KnightsFan

The SDK handles reading and applying the metadata from the sidecar if present. App developers don’t need to need to manually do this.

The NDI module is particularly interesting.
This gives the potential for Atomos to develop it to be used as a really compact multi input live switcher and recorder as per the Odyssey 7q but from unlimited camera inputs on a network.
If they go that way it also throws up the possibility of them creating a standalone screenless NDI input box with recorder like the Ninja Star, which is well due a re-spin with a 4K capability.
The Ninja V was already looking like a great product but these modules both kick it up another notch.

In the video, Petty said it would come to the p4k.

What we really need is for a universal system of plug and play parts, like we have with PCs. Imagine if every camera were as modular as a PC! Naturally, building a camera would be a lot of research and some compatibility headaches. But just like with PCs, you could buy an off the shelf, pre-built one with software already installed.
What we need is for the Axiom project to work, not just within its own world of open hardware and software, but for their standards to become universal enough that big companies manufacture parts that work with that standard.

@mercer Watch the video, Grant Petty talks about it. The Pro must have had the hardware all along. They've been working on BM Raw for 2.5 years, he said.
Yeah, I know it wouldn't be in camera, just sort of rambling on about stuff haha.
I'm sure there will be ways to convert it in post. After all, apparently you will be able to export videos from Resolve in BM Raw. Of course I'm not sure what the practical implication is, but based on the video, it seems that one of the pillars of design for BM Raw is designing it around the sensor hardware and color science. So maybe ML can make a converter, but will it be any good? I'm sure Blackmagic--a company with actual full time employees--didn't spend 2.5 years just to design some a container format and some .sidecar files. I also doubt they invented vastly improved techniques for video compression. My guess is that a lot of the time was spent tuning algorithms to their hardware and color science, something that the open source community might not have the resources to do.
But then again, maybe I'm wrong about all of this!

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.

I would be amazed if Apple implements it in FCPX LoL. It would make their Raw Light look a bit dated already, not counting a money grab. Man things are changing faster than I can process it! What a year this has been. Up and down for sure.

Because until the X-T3 the NX1 was the best pro APS-C mirrorless camera in the market, and finally there is a contender.
 

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!

If I was smart I'd wait 6 months from now and see whats going on. 

To me the Fuji seems like everything I need though. Auto focus works, 10 bit color at high frame rates, good color science, and decent low light. 

There is always more but at some point you get what you need. I bought the GH5 but was always dissapointed with auto focus and color. 

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.

Am I correct in that once we get global shutters into mirrorless cameras, they'll be no need for the mechanical shutter? Do flashes and strobes sync properly with global electronic shutters? Perfect spot to place an electronic variable ND! With electronic shutters currently offering a broader range of shutter speeds than mechanical shutter (at the expense of a rolling readout) I could see this being the next big thing. Maybe even that full frame Panasonic does away with the mechanical shutter if they are able to implement a global shutter. Would probably help reduce flange distance.

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

i updated at davinci resolve studio 15 on win 10 and now h265 nx500 4k and 720p 120 fps footage work perfectly!
 

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.

https://www.facebook.com/groups/zcame2/permalink/213010226096597/
 
Z Cam E2 is now shipping 

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.

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.

No, surprisingly not. The other day I did some digging to see if it was still a thing, downloaded some test footage (ungraded, sooc) and really loved it. Tbh, from what I know so far, the Z Cam looks like the clear winner for me. However, the Fuji can take photos as well, so it would be MUCH cheaper since I could sell my old camera instead of add on a dedicated video cam. I'm looking forward to playing with footage from the Fuji!
I can sort of edit 4k H.265 without transcoding in Resolve (I have a decent computer), but I usually create small, 2Mbps HD proxies in H.264. If I edit in Premiere, I export the XML into Resolve otherwise just edit the proxies in Resolve itself. When I'm ready to color, I use the Conform from Bins feature to switch out the proxies for the originals, do my color work, and export. If I need to go back and make changes, I can always Conform from Bins back to the proxies, edit some more, and then Conform my way back to the OG files. It's really very easy, all things considered, and saves terabytes of space over the course of a few projects, compared to Prores.

The fact of the matter is this... 95% of the people who will buy this camera are still shooters. If they shoot any video, it will be 1080p and they’ll use iMovie to edit it.
Half of the remaining 5% will be vloggers and only half of them will shoot in 4K.
The remaining 2.5% are video enthusiasts that shoot family videos or clips documenting their hobby and only half of them will shoot in 4K.
But for a fair guesstimate let’s overestimate and say 5% or less  of the actual customers will shoot in 4K.
I fit square in the middle of video hobbyist/enthusiast and if I ever buy the camera, I would guess I’ll shoot 75% of my stuff in 1080p.
So yes, the 4K Crop sucks, nobody is denying that, but as a company, Canon understands their market and when you honestly look at the market, no wonder Canon is number 1.

Yeah, the problem I have with the crop is switching back and forth, not that it's there. It's easy enough to take an apsc photo and then take an apsc (or slightly smaller) video. It's a lot harder to take a full frame photo, and then immediately take an apsc video on the same lens at the same event.
Of course, i could take cropped photos so that they match the video but then why get ff at all?

I can't speak to other critics. I was optimistic earlier in this thread, before the specs came out, since I've liked every canon I've shot with.
the 4K crop is a deal breaker. The only reason I'd upgrade from my apsc is to get full frame. I shoot photos an video, sometimes in quick succession. I can't have my current lens behave differently depending on the mode I'm in. I'd rather just stick with apsc. If I didn't shoot any video then it wouldn't matter to me, of course, but most members on eoshd care about video. 120 fps being in 720 is also a downgrade for me, and that's a feature I've used on almost every project in the past year an a half.
so on the other hand I see the Nikon z6, which has much more of what I need, for less money. I'm not mad at canon or anythin stupid like that, but for me it is very clear that the eos r is not worth the money.
yeah, unfortunately they don't. If I see a Sony or Panasonic (or canon) that looks like a worthwhile upgrade, I will! I'm pretty happy with what I've got at the moment, I just like keeping up with the news.
 

Only workaround is simply to shoot 1080p. FF stills & video. Obviously not the camera for FF 4K. That boat sailed (or should i say sunk) about 20 hours ago!

For Fuji at least the 10min limit is thermal protection for the battery, hence the extended time with the battery grip (which houses two extra batteries.) Sometimes I wish Fuji would change their batteries, but then I have 10 of them now...
I just got an X-H1 for this very reason — I have an upcoming job where for every stills shot they needed a motion equivalent, and we’re working in real locations around people working so it was just easier to have a camera that can handle both stills and motion in exactly the same way. I previously did a similar job where I shot with my D800 and C100mk2, and the switching back and forth did my head in. 

I can't speak to other critics. I was optimistic earlier in this thread, before the specs came out, since I've liked every canon I've shot with.
the 4K crop is a deal breaker. The only reason I'd upgrade from my apsc is to get full frame. I shoot photos an video, sometimes in quick succession. I can't have my current lens behave differently depending on the mode I'm in. I'd rather just stick with apsc. If I didn't shoot any video then it wouldn't matter to me, of course, but most members on eoshd care about video. 120 fps being in 720 is also a downgrade for me, and that's a feature I've used on almost every project in the past year an a half.
so on the other hand I see the Nikon z6, which has much more of what I need, for less money. I'm not mad at canon or anythin stupid like that, but for me it is very clear that the eos r is not worth the money.
yeah, unfortunately they don't. If I see a Sony or Panasonic (or canon) that looks like a worthwhile upgrade, I will! I'm pretty happy with what I've got at the moment, I just like keeping up with the news.