KnightsFan

Way back when this topic first started, we were just about to start the second season of our experimental/comedy web series, #millcore. I dialed in the RGB settings I liked, created a LUT, and just used that for all shots. The settings I ended up using were: R 1.88, G 1.85, and B 1.95. Now (a few years later...) we are finally showing it publicly, so I can share the trailer.

Here's the trailer for the second season, which is coming out very soon. For any interested NX1 users, the second season was entirely shot using the color boost trick that was posted over on the NX1 subforum.

Definitely. But on the other wise, it is worth mentioning that the number doesn't include anyone who got coronavirus, but was not sick enough to go to the doctor and have it officially identified.

The containment was definitely justified. But it does put a worrying perspective on it: if we got this many cases with a locked down city, what would this be like if we took a more relaxed approach the way we do with the flu? And also, will Americans obey a lockdown the same way that the Chinese do? I think that we would have a more difficult time in many American cities convincing people to stop their lives for weeks in the interest of national health. We constantly tell people to stay home if they are sick, but people don't because they are scared of losing their job, or can't afford to lose a day of wages.

Agree with what @OliKMIA said but wanted to be a little more cautious as well. While the flu kills a lot more people total, its mortality rate is on the order of 0.05% in the US. That's a difference of 40x. Those numbers are the US flu rate vs. the primarily China coronavirus, so it's not apples to apples, but the coronavirus is an order of magnitude more deadly. The flu is global, the coronavirus has really only hit a single city so far, with a few isolated cases escaping. The rate of spread is extraordinary. The SARS outbreak infected 8,000 people total over six months. This has hit 10x that in two months. And this is even with Wuhan being in complete lockdown with extraordinary measures undertaken to limit the spread. If a similar outbreak happens in New York, a similar lockdown could devastate the global economy.

I will be much more panicked if I see a group of people wearing option 2 coming towards me.

My thought process is if I was doing paid work where I needed in camera audio, I would pick a camera with a gain knob/dial and most likely XLR's. A DSLM headphone jack is solidly in the "nice to have" category for me.

What are some cases where people use the headphone jack on their DSLR/DSLM? I don't think I ever have. Either I'm running external audio, or it's not serious enough to need to need to tell whether something went wrong.

@BTM_Pix I have actually been working on something very similar the past few weeks. I did a couple (janky/terrible) proof on concepts last week with it and it's surprisingly easy. I had it running in about 20 minutes. For hardware I was using a Rift S, and software was Unity and using OBS to capture. Very cheap and easy. The difference was I was actually wearing the headset as well, so I could see the entire scene around me, and I was holding a "virtual camcorder" as the controller, which was sending its "display" to a second monitor for screen capture. The biggest problem was that the headset was wired to the computer, so it would only work in a small space. It should be possible to do all of this on the Quest for wireless connectivity--I'd have to figure out how to compile Unity builds for the Quest first though.

For the price it would be more reliable and cheaper to get two Ursas as opposed to any of those others (not that that's what anyone should do) just in terms of failure chances.

You can't move the shutter button though.

I like the compact size, but that grip is terrible. After using a friend's XT3 I found the grip to be terrible. It's not just that it's small, there's no lip above the middle finger so when held in one hand all of the weight is supported by friction alone. I looked into grip attachments, but they all just add more mass to the grip, none actually add that contoured lip that rests on your fingers. I looked into designing and printing my own, but the placement of the shutter release means that even with a small contoured grip, your index finger has to contort to get to the shutter. It's probably fine for a lot of people, but 8 hours into a hike and I'm climbing a rock to get a shot, that little lip is so much more comfortable and secure. Long story short, that design is an absolute deal breaker for me.

That tiny grip is very disappointing again.

Battery life is already atrocious, maybe a brighter screen would make it completely unusable?

True about configurability, and an off the shelf part is cheaper than a custom design. Not so sure about ASICs being larger though. The big benefits of ASIC are efficiency--less power consumption (especially important on battery powered cameras) and less heat generation. If your original design includes all the features your hardware is capable of, then ASIC makes a lot of sense if the designer has the sense to thoroughly test before release. These days software tends to be in continuous update mode, which is code for never ending beta.

Oh i completely agree. Hence my dry "hopefully it's 24 fps." But, to be fair, Z Cam is doing 8K in a similar size body, although they use the aluminum outer body as a heatsink which Canon can't do in a handheld, rubber grip design. But having 8k24 continuous for a reasonable number of minutes is within technological reason. I'd rather have 4k60 than 8k as well. But honestly I can do without AF, IBIS, peaking, zebras altogether. Burst only wouldn't be great, but I'd probably shoot 4k most of the time anyway, and an added 8k burst or special purpose wouldn't hurt anything. Then again, it'll probably be out of my budget anyway! That's what Fuji has against the Canon 8K monster

Z cam uses ASIC and implemented h264, h265, prores, and raw all on the same camera. Canon has way more resources and I assume could also develop a prores asic. They had planned it from the start. In fact, some users found out how to unlock it right away, way before it was licensed.

well canon officially announced that it will shoot 8k, so that's reliable at least. Hopefully it will be at least 24p. As far as i can see, there is no official word about whether it has 4k60 or bit depth or chroma subsampling, but i think we should assume 8 bit 420 for 8k

I've taken it with a serving of salt ever since he said the A7s3 would have an addon unit to allow raw recording on the AXS-R7 recorder back in *checks* 2018. I mean rumors and speculation are to be expected, but it's nothing more than that until an announcement.

@EphraimP Sounds like it'll be a great build, that's probably what I would go for if I had the budget (and projects to work on--my day job is keeping me too busy these days!) Make sure to get a quality power supply if you don't already have one. No point risking damage to high quality components by cheaping out on a power supply, which is relatively inexpensive for even high end models. I'd love to hear what you settle on for MoBo and RAM. I'm still eyeing an upgrade to Ryzen 3600 and haven't settled on those yet myself. I'm not in a hurry, so I may wait a few months and see if the B550 rumors materialize. I'm sure your tech will know this, but keeping your cables out of the way of airflow does magic for thermal performance.

This looks amazing!

It may be a Series 9 filter, which is a format of 82mm non-threaded filter. Ask the seller if it's Series 9, or Lee, or what format it is. Most filters can be found in a number of formats, e.g. you can find a Black ProMist in 77mm standard threaded, or Series 9, or square formats. You should definitely find out for sure what standard the filter is before buying so you know what kind of adapter you'll need and how expensive that will be.

Its worth mentioning that with the price difference between an S1H and probable cost of an XT4, you can buy a top of the line computer. Not to try to change your mind about your needs of course 4:3 modes would be nice. I don't know why more cameras don't allow for more aspect ratios.

Exactly, and this applies to many many industries, not just sensors and cameras.

I can usually tell on movies I watch whether it was shot on Arri or not, even at the highest budgets. The most common difference is Arri distributes stops to highlights for milkier shadows and extensive highlights (like film). Red on the other hand distributes stops to the shadows for more shadow detail. Can you adjust them differently in post? Probably. But for whatever reason I see that difference even on $100 million movies.