eatstoomuchjam

I was out-of-date and it's not as bad as I remembered, but still not great. But yes, I'd say it's a stretch that professional colorists are spending a lot of time in Nitrate. https://www.filmconvert.com/blog/filmconvert-nitrate-for-aces-workflow/

The budget is just for the body and not for the body+glass? 1) Used GFX 100S - the video is good enough for vacation and the stills are incredible 2a) C70 - looks nice SOOC, built-in ND's, nearly the perfect camera for a fast turn-around 2b) GFX 100 II (Love mine) 3a) C70 - as before and the raw from it is flexible enough for anything I do 3b) Used Monstro 8K VV - I haven't actually shot with one, but they seem pretty nice and I sometimes consider doing some trade-in toward one - used models are now about 6k for the brain on reputable used sites

In general, the stills stuff is a really close match for the film stocks (differences in the production are tiny)... and we weren't talking about a small difference, especially in the greens. Meanwhile, FilmConvert and Fuji's own Velvia profile both look quite a bit like my slides. 😄 As you said, though, a lot of the people using it have never actually used the film stocks that it claims to emulate - and some of their emulations look nice. If you won't suffer cognitive dissonance from many of them not looking a lot like what they claim to be and/or want to use ACES as a starting point, it's a decent product. Unless something changed recently, FilmConvert really doesn't have a good story for ACES (I think that last time I checked, it was "transform out of ACES into something else, apply FilmConvert, and then transform back").

(Looks like I was wrong! So there you go - as others have said in this thread, whatever the specs on paper, the grade afterward is even more important 🙂 )

I was given a free temporary license of Dehancer to do a review for them and they said I would receive a free permanent license upon finishing the review (whether I gave it a positive or negative review). I tried it and declined to continue. If you already have a Nitrate license from FilmConvert, you're in the right place. Dehancer did a few things better and could make a pretty nice starting point for an image, but the output colors in many cases didn't actually match the film that it claimed to be emulating (like not even close with Velvia 50) - and their answers for why made no sense at all.

I debated between the two last year and went with the C70. It's my go-to A camera these days with the R5 as B camera. Without watching that video, I'd guess that the image on the right is the C70 (more highlight and shadow detail).

One of the reasons that people are getting frustrated is that you're "asking basic questions," but then basically ignoring a lot of the answers. It's like you keep asking what saw makes the best cabinets. When people tell you that you need more than a saw, you start asking people to compare brands of saws. Which cameras has the best color and in-camera noise reduction? All of them. Also, none of them. Go to NAB and ask 100 people on the floor. Every one of them will be completely correct. Every one of them will be completely incorrect. How do you know? Ask almost any of the others. It is also a bit frustrating that you are asking questions that seem like you are trying to choose which camera to buy and after you receive a bunch of answers, you shift your focus and start asking again. If you want somebody to yell at you about which camera has the best colors, go to YouTube. There are dozens of people shouting about how the camera that they bought is the best camera ever. Then just try to ignore the other videos from all the people saying it's the worst camera ever. Heck, there are already dozens of videos just about the Pyxis talking about how it's the best camera released in years or the most ho-hum camera announcement so far this year. Bonus: almost none of the people with those videos has even seen a Pyxis in person, much less actually shot with one.

If you're looking for SOOC color, you probably want a decent amount of SOOC noise reduction. If you're working on a project which will have reasonable post-production work done, you want the least (or no) noise reduction in camera. Tools like the denoiser in Resolve, Neat Video, and Topaz Video AI give a better result as well as giving you a lot more control of the trade-offs of noise vs lost details and plastic/wax skin.

The US raffle is open. My entry is in. If others enter, I wish you the best! https://fujifilmeventsusa.com/x100vi-le/

Indeed there is! They were smart to choose the Z Cam EVF for it so they won't need a separate wireless transmitter (though there will be a bit of lag with the Ninja in-between). That one's been discussed here, I think. Should fit in a niche somewhere, though with DSMC2 VV cameras selling and renting at pretty reasonable prices, I'm not sure what that niche might be. 😅

Panasonic is the easiest of those. The Varicam has been used on a bunch of stuff. https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/shot_on/ As far as Canon... https://shotonwhat.com/cameras/canon-eos-c500-camera https://shotonwhat.com/cameras/canon-eos-c300-camera Keep in mind that the C500 series and C300 series weren't the A camera on most/all of the things listed, but neither was the RED on several of the films that you called out. I doubt that Fuji cameras have been used on a lot of major Hollywood productions. To the best of my knowledge, Fuji don't make ANY cinema cameras. I'd be shocked, though, if Fuji's excellent cinema lenses hadn't made their way into at least a handful. Anyway. Take a deep breath. In the end, it doesn't matter even a little bit to any of us if NIkon retire the RED brand - not unless you own stock in Nikon and are worried about it would do to your investment. 😉 FWIW, the most typical/obvious thing here is that Nikon will continue to operate RED as a separate business unit for a time, likely attaching Nikon to the RED name somehow - "RED by Nikon" or "Nikon RED" or something like that. Eventually, the integration will get tighter and current RED engineers will be replaced by Nikon engineers and the naming will change - "The Nikon RED Z1" or something like that. Eventually, RED will look just like any other business unit of Nikon, but continue to make cinema-focused cameras and nobody will care much about whether they keep or lose the name.

