KnightsFan

I was going to say that, but in my experience some people don't like manually placing a couple files in the right folder, even to save a few hundred GB of data over the internet... lol

I agree, two cards. you can recor to one while copying files of the other, less chances of total data loss, if you lose one you've got the other, you can shoot on two cameras at once if necessary.

Like with ProRes Raw, I was initially kind of skeptical, but I've read a bit about this Blackmagic Raw and it looks phenomenal. Here are my thoughts. - It's not RAW in the way we used to mean. It's compressed, processed, and partially demosaiced. While the terminology doesn't detract from its awesomeness, I feel strongly about calling things what they are. (I said the same thing about ProRes RAW, Canon RAWLite, Redcode RAW, etc.). - It's got a variety of compression ratios. This is VERY important! This means that no matter what quality level you are currently using, you can have the same exact workflow every time. This means the same workflow not just for the image, but the metadata as well. - The .sidecar files allow metadata created in one program to be used in another. Additionally, the .sidecar metadata replaces (without overwriting) the original metadata. You can make color adjustments in software A, then see those same changes in Software B--and then revert back to the original if you want. - Metadata can hold manufacturer-specified color information. This was a criticism Petty made earlier this year against ProRes Raw. Looking back, he was probably itching to blurt out how much better their raw format was! - Metadata can be stored per frame for things like focus distance. This is a must-have for VFX. - Unlike cDNG, the new format is in a single file. Small improvement, but good. - Some processing is done in-camera. I'm very curious how this works, but the promised result is better performance while editing. - And finally, the big one: The SDK is open! I imagine this will quickly find its way into open source programs like VLC, Ffmpeg, Blender, Kdenlive, and more. This won't affect the Big Guys much, but for the low budget folks that will be huge. - Imagine if VLC implemented the SDK and could natively show Raw files, with color correction information. You could send a client/friend a raw file straight from camera for viewing without transcoding or using proxies. - The file size was one reason I haven't really looked at the P4K, and have been so intent on cameras with H.265 (Fuji, Z-Cam). It looks like Blackmagic Raw might bring drastic file size improvements. 46 MB/s for 4.6k 12:1 isn't bad. I'm guesstimating that's like 12 MB/s for HD? That's low enough for me, though I'll have to see how the quality compares to H.265 at the same bitrate.

Exactly! But since the format is open, other manufacturers can get those benefits as well. Only Blackmagic gets the street cred for it, though.

I haven't used it very much, but I've been happy with Resolve's stabilizer so far. And to be honest, I've had very bad luck with the NX1's DIS.

I'm not super knowledgeable about Businesses, but my 2 cents: Unlike many other camera companies, Blackmagic is private. Shareholders require that a large public company GROW in order to make share prices rise, while a private company can stay about the same size without much consequence. So Blackmagic has a lot more leeway to pursue a philosophy, even if it makes them less money in the short term. What they stand to gain in the long term is to make their name synonymous with innovation, the way that Arri or Leica are synonymous with quality.

Exciting! I can't wait to see what the magic lantern people do next.

4:2:2 has double the chroma resolution compared to 4:2:0. How much that matters varies. The best way to see the perceived quality difference is to start with some high quality 4:4:4 footage and then render it as 4:2:2 and as 4:2:0. Try a variety of scenes, try color grading both or doing green screen work. You can come to your own conclusions--always better than listening to what other people claim!

That's what I'm saying--and naturally there's a margin of error, and some outright mistakes will be made, in addition to a switch in methodology (I'm trying to look up when that happened. Perhaps it goes along with the different format of the chart?). But it's outright impossible to compare camera A to camera C by judging BOTH an A vs. B by one blogger, and then a B vs. C by a completely different person. I agree the color so far doesn't look as good as Fuji or Blackmagic. I enjoy color grading, though. Tbh, until about a week ago, I discounted the E2 as a novelty because the graded test footage looked terrible. However, I downloaded some sooc zlog, played around in Resolve and was shocked at how easy it was to get a really good image. Fuji, Blackmagic, and ZCam are my top choices at the moment, but we'll see what other announcements get made. Fortunately, I won't be upgrading until December or January, so I've got plenty of time to see reviews and such! This is a great year to be almost-but-not-quite upgrading.

@sanveer Does anyone do actual scientific tests though? I understand that C5D is suspect, but afaik they are the only ones who do actual lab tests on many different cameras under (supposedly) the same test scenarios.

@IronFilm and @sanveer I meant where do you get your dynamic range info from if not from cinema5d, who? Naturally!

Good to know! Who do you get your info from?

Haha Maybe. What I like about them is they have done multiple cameras with the same methodology, so you can actually compare different brands. Do you know of any more reliable place that does the same? I'd love to see a variety of tests.

H.265, actually (big difference!). You should download some of the footage, it has very few artifacts. ProRes 4k 120 fps would make HUGE files. It's also got some interesting deep learning features that most of us won't use, but looks unique. You can also monitor and control the camera via an iPhone app attached via USB-C, so it may completely eliminate the need for an external monitor. I don't know about the P4K, but the E2 is supposed to use an all-analog gain structure, so dynamic range should by constant across the entire ISO range (though I assume that noise levels will increase). Which brings us to: It's actually about 13.5, which is in line with the other cameras' claims. The 16 claim comes from their WDR mode. I'm not sure how it works, but I think it's doing some fancy double frames or something (I'm sure they explained somewhere on Facebook). They say it can introduce artifacts with moving objects in WDR mode. I hope some third party like Cinema5D does an objective dynamic range test.

