Video Hummus

Simple answer: too early to tell. AV1 has a long way to go before it is well supported. A good sign is that both major graphic card companies have AV1 support in new or upcoming products. AV1 will require hardware acceleration for it to be useable for anything, especially encoding. Another key player is Apple, which I'm sure would like to not pay licensing fees for its multi-billion dollar iphone devices. I expect they will be the first to promote and push AV1 in their Apple Silicon line of products (if it isn't already built-in?). YouTube (ie google) is a key developer as well but they won't move on it until there is widespread hardware acceleration for it. They, perhaps more than any company, will benefit from AV1's increased quality at very low bitrates. Amazon (twitch) as well. At higher bitrates AV1 is similar to HEVC in regards to its efficiency.

With all of that said. I would postulate that AV1 will be pushed heavily because of its royalty free nature. All the companies developing it are out to rid themselves of the patent licensing pool nightmare that is HEVC and MPEG-Part 2.

It also seems most of the major camera companies refuse to license ProPres or BRAW or any other edit friendly codec for video capture, except in their higher-end cinema product lines. So we will probably be stuck capturing in compressed delivery codecs for awhile. Which, with proper hardware acceleration, doesn't bother me too much. Saves on my storage requirements and with 8K and beyond it will require some kind of compressed codec to be practical. If only we could have compressed RAW!

7 hours ago, gt3rs said:

I did sell one of my 512 GB SanDisk and brought a Delkin 2 TB for 880 usd. So far so good, I used a few times for over 1 TB each of 8k RAW and 4k 120fps 10bit with no issue at all.

8k RAW screen grab, 24mm at 2.8, Godox VL-200  

nice! Are you using the 8K mode as a high frame rate capture mode for photos?

So Delkin CFX Type B is good for 8K RAW. Any slow down in startup times? Currently I have a 256GB Angelbird but I’ve heard the bigger capacity Angelbird cards increase camera boot times for some reason.

Might have to take a look at the 2TB Delkin.

So far my biggest annoyance is the custom profile doesn’t save the active card slot setting so when switching custom profiles, say 4K 24p to SD to 4K 120p it gives a warning about cant record to SD. I then have to use the quick menu to manual switch slots. Worse when I switch back it just stays on CFExpress. 

I would only recommend M1 Mac if you edit in FCP at the moment. Resolve works but would benefit with more VRAM. We will see more powerful M1X or M2 series chips in Apple products by the end of 2021 with more RAM and more powerful GPU. Those machines will most likely bring 8K editing to laptops.

On the PC side I would wait for newer chips from Intel and AMD with dedicated decoding/encoding hardware.

1 hour ago, kye said:

I thought quite a few folks here liked the images from the Z6 but maybe the timing wasn't right for people to actually get one.  Certainly, the colour from Fuji on their latest cameras is very nice, and the eterna colour profile is very nice indeed.

It's kinda odd indeed. The Z6II is a pretty solid camera. However, the Z6II is the camera Nikon should have released from day one. 8-bit internal only is not a deal breaker since Nikon has great color, imho. Also, the whole ProRes fiasco felt half-baked and l'm sure left a sour taste in many peoples mouths waiting for it.

17 hours ago, Anaconda_ said:

Create parallaxes. Cut out the main subject, and separate the photo into a number of layers. Add a camera, put it all in a 3D space and do very small camera moves. From there, you can also add puppet pins and give people very small movements as well - like waving, or something.

The main thing is, don't add too much movement, even doing the Ken Burns thing. Subtlety is key with stills.

This can be really time consuming but I think it’s absolutely amazing to do for old photos, especially really old large format photos. Really brings them alive. Even super subtle movements like a parallax and say a small object in the scene moving in a natural way can really make a connection between the audience and the subjects in the photo. 

Doesn’t matter what Panasonic does with their image they will always be at the mercy of Sony Semi. produced sensors. Sony imaging will always get first pick of the best sensors.

Look at the landscape today. We have 4 companies using the same 24.2MP FF sensor in all of their cameras.

Panasonic S5/S1/S1H, Leica SL-2, Sony A7III, Nikon Z6ii.

Im sure I missed some too!

Guess what company will get the new 36MP FF sensor first? It will be Sony with the A7IV. And then they will open it up to the rest of them after they sold half a million units.

As long as Panasonic cameras are perceived to have worst AF then their competition they sadly won’t make it. Everybody is 10-bit now with decent to excellent near unlimited ALL-I recording modes.

