Video Hummus

Oops. They shit the bed...

This has been used in professional Hollywood films so it’s probably pretty good. I’ve seen other people on YouTube talk about it and use it to ditch having to use ND filters. It’s very CPU intensive though with something like 7-10 mins to process 1 minute of video.

I was going to say Sony Alpha a99 II?

A lot of us can’t help it! It’s a human tendency to want the next best thing and never be happy with what we have. To be honest I had a itch to pull out my wallet and replace my GH5S...XT-4? S1H?... Then this global pandemic hit and quarantine happened. We also decided to move and sell our house so I naturally grabbed my camera and documented it. To be honest the more I was creative with my camera the more I enjoyed using it to create something. The image with V-LogL is quite fantastic. I decided to use Buttery LUTs in an attempt to just shoot and focus my attention on exposure and white balance and not mess around too much in post (Some screenshots below). We don't think about the specs of our hammer when we use it, we think about what we are making with it. So that's the mentality I'm going remind myself to use. Some other conclusions: I am 100% convinced I prefer glidecam/shoulder strap stabilization and locked-off tripod shots over a gimbal (so I'm selling my dusty Weebill S).

Phones are the new cameras for most people

But then you wont hear about the GFX 150. A very versatile focal range in my opinion. For MFT the Oly 12-100 f4 is an amazing lens for just about anything. I think the FF f8 equiv. DoF is a feature not a detriment.

Don't forget to point to it with your other hand.

Yeah, this is an important point...

I would think the 8-bit conversion would happen later in the pipeline, for example right before the image data is being written to the SD card. Thats how you work with RAW files and such, why would it be different in a camera with specialized hardware to work with all that sensor data in realtime? Sensor Data -> De-bayer -> internal 12-bit format -> processing -> JPEG/H.264 encoding -> write to SD Certainly if you are taking RAW photos the highlight/shadow control is applied before the 12-bit RAW file is written to SD. Not sure it works the same for the video pipeline but I would ASSUME it's somewhat similar.

$6K for Komodo, $300-500 for smallHD monitor or Atomos monitor. If you have those things, great. Then you probably need a grip on the side etc...Not my cup of tea. I do like the concept and I hope it brings more innovation to our industry. I do not however have consumer trust in RED as a company based on past history.

Only thing I don’t like about the Fuji system is the native lenses from Fuji for video. They all seem lackluster in that department with AF and motor noise. Also I’ve seen really good AF and the classic pulsing artifacts from the X-T3/4. It’s likely they are using a crappier version of Sony’s hybrid AF or something with a mix of PDAF and Contrast detect.

It would be interesting to play around with that Olympus curve control and try and dial in a pleasing “graded” image straight of camera in 8-bit. I wonder if it works with OM-Log on the EM1 variants and if there is any advantage of doing adjustments in camera before the image is backed into a 8-bit codec? Does the curve adjustment happen before the encoding?

Wish Panasonic could sort out their AF. If they had reliable AF they would have been close to “the perfect” camera for most of us with their existing feature set and formats (FF down to MFT) It’s a shame.

They most likely share a sensor or sensor tech from Canon. I would take any DR numbers from manufactures with a large pinch of salt as they always seem overly optimistic. Maybe technically there is 16 stops but they aren’t “real” perceived stops. Most are just hovering an ass hair width above the noise floor. The C300 Mk3 is probably going to come in around 13 stops like the C500, which is quite good (S1H is 12.7; very impressive showing from Panasonic for its form factor!) It has been said the Komodo is using a Canon sensor, which is probably using a larger variant of the sensor in the C300. It’s also rumored to have PDAF. So now we have a RED Camera with: REDCODE RAW, PDAF Canon sensor. Very attractive combo if RED can keep their price down below $8,000 dollars. I am not optimistic as the price seems to rise with every tease and with every “feature” they add. We’ve all heard it but if Panasonic would have added Phase Detect AF to their S1H it would have been a mega hit for $4,000! All of it in a modern mirrorless form factor with a versatile screen and IBIS and weather sealing. I much prefer S1H size over Canon C100 or the Komodo which needs a butt load of expensive accessories to work. No thanks! No Canon cripples. No RED accessory-money-pit-of-hell. They missed an opportunity there.

I’m going to say the same as the C300 mk3.

That’s only 600Mbps well shy of the stated 1,800Mbps Canon spec sheet says for 24p RAW. 1,800Mbps would be 225 MB/s, which for 20 seconds of video would be closer to 4.5 GB.

They could do something like this for a GH6S style camera with no IBIS. One could argue the GH5S sensor is approaching APSC size. I wonder how many MFT lenses could cover the image circle without any major side effects? Sharpness in the corners would be reduced but we are talking video here so not a big deal.

I’m going to speculate it will be around at least $4,399 and maybe as high as $5,299. Why? Its similar to a 1DX as far as processing. No sports photographer or serious wildlife photospheres, like Andrew said, is going to buy a R5 for that. They know and trust the 1DX platform and will most certainly buy the 1DX3 After launch it will drop to $4,000 and settle into the 5D price. If it delivers on the rumored specs than why wouldn’t Canon want you to pony up for it. The market is shrinking into hardcore camera enthusiasts that know there stuff and are willing to pay for it.

I’m one of them. I only use the 400 All-I if there is a lot of moving water (water fall) or other random motion (trees branches in the wind, etc...) but even then the 150Mbps LongGOP still does amazingly well with motion. The differences are so minor, especially if it’s going to be compressed to YouTube or other web platform with h.264 anyway... All-I is much easier on the machine with editing however...and I do use it for that. I agree. It’s becoming increasingly competitive in the FF market with exciting features like 6K from the S1H and the rumored R5. They need to sell M43 as a whole system: lighter, fast readout, smaller fast aperture lenses, 6K 24/24/30p with limitless recording and 4K120p with sound would be a step up. Pair it with a smaller body But very capable GX10 for a b-cam. Would be quite nice. Maybe some RAW video special sauce (doubtful), some updated varicam color science and full vlog to really kick it over the fences. Would be a compelling second system along side their full frame.

The Panasonic lenses are expensive because they are extremely well built and feature-full. Even the 24-105 F4 is a beast with everything you mentioned and semi-macro ability. Imagine if it had PDAF...it would have sold much, much better.

From that god awful list I prefer the super speed names....

Good points. AV1 is awesome at lower bitrates, so it’s well suited to web and streaming and live video. I do wonder if there is much of a difference between it and HEVC at higher bitrates used in cameras? It would still carry the benefits of being open source... Hopefully YouTube will adopt it at some point. Would probably save them a lot of money and improve the quality of our videos as seen by the audience.

AV1 has a long, uphill battle before it has a chance to be a dominate codec in the webspace. It has the support of very rich and powerful tech companies, including Apple and Google but it’s hard to win over the companies that make the hardware acceleration hardware seen in set-top-boxes, streaming devices and on the backend streaming service providers. AV1 is extremely computational intensive (and superior than H.265) and had a better chance of pushing HEVC aside (and it’s patents and royalties) than any other open source codec. It would be smart for camera companies to embrace it as it might release them from licensing and royalty agreements for using HEVC.

Panasonic has confirmed a entry level S series full frame camera will be coming. I’m starting to much prefer a semi-stabilized handheld look than a gimbal. So much more character in the shots. If you have IBIS to remove the micro jitters than all you have to worry about is minimizing the swaying and there’s lots of creative ways to do that without buying expensive gimbals.

Panasonic has confirmed a entry level S series full frame camera will be coming.