androidlad

Export H.264 directly from the timeline, with a x264 based plug-in (for example, Aftercodecs), and use the highest quality encoding parameters, and bitrate 12-15Mbps for 1080p depending on the length of your deliverables. YouTube is resolution agnostic now, so do not add any bars, export the picture in its native aspect ratio/resolution. If you want to disincentivize people to watch it on phones and smaller screens, then maybe don't upload it on YouTube.

I like her cinematography in the 2008 film "Australia". Personally, despite her attempts for a vintage feel, I think "Mulan" still looks too modern. They shot it on Alexa LF and 65 with spherical lenses and cropped it for 2.39:1 cinemascope, with many shots that just scream "we have a large sensor!!" Would be nice if it was shot on super 35mm film with true anamorphic lenses, like what Disney did on "Cinderella".

There are speed booster adapters from Viltrox and Kipon, but Metabones ULTRA adapters are supposed to have the best optical quality.

https://www.metabones.com/article/of/Speed_Booster_for_Fujifilm_X FINALLY!

Strange that the comparison was shot with "DCI-P3" color and gamma 2.6, both the DCI white point and the P3 gamut are not going to look correct on a BT.709/sRGB monitor people watch YouTube on.

Digital archiving relies on LTO tapes, which are very very cheap.

A7S II has the unique advantage of going way beyond ISO25600 and still provide a usable image. Using an external recorder bypasses most of the NR and compression artifacts. BBC used A7S II with external recorder for some ultra low light scenes in Planet Earth II.

RED tests their cameras using Xyla 21. RED Helium 8K S35 scored 14.12EV in DxO measurements, most likely 14bit ADC and some NR, so total DR may be a match to Alexa's 14, but Alexa distributes way more DR in the highlights, while RED (and Sony) tend to have cleaner shadows with more monochromatic noise pattern.

11K horizontally yes, vertically 2/3 lineskipped. That presentation was about an X-Trans version of the GFX100 sensor, which was designed with 3 x 3 colour aware binning. But that project has since been shelved. Yes the sensor will have to be heavily subsampled for ProRes RAW. It can’t send 11K RAW.

Nope.

It'll mostly likely be heavily subsampled to maintain Fuji's no crop philosophy. Internal recording uses 11604 x 4352 oversampling which exceeds HDMI 2.0 bandwidth and obviously Atomos Ninja V's processing power.

Hands on reviews are being released now. Regarding Cinema Pro app on Xperia 1 II, only the main 24mm lens/sensor supports 4K 60P, the 16mm wide and 70mm tele are limited to 4K 30P.

S20/S20+ main 12MP camera is actually the same sensor as Xperia 1 II, IMX555

If you wanna do it properly for professional work, there's a dedicated plug-in for adding motion blur called ReelSmart Motion Blur: https://revisionfx.com/products/rsmb/premiere-pro/ It has a number of parameters for fine tuning and allows you to add precise amount of blur based on captured shutter angle and desired shutter angle.

It's 10bit with HLG HDR option available (on sensor DOL-HDR)

And all turned to mush with its 55Mbps bitrate 😞

No, that sensor is from CMOSIS. Sony only introduced BSI to its global shutter sensors in the very recent 4th gen Pregius S. Even with BSI, the memory node still takes up some space on the photosite, plus the reason Sony went BSI is to further shrink pixel pitch, so it cancels out each other. With dual conversion gain, the readout noise doubles and it's already quite high at 2.1e-, so I don't think low light sensitivity will be any good. The ultimate global shutter sensor design would be pixel-parallel ADC (one ADC per pixel), but it's still in very early stages of R&D.

👉https://thinklucid.com/tech-briefs/sony-4th-generation-pregius-s/ This is a very well-written article with nicely made charts on the evolution of Sony Pregius S global shutter sensors. I highly recommend a read. FYI, ZCAM E2G uses the 2nd gen 1" IMX267, and from user feedback, the image quality is poor. Bear in mind that Pregius S sensors are intended for industrial use,👉 they are never optimised for pure photographic image quality. Across the four generations, their imaging performance (dynamic range, sensitivity etc.) remain largely unchanged, while increasing pixel count. However it's worth noting that 4th gen introduced dual ADC (Dual Conversion Gain) on-chip HDR mode which could potentially provide a more usable image for creative work. As this mode halves the maximum framerate, only the high speed version of the sensors can output video framerate at 30P in HDR mode, it's considerably more expensive than the standard speed variant therefore it's a another hurdle for consumer use.

There's a slight but noticeable quality drop in 4K in 1.29 crop mode in terms of sharpness and moire, because it's oversampling from 4.8K, compared to 6.2K in normal mode (up to 30P).

https://www.amazon.co.uk/Aputure-3200K-6500K-Features-Wireless-Charging/dp/B07ZFSHY3M/ref=sr_1_8?dchild=1&keywords=rgb+led+video+light&qid=1590071266&sr=8-8

BMD's 12bit log encoded RAW is simply a container format, the sensor readout on the Pocket 6K is 12bit linear, it does not become thicker when put into a different container. While ARRI's 12bit log encoded RAW is derived from 14bit linear readout, now that's real thick.

https://***URL removed***/news/5298432342/judge-rules-dji-infringed-patent-recommends-ceasing-sales-and-imports-of-most-dji-drones

Yeah but they cannot remove movement generated rolling shutter.

The best software stabilisation is achieved by using gyroscope data and calibrating/compensating for rolling shutter. Steady XP does all of that and I think it's better than any EIS or IBIS, and it does not have that gimbal floaty look.