post noise reduction, and I wish I would have just jacked up internal noise reduction instead of having to clean up a 20 min of reception speeches in post.
  7. Like
    Jimmy G reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    The slo-mo purple fringing thing is because I pushed slo-mo in post to match the beat. It was a creative decision that was not planned in the pre-production. The video was shot with two lenses. The Panasonic 24-105 f/4 (fantastic lens!) and the Canon 50mm f/1.8. The Canon was not initially planned to be used as the night scenes were meant to be lit, but it became a safety concern with the wet snow, so we only used a battery LED Fresnel on the last shot.
    If you look at the scene from 1:30, you can clearly see the image degrades at 1:36, which you have correctly noted! This is the best example of an identical scene, identical lighting, with just a change in aperture to account for the fps increase. The seemingly longer lens is mostly from the 4K 60p S35 crop.

    I also forgot the the last shot of the video, which reminded me that anywhere there was a slo-mo shot, the camera is switched to 4K 60p H.265 4:2:0 S35 instead of 4K 23.976p H.264 4:2:2 FF.
    Good eye Jimmy!
  8. Thanks
    Jimmy G reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Link is valid for 72 hours, and the file size is 700MB. Music video has a NSFW due to language.
  9. Like
    Jimmy G reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    The other link is trash. Best to download the file instead of playing it, as my upload bandwidth is severely limited. Let's see if you can tell where the quality takes a dump, and that is where I went from shooting from H.264 to H.265.
    https://www.myqnapcloud.com/smartshare/6g774717np2m262q22u220y2_6CkDTsX
    Password: NOLIES
     
  10. Like
    Jimmy G got a reaction from Jimbo in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Just got an email from Panasonic that they're live-streaming about the upcoming firmware updates tomorrow (the 25th) at 2 p.m. EDT on their LUMIX Cameras YT channel, host Sean Robinson, guest Matt Frazer, here's the link...
    LUMIX Live : The S Series Firmware - YouTube
    https://www.youtube.com/watch?v=zWwMrA3ILbg
    ...my question will be, "Ninja V only? No love for the Atomos Shogun 7 or Sumo 19 or Neons with ProRes RAW from the S1, etc.?" (I've been chasing down rabbit holes for several days now with Atomos, Panasonic and Apple for an answer on this! I'm hard-pressed to believe that ProRes is so finicky that it will only work with specific combinations of cameras and recorders?! Oofah!)
  11. Like
    Jimmy G reacted to barefoot_dp in Panasonic GH6 rumours   
    Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera.
     
    Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing.
     
    The big problem there is patents.

    You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents don't allow it.
     
  12. Like
    Jimmy G got a reaction from SlanderShot in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    ...I'd be "in" with that, as long as it records with audio, too! :)
  13. Like
    Jimmy G reacted to SlanderShot in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    So now that the S1 is closer to the S1H, as a S1H user i'm wondering what kind of major update we're expecting to highlight a real difference between S1 and S1H ?
    I'd go with something like: 4k@120 fps, probably only in 420 8bits internal and 422 10 bits external.
  14. Like
    Jimmy G reacted to barefoot_dp in Panasonic GH6 rumours   
    Unfortunately you find yourself in a small niche that not many of the brands are likely to cater to (due to my previous comment of it making the products prohibitively expensive/complex for the majority of users).

    I think you're likely left in a position where you need to decide whether you actually need the things you think you do (ie raw, 10-bit) for what you're doing, or whether they're just imaginary goalposts you've put up. What exactly is it that you think you're missing from the current generation of cameras, that would be better if you were shooting raw?
     
  15. Haha
  16. Like
    Jimmy G reacted to androidlad in Low cost monitors for editing HDR video?   
    You could, totally, for non-professional use.
    HDR is more than just a wide gamut. There's peak luminance, intraframe contrast, tone-mapping etc.
     
  17. Like
    Jimmy G reacted to androidlad in Low cost monitors for editing HDR video?   
    BT.2020 for now (and for the near future) is only used as a container, the actual encoded gamut for HDR is P3 D65.
  18. Like
    Jimmy G reacted to androidlad in Low cost monitors for editing HDR video?   
    Dell UP2718Q is a proper HDR monitor with FALD, about $1500.
    The new Atomos Shogun 7 also uses FALD and costs $1500.
  19. Like
    Jimmy G reacted to zerocool22 in American Cinematographer Special Offer   
    If this was the print version, that would have been even more amazing. I must be really getting old as I prefer reading things written on paper. (allthough I find print obsolete and a waste of good resources) 
  20. Like
    Jimmy G reacted to Andrew Reid in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Panasonic has announced a big firmware update today.
    It's especially good news for S1 owners.
    Also - BRAW / anamorphic goodies coming for S1H shooters (via HDMI).
    New blog post:
    https://www.eoshd.com/news/firmware-update-turns-panasonic-s1-into-an-s1h-with-record-time-limit-in-demanding-modes-like-6k/
     
  21. Like
    Jimmy G reacted to MrSMW in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I don't know if I want, never mind need (or really even know what is) BRAW, but shooting to a hotshoe T5 wotsit is not something I have thought of before and has me thinking if there is any more general application to doing this that would work and is of any use to me?
    I hate monitors. No, hate is too strong a term, - I simply do not use monitors because I wish to continue to appear more like a guest photographer than a videographer. It's just not going to happen with me, but a teeny weeny hotshoe mounted SSD I could live with, but use it for what specifically?
  22. Like
    Jimmy G reacted to zerocool22 in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I got spoiled with BRAW the last years, now I got an S5 and I need to check whitebalance while shooting to perfection, while shooting braw when its sorta looking ok, I could always fix it in post. So WB is the main shooting benefit for me. On the editing side BRAW is really smooth on my machine vs H265 422. 

    Then there is also some extra options like changing ISO in post, which I never use that much though. 

    Yeah I dont like monitors as well for run and gun, because charging and swapping batteries is the worst. + the added weight +the bulkyness which doesnt let you throw your camera in your backpack and move on. Disconnect cables, batteries, rig it down, to rig it all back up again. Too much of a timewaster for me. doesnt make sense to shoot these small camera's when you have to rig them up. 
  23. Like
    Jimmy G reacted to deezid in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Probably just interpret as PQ/LINEAR in fcpx or Premiere. Dynamic range is exactly the same in ProRes Raw/Braw vs internal.
    Only benefits are:
    - no chroma denoising
    - 12 bit 444
     
     
     
     
     
     
     
     
  24. Haha
    Jimmy G reacted to MrSMW in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I don't know if you noticed @Lux Shots but there's banding in your picture? A big grey bar right through the centre. Or should that be gray and center? Anyway, I spotted it.
  25. Haha
    Jimmy G reacted to ntblowz in Cameras become antique?   
    I was browsing on market place and I didn't realise camera is already in the antique section
     
     

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