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Everything posted by SteveV4D

  1. I'm not too bothered about the single card recording. Its a small iritation for me. I hardly practise dual recording, even though I do Weddings and only a few cases of slightly corrupted footage. In all cases, easy to workaround. I'm tempted by the R6 once the software upgrade adds better codec. I'd also like DCI 4K as well, would be really nice. Overheating is manageable. For those who don't need to wrestle with the file sizes of 8K amd 120p 4K, the R6 is the better alternative. Its not perfect, but it has fullframe over the Fuji cameras and better AF over both Fuji and Panasonic. For the work I need from it, I can live with the cons. My other alternative is Nikon, but the rumours on the updated specs haven't grabbed me.
  2. I think we are expecting too much from camera manufacturers. Canon gave us 8K and 120p 4K and a crippling overheating problem. Nikon, just updated their current cameras and left it at that. Blackmagic have given us a 12K URSA, but not the fullframe Pocket 6K or 8K we had hoped and wished for. And Sony will I guess give us a perfectly fine camera for 2020, but not the innovation many expected after so long. So I guess we shall all still be debating and arguing the merits of each for the next year or so, with no clear winner in the ultimate mirrorless camera for video.
  3. I do, now that lockdown has ended... πŸ˜‰ I can also debate camera gear here as well. The two aren't mutally exclusive you know. Nothing wrong with suggesting Canon do more for video users. It doesn’t stop me getting out and filming with what I have. 😁
  4. What is the real dedicated thing? And for what job? Panasonic don't feel constrained by the fact their cameras are mirrorless hybrids to add extra functionality. Especially as it brings in more cash for them. A lot of us do use mirrorless cameras for video work as we like a camera that can be kept small when needed and then rigged up for jobs that demand it. A larger cinema camera doesn't have that flexibility. Besides larger cinema cameras have their own attachments that add to the cost. I remember looking at an URSA, that had a basic price, then a higher price if you included all the extra attachments to make the thing more usable. So its not confined to Mirrorless.
  5. The GH5 had an adaptor you could buy for the camera to connect to. Also serves the S1 and S1H. Its little things like that that make mirrorless cameras usable for video work.
  6. You could say the same thing about tax collectors, solicitors, parking attendants and telephone cold callers. Some vloggers are successful, many just want to be. The whole format is mostly about increasing subscribers, and not about providing informative and accurate content.
  7. I'm having a terrible time calling any Business at the moment. I'm told by stressed out phone operators when I do get through that Covid has led to more calls and fewer staff to deal with it. Could be total BS, but trying to release any camera this year is going to be difficult given recent restrictions Worldwide.
  8. What is really funny is that clearly those handling Canon marketing have not shot a proper Wedding. I assume these shots were staged. They use Weddings as an example of 8K then add a heating warning at the end that basically tells anyone who does shoot Weddings that 8K isn't a viable option. A lot of Wedding Ceremonys I have filmed have been longer than 30 minutes. I've shot some lasting 90 minutes in length. Sure, I'd like a World where I could shoot 8K, 12K at various frame rates, but its not here yet. Not would I trust 120fps 4K on even a vital confetti shot. As for using 12K video for a Wedding. Maybe, if the couple were paying me 12K, I'd do it. 🀣🀣 This BM 12K camera is a wonderful and powerful Production camera, and the R5 a wonderful Photographic tool with some powerful video specs for short bursts, but if I want to crop for 4K delivery and extract high quality stills for Weddings, I'd still be better off shooting the 6K on either the Pocket or the S1H. 8K or 12K isn't yet a viable option for my Business. Maybe someday....
  9. If this camera is a success and helps Blackmagic further establish itself in Video Production and of the tech on this camera eventually helps lead to innovation in the Pocket line, then this is defiantly a good release, whether like me, you have no plans to buy it. Bit like the R5, pleased to see technology pushed, frustrated that what's been given won't be applicable to my needs, but hopeful that it will lead to something that is. In this game, we have to accept that not every camera is geared for us. Time will tell, how successful the camera is, no matter what is speculated here.
  10. I think some feel that if colour is pleasing, then it's also accurate. I feel that's not always the case, but then colour science is one of those areas that can be subjective, yet many try to pin their personal preference as facts. I personally don't always like the Arri look. People post videos and say how wonderful it is, and yet it does little for me.
  11. I don't need to try it. The overheating figures comes from Canon. Sure, they later confirmed bixel binned 30p is okay. However, downsampled still overheats. 8K which some said originally could be used to allow for cropping in interviews overheats. Why invest so much money for a camera that could fail on you.
  12. Bare in mind I wrote that before the official word came in on this. Besides, I still wouldn't trust it.
  13. Same boat as you without the endless posts about the actual release. 🀣🀣
  14. Luddite... πŸ™„ I've been shooting Weddings in 4K since 2014, whilst the BBC still only have SD and HD channels. When we get 4K and even 8K channels, trust me, I'll be looking at 8K and 12K cameras. If others do need 12K and 8K, then this camera is for them now. I'm gonna make a jump to 6K, which is still higher resolution than anything I see on πŸ“Ί
  15. If they add that and overheating and RS isnt a huge issue, I will be looking at the R6. It'll be an excellent gimbal and run n gun camera. Thanks to Covid, I don't need it till next year anyway, so I've got plenty of time to assess from early users before deciding. πŸ˜€πŸ˜€
  16. Exactly and Canon 8K RAW is also a lot easier to edit than HD AVCHD files I once shot in when starting out in my Business 10 years ago. For some reason, they would often crash Premiere even though 4K H264 were relatively okay. I'm on any bandwagon that sees camera codecs being more edit friendly.