I agree... Somewhat. They haven't released any "wow" footage done by pros on a set, colored by pro. However, they have released a lot of sooc files that I think show off what the camera can do, you've just got to do some work on your own color grading. It doesn't look as good as say the p4k, but for a fraction of the data rate it's a fair trade in my book.

You've got our support! I understand why you're upset. It's reasonable to not buy the camera--after all it's your money, and your time. Maybe Blackmagic forgot, maybe they did it completely out of malice. Either way, it's not worth getting into a fight about.

As we invent better sensors, at some point we have enough dynamic range and should focus on global shutter. I'm glad to see innovation on both fronts.

Well that is certainly exciting! Global shutter seems to be a tough one. Blackmagic promised it and ten backed off, and I seem to remember other manufacturers doing the same thing. Let's hope Sony can do it without compromising other qualities, and that it becomes a standard feature in the future.

Welcome to the forum! Nice work! Right now I don't have access to a calibrated monitor, so take my comments with a grain of salt. Also, since I don't really know what mood/story you are going for, take my comments with a big helping of salt! Overall, your grades are appealing and within realism. Nothing too stylized or extreme. Since I don't know what your goals with these grades are, I can't really say whether you've done well, so here are some thoughts on what I might do differently. Sequence 1: Looks nice! Perhaps a tad yellow/orange--I'm looking at the white boat in the foreground. I feel like you could up the saturation a little as well. Compositionally, I can't really focus on any boats as they are lost in the jumbled rigging, but the mountain draws my eyes. If that's intended, I'd try especially putting more saturation in the mountain, and maybe even add more contrast. Sequence 2: This one looks a little purplish. The concrete seems to have an unnatural tint. I think you could make the boat's red stand out just a little more as well. Sequence 3: This is another one where I think it gets too yellow. I do like how you've made the sky pop out a little more, but that seems to also be pushing the boats away from white too much. Speaking of which, a little more contrast might make those bright white boats stand out more from the dark background of trees and mountains. Sequence 4: Another one that's more purple than maybe natural, but I like it. Again I'd up the contrast. Composition wise, it might be nice to be a little tighter on the lighthouse and those islands, perhaps by cropping out the left side of the screen. That way you could really make that red roof stand out from the blue water and sky. Just a thought. Sequence 5: A little too much teal for me. I'd also love if the sky was a little more saturated. Out of curiosity, what ISO was this? Sequence 6 and 7 are pretty similar to 5. Sequence 8: Not much to say here. It looks good, both before and after. Maybe brighten the boat in the foreground a little bit. Overall looks good! Like I said, this is more a list of things I might do differently, rather than criticisms.

@andrgl Here's an interesting article about RX and non-RX lenses for Bolex. http://cinetinker.blogspot.com/2014/12/rx-vs-non-rx-lenses.html I'm pulling some quotes from the section about the aberrations caused by using non-RX lenses (designed with no glass prism) on an RX camera (which has a 10mm glass prism between the lens and the film).

@Cinegain I'm seriously considering it, once it's seen some real world use and there are reviews.

Samsung, actually. Sony a73 does seem like a decent option, but not enough of an upgrade to justify the cost.

Nor can a ff camera with an apsc lens... So you put a ff lens on and we're back to where we started with the changing fov. another reason not to buy! I'm not a pro. I can only afford one body that's a good all rounder. Probably other people can get dedicated cameras for sports, video, astrophotography, etc. I do a little bit of each for fun, and I bet most consumers, like me, only want one body. if the eos r works for you, great! But the crop is a deal breaker for me and (apparently) many others on this forum and elsewhere. And it's not the fact that it's cropped that bothers us--many of us are interested in the p4k--it's that as a hybrid stills and video camera, it fails to deliver what we need from a hybrid. "but just move back" you said? On a recent shoot I was balancing on a tiny rock on the bank of class 5 Rapids, shooting kayakers. Nowhere to move back. No time to change lenses. I happily used my nx1 to shoot 4K, 28 megapixel stills at 15fps, and nice 120fps hd. All with a consistent fov. Seems like a really poor deal to spend 2-3xthe money on a camera that can't do any of that. again, if it works for you, then that is fantastic! I'm Just explaining why it doesn't work for me. Right tool for the right job is only applicable to people with enough money to buy a lot of tools! if you can drop $2300 on a camera that has limited use as an all round photo camera, and requires two different sets of lenses (at the wide end) to shoot in stills vs. video, go for it.

if you auto crop to apsc, just buy an apsc camera. It will be cheaper and have higher resolution than the cropped portion. changing lenses takes time, which you don't have when shooting things like sports.

Exactly. And If you do use apsc lenses for video, and then switch to photo mode for a quick snap of the action, you won't be happy. crop sensors are fine, forced switching between crop and full frame on the same body is not. It's unthinkable to shoot both photos and 4K video at the same event on this camera.