The Dancing Babamef

R5 and R5c have the same weather resistance.  Both not at the same level as 1Dx.
Used my R5 and R5c in sandy, light raining and light snow with no issue so far but they are insured so I take more risks without worrying. 

Is not a picture is a frame grab at 1/100 from 50fps video...... is normal that is soft as there is motion blur....... it was to demonstrate AF at 2.8 while an animal sprinting at 50+ mph.....

This is a picture at 1/1600

I have one button to cycle through the AF frame, one to enable / disable face tracking, one to pause AF while pressing, and one as suggested above to toggle AF on/off.

One thing that I find super useful is peaking with AF..... on the R5 peaking does not work while in AF but on the R5c it works and I find a realy life saver as even is super bright sun or strange angle on the LCD I can always monitor if the AF is spot on or not. 

 Cheetah hunting R5c 8k 50, 1/100, F2.8 400mm with AF

The stuff that bothers me about current online content, I could write a 10,000 page book about it...
Camera tests (the ones that grab the most views that is) have become completely meaningless. They're just about undisclosed variables. Everything looks more or less the same and if there's a difference then you can be 99% sure it's due to a random undisclosed variable like somebody grading two LOG formats a bit differently, trying to match but not quite. Tells me nothing about the camera. Any subtly even big differences in texture between uncompressed Cinema DNG and silky smooth H265 just gets completely obliterated on YouTube and most people probably even watching it on a phone!
It is like evaluating MP3 vs FLAC through a $10 bluetooth speaker. Completely pointless.
The format is all so similar now as well. American YouTube clickweasels who chuck a cheap bit of eye candy in front of the lens and think the results are the definitive verdict on image quality!
Manny has a model walking stiffly up to the lens and that is supposed to be definitive verdict on an AF system. Toneh has a pool table in Rec.709 colour profiles and that is supposed to say everything about high ISO performance. Not that simple now there is dual native gain circuits is it?
This is where Gerald at least goes further than skin-deep, but it always ends up being a box specs reading or box ticking exercise that doesn't merge the technical data he collects with the creative appropriation of it through the eye of an artist or story-teller.

So what REALLY looks best out of the Z9 and A1?
All I get out of these videos is... slight colour differences? From different colour profiles? And different grades? Don't even mention what codec and modes they're comparing.
Pointless shit.
If you fall for this shit, you're enabling those high viewing figures. Wonder if what you're doing is just consumerism, entertainment. Nothing wrong with that. Just don't pretend anything otherwise or pretend it says anything useful about the current differences in camera technology and performance.
We need a standard benchmark look for cinema as well to judge the mirrorless cameras by too. Perhaps in a useful camera test there should be an appreciation of the grain and texture of film, the imperfections of it, because everything looking technically perfect and clean is not really doing it for me.

Mister read the freaking title! It's a color thing - not me trying to cut videos for free🤌 Good luck though and please send some framegrabs for me to color if you feel like it😘
Since nobody wants to share anything yet (I get it - this forum is mostly about fetichising equipment - which I totally dig - I was just trying to create, like a teambuilding exercise or bonding opportunity or whatever) I took the liberty to dig through the posts and go right at it.
 
Whatta ya' think?
 
And _please_ give me all the shit you feel like, as long as you post your best shot at it. Or not. It's the internet and I'm not easily offended.
 
I feel like this could be a fun little competition that doesn't have to involve the effort of leaving your (and my) mothers basement in order to participate😮‍💨😮‍💨😮‍💨
 
Much love

I have a backlog of 12 client wedding films to edit from scratch if you are that bored? 😬

Let's say you are recording in camera, downsampling to HD from 4k in camera, like the original poster did. Even though your file is natively HD I still think rendering it in 4k, which makes YouTube upload it in 4k will give you a better result. The footage itself won't look any sharper, but the extra 40mbps YouTube gives 4k makes a difference. 

I am not saying you disagree, just clarifying my thoughts/experiences with YouTube. 

my 2 cents 

The original claim by @The Dancing Babamef was....
My reply was simply that YouTube is good enough to show the difference between:
Resolution X sensor -> Resolution X timeline -> Resolution X YT upload  Resolution >X sensor -> Resolution X timeline -> Resolution X YT upload  It doesn't matter if X = 4K or 1080p, YT quality on both of them is enough to see differences.
I think people form the opinion that YT is completely useless and don't think it can do anything because of the way it handles grain (i.e. a bloodbath) and the high quantity of very low quality uploads where the footage has been crunched way before it made it to YT.
I'm yet to understand what makes a YT upload look worse or better, but there is definitely a lot of variation across different channels / videos.
In terms of a 4K sensor -> 1080p timeline -> 4K export-> 4K upload, that can benefit hugely from a little bit of sharpening.  Most of the people that think that 1080p is completely inferior to 4K are seeing the extra YT bitrate from the 4K YT stream, or are simply looking at sharpness, which is easily compensated for in grading.  