They have to improve their AF and do other things to set themselves apart and capture people’s attention. Maybe focus entirely on video? They have made almost no in-roads in the photo space with professionals.

1 hour ago, herein2020 said:

 

I still don't get why camera makers don't include false color in camera without making you jump through hoops like using an external monitor, a custom false color lut, etc.

Product segmentation.

Panasonic cameras with custom view assist is the closest thing to a dedicated false color mode in a mirrorless camera.

12 hours ago, kye said:

Thanks, that's interesting.  I'm not relishing the idea of having to buy it separately, but I guess it might be worth me doing some reading about custom view LUTs.

Thanks, that's also worth knowing.  

If you can't easily switch it on and off then that would mean it would have to be suitable to be the only way you're viewing footage while recording.

Normally a DP would have a technical view like false colour to ensure proper exposure, the DP and director (and others) would have a 'normal' view (perhaps with a look LUT), and the focus puller would have a separate view with peaking.  If I applied a LUT in-camera then I'd be designing a LUT for all three applications simultaneously, which i'm not sure is possible to design well.

There are false color LUTs with a opacity to the false coloring. I don’t find it they useful. I usually use the false color before I record to dial in exposure for skin tones and then turn it off and record. 

5 hours ago, hyalinejim said:

It does if you shoot VLog 🙂 But you have to convert your lut to a specific file type. I think LutCalc can do it, but I might be mis-remembering.

Yep. View assist LUTs for Vlog (.vlt) You can do false color (my favorite). The only thing I wish they allowed was being able to bind a function key to a specific view assist LUT so you can quickly toggle it on and off. Currently you can only bind the menu and then you have to scroll to find the LUT. And then back out of the menu. 

More people might work in Final Cut if Apple added more useful features natively.

If they push hard with their new M chip based macs and Continue to update and improve final cut they have a very good chance to eat into Premiere Pros “indie” pie. Especially if you can buy a $1000-1500 computer and edit 4K, 6K, and 8K footage off of a $200 SSD drive on the go.

The indie market is huge and growing.

It will take much more momentum and time for it to push back into the industry in any meaningful way. You can see they are trying with the $30K Mac Pro and the ProRes acceleration cards. 

14 hours ago, IronFilm said:

Bet they never sold 1 Million Sumsung NX1 bodies, let alone millions of them. 

I’m saying they might have with a mk2 body. Takes time to gain traction in a market, especially the camera market.

6 hours ago, MrSMW said:

Feel free to comment whether it's, "wow, amazeballs!" or "compared with my Sony, it sucks balls".

I'm going to go with...pleasantly surprised.

But since I'm now a Canon user: It sucked balls bro compared to my rig.

2 hours ago, Dustin said:

Video was hilarious!! It’s also still amazing that Samsung introduced all of that in 2014. So far ahead of the curve. But then left! 

Much smarter for them to sell 100s of millions of (maybe billions?) of smartphone components than probably single digit millions of DSLR style mirrorless camera.

However, they showed that even to this day it seems the camera companies are holding back on all fronts.

You buy the camera you can afford. You buy the camera that is the right tool for the job. If it is really a serious question for you, then you rent all the cameras that you think you like and test them for your use cases. Maybe one camera has amazing image but a terrible workflow. Maybe another has a sweet workflow but falls on its ass in certain modes you like or need. Maybe one camera needs a crew to operate effectively.

If you are doing wedding, documentary, lower budget commercials, or events, and you are solo or small crew than any of the higher tier cameras from Sony or Canon you really can't go wrong with (FX6, A7SIII, C70). Rent those and see which one works best for you. They all have gotchas and trade-offs.

I’m hoping to see clog3 as well and something in the mid to high 11 stop range of DR in that mode.

The cineD test said there was perhaps 1-2 stops recoverable in RAW with some clever noise reduction in post so the RAW range is something like 11-13 stops.

Clog3 favors highlights so perhaps the difference won’t be so much compared to clog1. If they do something clever with the H265 encoding to preserve detail in the shadows then maybe we will see a 1 stop improvement. We shall see.

The Sony sensors are definitely better in the DR department on paper.

On 12/6/2020 at 1:12 PM, zerocool22 said:

Are the panasonic s5 h265 422 files similar to those of the canon r6/r5? 

No. The H264 is 4:2:2 but the h265 is 4:2:0 (like Fuji XT4). The reason being probably a more practical choice for GPU support. Most GPUs skip over accelerating H265 4:2:2 for some reason, unless you are taking about Nvidia Titan workstation cards.

