Jump to content

Myownfriend

Members
  • Posts

    52
  • Joined

  • Last visited

Everything posted by Myownfriend

  1. In that case, I too am curious what you discover once you get the Pocket 4K. I almost feel like it's a mix of FCPX and the GH5S's log curve because 10-bit would only effect the degree you can push the grade.
  2. That generally has more to do with log curves. People generally find BMD's log footage to be pretty easy to color grade.
  3. @CaptainHook I'm not sure if this is info that you can't divulge, but I was looking at the ISO and DR chart that was shown off at NAB and saw that there's less DR in the high ISO range than the low. Shortly after NAB people locked on to the IMX294CJK as the sensor that the Pocket 4K must be using and from what I can tell, you guys might be using the HDR mode for lower ISOs to get more DR and the normal mode for high ISOs to trade some DR for more light gathering ability. However, this would also mean that the lower ISO would only be 10-bit RAW. So my question is, is the lower ISO 10-bit RAW or will the footage be 12-bit RAW no matter the ISO?
  4. I think that's something they would probably prefer to show off in a quieter location.
  5. I agree. It would be kind of nice to hear the audio. Don't know who would be the best way to show that off though.
  6. No reactions yet?! The Balloons footage looks incredible!
  7. I think the thread is about the Production camera not the Pocket 4K
  8. I'm looking at the PreRes footage in Resolve and all I'm seeing there is chroma noise.
  9. How so? The shots looked fine. Besides we're trying to judge the camera, not his cinematography. ___________________________ I'm in agreement with jonpais here. I don't see what everybody's complaining about. It's a well shot video that does a good job of stressing the camera. We all know that if a highly produced short film were released, we'd all be marveling about how pretty it is but we'd all still be curious to stress test it and there would be the occasional "Any camera can look good in a controlled situation." comments. If anybody is put off or confused by this footage then just wait for some more footage. That might even mean waiting until after release.
  10. 4K has been an option for me since it was first uploaded. I've seen one instance where someone was seeing it capped at 1080p and the problem was that they were viewing it in Safari.
  11. Same. I'm sure there will be other footage released in the coming days or weeks showcasing skin tones and low-light.
  12. I think you added like 3 months. Also you don't need a film to show it off. This was high dynamic range footage of trees, water, and caves. You're acting like they gave you test charts.
  13. It's uploaded in 4K also it's difficult to know how the original would compare with out actually being their and testing it out. That being said, the original but in 4K is still excellent.
  14. From what I've read, pixel binning is something that happens during the de-bayering process so, in most cases it will only be used when recording to debayered format in-camera. I'm not sure if there's a way to pixel bin and get a result that looks like bayered data so file size would probably be somewhere between 4K file sizes and 1080p crop sizes. Either way, that really shouldn't disqualify it from being considered RAW. It would still be 12 or 10 bit with no baked in color temperature, sharpening, or digital ISO changes just a loss in spatial data. RAW is kind of weird term because it can't necessarily require that the information be bayered data since some sensors don't even use bayer patterns and it can't be required that image recorded be completely un-altered sensor data since we accept lossy compressed RAW and logarithmic storage of 16-bit linear values to be RAW as well. My bad. I meant 16-bit and I was kind of being short with the process going from two 11-bit values into the linear values. Thanks for clarifying though. I agree with you about bit-depth. That's really where all of that editability in post comes from that people love about RAW. I think one of the best ways to sort of show the importance of bit-depth would be to think about things as a black and white image. An 8-bit per channel image in color may create 16.7 million colors but in black and white, you just have 256 shades at your disposal. Now imagine all the places that would fall apart in a 4096x2160 image. Then remember that, as a color image goes closer and closer to white or black (or the closer it approaches pure red, green, or blue), it becomes more and more similar to that black and white image and it really begins to make sense why it's so impossible to recover detail in shadows and highlights in 8-bit footage without banding. Since you can represent 4096 unique values in 12 bits though, it's far less possible to create a gradient in a 4K DCI image that has banding and every pixel can have a value different from it's neighbors which allows you to pull detail from highlights and shadows. The exception to this of course would be if you're recording an image with virtually no contrast.
  15. Sure it's raw. If my understanding of the Ursa Mini Pro's sensor is up to snuff, it's taking two 11-bit values from two different gain circuits or something then averages them into a 14 bit values. Those values are then logarithmically stored as 12-bit values and THAT becomes the output DNG. Pixel binning would be a form of averaging as well so if the former is acceptable RAW then so is the latter.
  16. Feels like you have a thing for the Lumix series as far as I can tell but you'll show some love for Sony. And apparently something about the more stripped down, purpose-built nature of Blackmagic's cameras seems to makes so little sense to you and your needs that you feel the need to be one of the most active posters in a 150+ page thread about it, all the while trying to down play the camera. Why else would you still be here? You have any intension on buying the camera? Probably not.
  17. I mean you have made it pretty clear that you're hear to defend you brand of choice/camera of choice, thus your need to say "batcam" instead of Pocket 4K. That's gamer level stuff meant to start fights. I don't think it's a personal attack to describe what you've actually been doing.
  18. According to a post by John Brawley on a the BMD forums, BMD cameras do have an automated pixel remapping function.
  19. Oh, then I'm not really sure what you're getting at then if you're not talking about the Lumix line. Looking back at Savannah's post (which I realized has much of the same info I posted. My bad), she was responding to post in which you specifically mention the GH5. If you're referring to the ability for the user to replace the battery with a higher capacity one? Technically, there's nothing preventing someone from doing that if a higher capacity batter exists and fits the camera. If you're talking about the battery that ships with the cameras, the one that ships with the GH5/s is about 13.4Wh (7.2V 1860mAH), the A7S II has a 7.54Wh (7.4 1020mAH) battery, while the one that ships with the Pocket 4K is 14.8Wh (7.4V 2000mAH). So the Pocket 4K does have a higher capacity battery but the camera itself just uses more power.
  20. I think he's just saying that it's wrong to assume that BMD could match the battery life of the Lumix series with all else being equal. Like he said, BMD cameras tend to use TEC coolers which can use a bit of power all by themselves but generally do good job keeping the sensor cool. I believe BMD also uses Xilinx FPGAs which are slower and less power efficient than custom ASICS but are cheaper because they're generic. In other words, if they didn't use these things, the battery life would likely be longer but it would be at the expense of price and cooling.
  21. In order for the GH5s to do that, it would need to have the proper cooling for it and it would require that the HEVC/h.264 decoder can encode fast enough.
  22. Well yes, there's definitely things that companies can do to make the image from an off-the-shelf sensors look unique to the camera but if they're using a Sony sensor, it's very much an unmodified Sony sensor. To my understanding, working with an OTS sensor is similar to working with the SOC in the Raspberry Pi. You can overclock different parts of it's chip, cool it differently, and try to get it to output custom resolutions but that's not the same as customizing the chip.
  23. I think may have misinterpreted something because that article doesn't dispute anything about off-the-shelf sensors. That whole article was about Nikon makes there own custom sensors and has nothing to do with purchasing sensors made by other companies.
  24. The Sandisk Extreme Pros would be able to handle 4K DCI at 24 fps in 4:1 RAW. 30 fps would be too much though. Prores 422 HQ would also be too high of a bitrate at 30 fps. Do we know if the footage from NAB is 422 HQ?
×
×
  • Create New...