  17. I wonder if this is Blackmagics attempts to be taken more seriously in the Video Professional World. Perhaps they want their products to be used to the same extent as Arri Alexa, Red and even Canon for high end Professional work. They've gone all out to impress and the specs are powerful. Yet, documentary filmmakers probably go with the C300 for its great AF, and feature film and TV Productions Alexa for its reliability. 2 things I have not always associated with Blackmagic. 12K will be a specialist resolution for many, and even 8K isn't on the list of requirements for most TV Companies. It's another case of a Camera maker pushing what is possible for a future we shall all one day enjoy. I'd be interested in seeing some footage when this is camera is realised, though not in 12K.... Alas I'm stuck in the dark ages with just a pitiable 4K TV. How sad is that. πŸ˜ͺ
  18. BRAW is a very edit friendly codec that runs well on my computer. At least with Resolve it does. I would wager it will be a lot easier to edit 12K BRAW than 8K H265 files.
  19. I have no interest in 8K, let alone 12K. Still, if I was asked to shoot 8K, then this camera is probably the better alternative than struggling through the R5 overheating. Better frame rates as well makes it inheritantly more practical as well for a range of videos. Can't say I plan to pick up one unless all my Wedding couples suddenly get 8K TVs. But I'm still getting asked for DVDs, so I guess its not very likely. πŸ˜‚πŸ˜‚ To be honest, I preferred the idea of a 6K fullframe Pocket upgrade, but I guess that's for another day. I'd be interested to see if the new colour science and BRAW improvements get passed down.
  20. I wouldn't say zero interest. In fact, the R6 is on my radar. I was also on the fence about the Pocket 6K and what put me off was the question if I really needed 6K and its larger file sizes. What does it bring to my workflow? I'm well aware that the Pocket cameras are in a different category to the hybrid R series. So what... They're all tools that I can potentially use, and I prefer a selection which I can use for different needs and purposes to an all in one solution. Every one has its pros and cons to be considered objectively. I just amused by all this talk of 8K, as if its the greatest thing for the moment. How did we manage so long without it I wonder. When I have people trying to tell me how useful 8K is for my 4K videos when 90% of them are only watched in HD on YouTube, probably on a smartphone, it does all feel a bit silly. I'm sure 8K is something for the future. But until then, this race for resolution camera makers are on, feels at the expense of making tools I could actually benefit from.
  21. I wouldn't shoot an interview with a R5. Plus most who book me for that, want HD, so 8K is overkill for cropping. Lastly, I can film on my own with 3 to 5 cameras. Cropping isn't a substitute for another camera at a slightly different angle and with a different lens. Cropping always looks like cropping; it can't reproduce the subtle changes you get either zooming in or using a different prime lens. I get 8K can be used that way, but its more a solution for problems people are finding to justify its use.
  22. Why are you talking about 8K. Thats so dated now. We're on 12K now for good quality 8K delivery.. 🀣🀣🀣🀣 Seriously though, I can get 6K, with crop and downsampling advantages, with better file sizes, 50p recording and most importantly, no time limits on the Pocket 6K. When an 8K camera gives me that, we can discuss the advantages of 8K. Until then, its like the 12K Blackmagic camera, a future I can one day enjoy.
  23. I'm sure 8K will become more normal, but given that 4K is nowhere near has accepted as say HD was on 2012, I feel we are still struggling to get 4K registered as a delivery resolution. This is 8 years later. If 8K does come, I feel it will be another decade before we see where 4K is even now. As for future proof, any resolution is only at its best for delivery when we can film it in 50 or 60p for slow motion. I really could only deliver 4K in my work when the GH5 came out in 2017.
  24. Unless you've got a client who wants 8K or if you have a 8K TV, the 8K feature of the R5 will be a curiosity at first, then quickly avoided once people bore of the enormous file sizes for little gain. Right now it can be hard to watch 4K videos on YouTube without playback issues, and for better 4K, downsamping from 6K is enough. Its nice we have 8K out there, even if to push technology further, but I don't want video innovation limited to just resolution. There is a need for better editing codecs, ND internal filters and other professional features. The R5 is also let down by a dual card slot that can't be used as a backup, a mini HDMI connector and probably rolling shutter, though not seen too much on this yet. Eventually other cameras will give us 120fps 4K and even 8K. The R5 unique selling point won't be unique for long. I'm in no rush at the moment. My work won't pick up till next year. By that time, Nikon, Sony and Blackmagic will have their own new cameras out there to choose from.
  25. But isn't is conformed in camera recording as 24/25/30p. If so, then you're just importing a slow-motion shot at standard framerate. I important 75fps video shot this way and that plays fine. Of course, that is BRAW, which Resolve is made to love.
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