I hope they bring a few of the software features to the RS 1" 360 camera. It looks like the X4 has improved details over the 1", but none of it looked like enough that I'd run out to spend a few hundred bucks on yet another camera, especially since the 1" is still better in low light. Most of the other stuff that I saw in comparisons seemed like it would be solved by tweaking levels or contrast in post. If selfie sticks weren't so universally looked down on, Insta360's combo of 360 camera + great studio software should make them the darlings of the vlog community. Not much need to even pay any attention to where the camera is or if you're in frame - and if something interesting happens, no need to do anything with the camera. Just comment on it so you know when to turn the automatic tracker off in post. 🙂

I think it crops, but not a lot. 🙂 The M4 is the same sensor as the original E2 and I always found the DR to be fine on it (I wish the high dynamic range mode had worked better) and the noise was fine for me as long as the image was exposed to the right. If you exposed at all to the left, though... noise city. In the end, I sold it because I didn't need the high frame rates so much and other than that, there was nothing it did that the F6 didn't do better. Good point about used prices, btw!

And the E2-F6 Pro is even closer to what is described since it has a removable integrated screen with controls and SDI for lower-latency monitoring - not sure it's worth the extra $1000 to me, though. 😛 As for faster readout on the E2-F6, if you're willing to sacrifice around a stop of dynamic range, there's a low jello mode (though I can't remember what limits there are on using it - it may not be available in all resolutions/frame rates). I've never found the F6 jello too objectionable so I never bothered turning it on to figure out how much it helps.

If the R5 II is exactly like the R5, but with better cooling and dynamic range (dare we dream of DGO?) and it's about the same price, I will almost certainly trade in my R5 toward one. I'd ask for timecode too, but I'm sure they'll hold that out for the R5C II.

Exactly. 10gE is only 1.2 gigabytes per second. The CF Express card in a reader can do more than 2 gigabytes per second. If you run 25gE (about 3 gigabytes/second), you'll probably be able to keep up with a single CF Express card. With 100gE, you can do 12.5 gigabytes/second, optimally, but I'm willing to bet you'll find that there are weird limitations in the software stack that prevent you from getting close to that - at least over SMB or similar. You could also do multiple interfaces in the server and make sure that SMB multichannel is enabled on the client and the server. I haven't tested it, but in theory, newer versions of Windows (and Samba) support it. At this moment, I don't feel any need to optimize beyond having 10gE for my stuff. I guess if I cared that much about getting the fastest possible offload, I could just carry the card/reader into the basement and direct connect them to my server. Even on shoots where we're running two cameras and shooting raw, I don't think I've ever generated more than about 1.5T in a day. Offloading it over 10gE takes about half an hour when I get home. That's about as long as it takes me to carry all the gear from my car into the house. So my perspective is clearly not that of a high-budget production. 😛

10gE is plenty fast for a lot of things and as you said, on many productions, the camera ultimately spends more time stopped than it does rolling. Though also for a lot of productions that I'm on, at least, it would be far from ideal to need to keep the camera tethered to a network switch so that somebody could continuously offload footage. Though for the sort of productions that take 30+ minutes to move the camera, etc, I'm sure it would be great... though for productions with that sort of time/budget, $1600 is a no-brainer for a second module for the DIT to swap back and forth. Anyway, it's cool storage and I hope it becomes some sort of standard, even if for the sorts of stuff I do, CF Express will continue to be more than fast enough for a while to come.

The Z Cam one is smaller than Cineroid, I'm pretty sure, but it's still fairly big. I think the oeye is a big smaller. I'm not sure about the Kameleon. The Z Can one is smaller, though, than any other EVF + a wireless transmitter. If you don't need wireless transmission, the oeye is probably a better choice (even if a little more expensive). Unless their offload medium can write crazy fast, they won't appreciate it a lot more than CF Express or similar. I'd also say that if the media could be configured with redundaancy, having 4T-6T of local storage in the camera might result in fewer productions choosing to bring on a DIT. 🙂 I think that the Resolve bit was working with files that were being uploaded in real time to their network attached storage device over IP 2110. However, yes, I think he did say that it would be possible to fetch the files from the camera over 10gE without the need for a DIT. Just keep in mind that offload over 10gE can use, at most/under ideal conditions, 1.25 gigabytes per second... 🙂

Ahh but good for offload speeds right? Sure, if you have some storage that can write at 16+ gigabytes/second, offloading from 4 NVMe drives will be screaming fast. For me, when I'm offloading now from a single CF Express card, the 10gE network to my NAS is the bottleneck. Making the storage medium faster wouldn't do a lot... but if you have 100gE or you're offloading to a local NVMe RAID for editing, maybe it'll give some advantage. 🙂

