Sharathc47

New features for Prores Raw in final cut 10.4.9 update! ISO, Color temperature can be changed in post. 

https://www.apple.com/newsroom/2020/08/final-cut-pro-x-updated-with-significant-workflow-improvements/

https://wolfcrow.com/canon-eos-r5-overheating-tests-the-true-story/

R5 testing in different conditions by WOLFCROW(Sareesh sudhakaran).

Checkout his videos and blogs. He has very good content. Just like G.undone he is too informative

https://alikgriffin.com/canon-r5-overheating-with-cfexpress-card-are-the-cards-to-blame/

👀

1. Can we see internal Raw capture from upcoming cameras? Especially BRAW

2. TOF- how far has it reached. Can we see them in future cameras.

3. Organic sensor technology.

9 hours ago, rawshooter said:

uldn't really be possible or make sense, since the X-T3 and X-T4 have sensors with X-Trans (instead of Bayer) filter patterns. Neither Resolve, nor any other video software would be able to process that material.

And even if you added X-Trans support to all those programs, it wouldn't be practical because demosaicing X-Trans is a computationally much more demanding process and would result in terrible playback performance.

My hopes 💔😭

No 1080p recording in PRORES RAW!

Why is that!? I think it applies for every camera which supports Prores raw via ninja v.

1. Better grip & Battery grip

2. Internal BRAW codec

3. Internal Nd

4. Tilting screen atleast

5. There should be no aliasing or moire

On 6/3/2020 at 7:56 AM, JR Lipartito said:

Isn't internal/external recording more an issue with Prores Raw licensing than with the camera's ability to do so or not? 

Not sure if this has been officially stated anywhere but I highly suspect the reason Panasonic made a partnership with Atomos was because the latter carries the license burden.  So I would imaging Fujifilm taking a similar approach or else it might have to be a paid upgrade to offset the cost of licensing. 

Canon, on the other hand, is able to offer internal raw on the R5 so matter-of-factly because they have their own Cinema Raw codecs. 

Yeah, regarding Prores Raw licencing, I read somewhere about implementation of PRORES RAW internally in MAVO edge 8K camera, whether there were any issues regarding patents. Kinefinity replied that "Patents are restricted to US but not in other countries and we don't sell any products in US."

BRAW is an open source codec! What does this mean? Can it be used in other cameras without paying any money to Blackmagic? If so why no one still paying any attention to it?

Why Prores why not BRAW?

Canon has allowed BRAW from C300mkii some time back

Is there a possibility we could see it externally in 1dx mkiii?

And Black magic is ready to provide BRAW internally and externally, why no camera company recognises them?

Or it is because Atomos &  Apple holding tight on camera companies!?

In an interview with Cinema 5d IBC 2018 Blackmagic said we are interested to provide BRAW for other camera manufacturers too! That too for free!

Link:- @ 4:30-6:00 min

I would love to see BRAW in Fujifilm x series with/without monitor! But I want SDI output from Fujifilm x cameras! 

Recently they anounced 12g sdi RAW output with blackmagic video assist! Who knows blackmagic would become new atomos!?

I was glad to hear about the 12g SDI raw output by blackmagic design!

But I have some doubts can someone help me clear this!?

1. SDI and HDMI, data rates comparison and how much output it can give you in terms of bit depth (12bit, 14bit, 16bit.)?

2. Is it possible to provide SDI output directly from mirrorless cameras instead of any other additional modules?

3. It seems SDI is superior over HDMI cables in terms of a)robustness (locking mechanism) , b)distance of signal transmission and c)almost similar price of atomos HDMI cable! 

Why are SDI cables professional and HDMI cables consumer? 

why are camera manufacturers preferring HDMI cables???????

I was glad to hear about the 12g SDI raw output by blackmagic design!

But I have some doubts can someone help me clear this!?

1. SDI and HDMI, data rates comparison and how much output it can give you in terms of bit depth (12bit, 14bit, 16bit.)?

2. Is it possible to provide SDI output directly from mirrorless cameras instead of any other additional modules?

3. It seems SDI is superior over HDMI cables in terms of a)robustness (locking mechanism) , b)distance of signal transmission and c)almost similar price of atomos HDMI cable! 

Why are SDI cables professional and HDMI cables consumer? 

why are camera manufacturers preferring HDMI cables???????