On 12/11/2020 at 9:36 AM, Jay60p said:

This may be Apple's answer for that:

https://debugger.medium.com/why-is-apples-m1-chip-so-fast-3262b158cba2?gi=sd

half way down this article is

"Basically you got two forms of parallelism: One that the developer must deal with explicitly when writing code and one that is entirely transparent. ..

It is the superior Out-of-Order execution that is making the Firestorm cores on the M1 kick ass and take names. It is in fact much stronger than anything from Intel or AMD and they may never be able to catch up. To understand why, we need to get into some more technical details..."

Yes this a good read if you have any interest at all on the topic of chip design.

Its the “revenge of RISC” prophecy that has finally come. The simpler fixed sized instruction set allows Apple to use many more decoders when CISC design basically have to guess and then stall out and do it again when the guess wasn’t right.

will be really interesting to see the higher end chips from Apple. 

Leica is releasing the SL2-S a Panasonic S5 wrapped in a Leica body and menu systems. Color looks on point too.

3 hours ago, gt3rs said:

Do you feel that your audience will see the difference between HQ and non HQ mode

The quality of the 4KLQ is a tad overblown. Is it worst? Yes, it is. But after some smart sharpening and after YouTube or Vimeo mangles and compresses it for delivery (YouTube more so) the mode is similar to HQ mode on the same delivery platform. You still have to watch out for lowlight and moire issues though.

I wouldn’t have bought the R5 pre 1.1.0 update. After the update it is an a good hybrid camera from Canon with some issues to work around.

I am a bit worried about the delays in the clog3 and lower bitrate RAW update as those two changes will further improve the hybrid-ness of this camera.

3 hours ago, gt3rs said:

To me it does not make too much sense to buy an R5 for using it with an external recorder. You buy an hybrid to have a small package. 

I agree. Part of the reason I settled with the R5 after the firmware update is that it had a internal RAW 8K mode. It is essentially a specialist mode for me to be used when it makes sense. It also takes gorgeous 45MP photos and is just a bit better than the A7RIV for me. Also, all the legacy EF glass goodness and native adapters. 

1 hour ago, npc1386 said:

The nice thing about the S5 would be 5.9k ProRes raw recording with my Ninja V, but again...micro HDMI!

Looks like if I want full size HDMI, I'll have to pay $500 more for the S1 or $2000 more for the S1H. The S5 is also year newer with some updated tech. Ugh.

I was shocked Panasonic put micro on the S5.

Your options are kinda limited at the $2000 price point for newer camera bodies.

There is always Sony. Can’t speak to adapted EF glass performance on Sony bodies. 

R5 doesn’t really even have HDMI in my opinion. It’s not a matter of if the micro hdmi will fail but when. I wouldn’t touch it.

Also, if you will be recording any kind of long from critical content then the R5 is the wrong tool. Buy the S5 with the dual recording slots and unlimited recording. You can still do long from on R5 if you are happy with the 4KLQ output (frankly I am for the few times I will need it).

My R5 just shipped today. I had about a 2.5 week wait from backorder to shipping on my order from Adorama.

Will probably pick up a M1 Mac too post holidays. Cheapest way for me to edit R5 footage, especially since I’m already on the platform and there won’t be an ryzen based Macs anytime soon if ever.

Seems to be:

1. Movies have become overpriced for the experience you get at theaters.
2. In-home viewing technology is reaching the ever so important “better than good enough for a fair price OR convenience threshold” (similar to what phone cameras have done to the camera market).
3. Shorter attention spans and the need for instant gratification.
4. The Internet is eating all things

I think there will be a push in the other direction come spring/summer with people sick and tired of sitting at home watching the world go to shit. 

As I have been dealing with a mild case of appendicitis I have checked out of this discussion. Hoping to avoid surgery. And spending 5 hours in an ER seeing exactly what this hoax virus is doing To people...my god. But it’s people exactly like Tim Pool here that give real journalists a bad name. He is a disgrace. The world needs to tune out people like him and start doing the far more important and hard thing and solve our troubles, not peddling in this click-bait sensationalist fear and hate mongering. 

4 minutes ago, TomTheDP said:

What does promoting violence entail? Unless its a call to violent action which I agree should be removed. 

Yes so you see the rub. You can call people to violence indirectly. Lots of atrocities have been promoted and achieved through this kind of crap. So it’s always a balance and I’m of the opinion the balance is no longer their because we now have technology that had outpaced our traditional societal structures. Im not promoting anything except abundant caution.