There's almost no way that they're pushing enough data to actually require 16 lanes of NVMe, even if it's only at gen 3 speeds. Each lane of gen3 is able to carry about 1 gigabyte/8 gigabits per second. From what I read elsewhere, 12K at Q0 on the existing UMP is just over 1.1 gigabytes/second. Even the upcoming 17K should, then, be kicking out under 2 gigabytes/second (or 2 out of 16 lanes). That's also assuming gen3 speeds. If it's gen4 or gen5, it's even more overkill. A single modern high-performance NVMe drive can write at around 3,000MB/s. Anyway, to get to 8GB with off-the-shelf modules, it would either need to be 4 4GB drives in a raid 1 or 4 2GB drives in raid 0. At $1600, they could afford the former, but I'd bet money that they're doing the latter and pocketing the money. I'll hope it does drive them down, then - every so often, I get a fever and once again start leering at a used Monstro 8K VV and thinking which of my current cameras to sell/trade toward it - given that they're only about $6k used (in good condition) these days (well, probably about $7.5k after getting all the accessories that are needed for it to even function). Then I go read stories from small shops who needed to send in their RED for service (warranty or pay for repair out of warranty) and it's like a cold splash of water on the face (if you're not a major studio, expect long waits and bad communication). But slowly, the GAS starts creeping in again... "But it'll match the FOV of your GFX 100 II better... How often can a camera fail anyway? Well, it's a RED, but... how often? Really?" Well, that and the fact that I get really confused when I start trying to figure out which accessories are compatible with which cameras. Since I don't have much in the way of PL glass, I'd want an EF mount. Can a DSMC mount work with DSMC 2? Does it need to be a special mount for the bigger sensor? Does a freakin' lens mount cost that much? USED? Anyway, if those were to drop to $4k, I'd probably be unable to stop myself from trading some other stuff in toward it. I'm less optimistic about this. My guess is that most of the people buying it will be people already firmly embedded in the BMD ecosystem and thus other brands' cameras won't drop too much in price. Other than "has BRAW," nearly all of the other features of Pyxis have been present on the E2-F6 since 2019. Even after the price dulled any initial excitement, it got even duller when I remembered that I'd be trading the external monitor to record raw for an external transmitter for the image when on set. I always forget that BMD app control is just a control surface with no image preview.

The Oeye is the Portkeys that I had in mind and it's a dedicated EVF just like the Z Cam EVF is also a dedicated EVF. I have no idea where you're getting any idea that it's "just [a] small LCD monitor with [a] loupe." Other than, I suppose, that every single EVF is nothing but a small LCD monitor with an integrated loupe. Are you mistakenly thinking that it's like a Portkeys LEYE or similar? It _is_ a lower resolution screen than the Portkeys Oeye, but that's more than made up for (IMO) by the wifi transmitter. There's almost no way that BMD is at a scale where it makes financial sense for them to develop their own proprietary memory module format. Even if they don't advertise it, there's almost no way that thing doesn't contain some standard NVMe drives inside if you open it. Heck, even the red mags / mini mags contained standard M2 SATA drives protected by nothing but some silly metadata written into a standard SATA device information field. The bigger question is whether BMD is going to do any sort of similar fuckery. So far, they didn't announce anything smaller than an 8TB magazine, though, at least that I saw - so at least for now a strategy of "buy small one from manufacturer and then boost it with cheaper off-the-shelf drives" doesn't seem viable. At the point where you're already putting out $1.6k for storage, you're already in big vendor markup land. One thing that I wish - and maybe they'll offer this in the future if people ask for it - is that instead of having it configured for 8TB (which I would never need on any shoot I've done), that they would allow the user to configure it for 6TB of capacity as a RAID-5 or 4TB of capacity as a RAID-1. It has 4 modules inside it so either of them should be viable. I'd gladly take 4TB of redundant storage over 8TB of "if any one module fails, you lose some percentage of your footage."

I'm so envious! I canceled my preorder for the non-limited edition when I wasn't in the first round of shipments. I travel often enough that uncertain shipping dates drive me up a wall. "Good news, we finally shipped your product with signature required! It will be there on Tuesday." (At that point, I usually won't be home until the next week or later - vacation hold/hold for pickup is really variable by carrier and not as good as one would hope) Anyway, looking forward to seeing what you shoot with it! I'll be waiting until they're on store shelves, apparently - unless some other shiny thing catches my eye before then.

My interest in Pyxis dropped a lot when the price was $3k. Maybe I'll get more interested in it again when it's on the used market for half the price. 😄 Without how they're sending the video signal over USB-C, it's hard to know if it could be hacked to work with other cameras - but if you want an EVF to use with other cameras, I'd suggest just getting the Z Cam or Portkeys one. The one from Z Cam also can act as a video transmitter so another thing that you don't have to have hanging off of your kit.

Oh, hey! They finally released a box camera. Pyxis 6K which uses the same sensor, apparently, as their full frame BMPCC. Pyxis is compatible with the Ursa accessories including the USB EVF. Does this mean I'm actually going to want a Black Magic camera for the first time since the original BMCC? It might. Let's see the price...

Oh, posted too soon. They're also going to release an Ursa cine with a new 17K VV sensor around the end of the year. That's even more resolution than the GFX 100 has in photo mode. Same pixel size as the 12K version - just stretched out to 65mm wide.