I was hyperbolizing it a bit but what I said is true to an extent. 4K to 1080p is what you do when you are playing the file locally but uploading to Youtube it's better to leave it as 4K and add a slight NR to it. 
 

Yes. but I also think that having high bitrate for 10bit 422 will account for the missing information in color, comparing to 444. But all of this circles back to the use case: are you filming a talking head or in a forest with lots of trees and moving micro elements that take up the bitrate so even thou the files are large it's justified as the utilization is high. 
But just like Andrew said in the original post: "- ProRes 422 HQ in GH6 and Nikon Z9 is too big, not practical in my opinion - may as well shoot raw?" 
 
Go watch DpReview's episodes and ProAV TV. Their shows might as well be audio only except the actual image comparisons. 

Username checks out 😉
Honorable mention to EOS R3 with 6K C-RAW (24.00p/23.98p): Approx. 720 Mbps
That it is actually quite a nice data rate for 6K RAW compared to most other cameras which are 2000Mbit+

Remember when the 1D C came out, with MJPEG 4K. 500Mbit/s file sizes were a real struggle in a practical sense.
Now we have this enormous range, anything from 100Mbit H.264 to 3000Mbit RAW.
I am interested what kind of file sizes people are comfortable with and using most in 2022.
Do you find yourself sticking with smaller file sizes like 200Mbit H265?
Would you shoot much ProRes 422 HQ if you had a Nikon Z9 (2700Mbit)?
If so what are you editing from (HDD or SSD?) and archiving master files with?
Looking forward to hearing from you all. Just for reference. Here's what I think...
- Best overall codec is ProRes 422 LT in 4K oversampled from 8K on X-H2. 435Mbit and image quality is flawless
- Bitrate sweet spot for me is around 200Mbit. I find that kind of file size nice and manageable over time. Anything bigger is more of a special occasion thing.
- I don't mind 8bit at all as long as it has some colour science mojo going on
- ProRes 422 HQ in GH6 and Nikon Z9 is too big, not practical in my opinion - may as well shoot raw?
- HVEC on S1 and S1R has some very nice mojo going on and tiny file sizes so a thumbs up to them.
- I don't shoot BRAW, prefer Cinema DNG on Sigma Fp-L. Special occasions only but great for pulling stills from a short burst at 24fps.

Got the bang for buck 8K camera. Only had it for 5 minutes and noticed it has a stuck pixel on the LCD so better get it switched. Quite distracting.
Seems on paper to be one of the most exciting cameras at or under $2k. (£1899 in UK)
First before I get too far into praising this bargain cinematic beast, here's a few things that the usual suspects in the review / shill kingdom didn't tell you...
Handling has some distinct steps back from my beloved X-H1. There is no more drive mode lever, but unforgivably no movies/stills switch either like X-T4! A very strange omission given the hybrid nature of this model. I can however assign custom stills mode to function button and tap in/out from movie mode without having to change mode dial through all the many steps from Movies to PASM.
The finger gymnastics to reach the WB and custom buttons on top panel is ridiculous. Really bad placement.
The overall styling isn't as nice as X-H1. It looks and feels cheaper as if some cost cutting has taken place. For sure it is an uglier camera.
No more inward press action of the jog dials, quite poor dial feel, just in general a slow hacking away of what made Fuji bodies nice like the extra dials and nice styling.
But when we get down to the nitty gritty I expect to be more impressed.
S35 8K ProRes for $2K is pretty special.
I have read that IBIS is better on X-H2 vs X-H2S as well. Any idea why that might be? I can't quite believe reviews have that right.

To all my friends at EOSHD I have some very sad news.
My sister has been diagnosed with terminal cancer.
She is just 38.
I have just brought the news to the main blog page here, for the full story:
https://www.eoshd.com/news/my-sister-zara-reid-is-in-end-of-life-care-for-cancer/
I might need to rely on my friends here to get me through this very difficult time and keep working.
Anyone who pre-orders my Panasonic GH6 Shooter's Guide will really be helping. I am in financial difficulties too, on top of this.
I want to keep this blog going even though I am a wreak at the moment.
I am going to miss my sister enormously. She was at the heart of my family.
Please don't hesitate to contact me if you wish to pass a message of support onto myself, Zara or my mum.
My email address is eoshd.com@gmail.com
In the future my aim is to get back to work and carry on EOSHD. Sorry it has been so quiet of late.
Thanks guys.

Pure speculation on my part but I could tell something might be off when I went to their IBC dinner in 2019. Extremely odd behaviour by Jeromy. Then of course the way he parted ways so suddenly after being the figurehead of the company for ages, all points to potentially quite serious stuff.
I see she cited CineD in the lawsuit.
Wonder if EOSHD will get any links as well 😆

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia.
At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go.
According to a suit that she has now filed in the US, she claims that there was more to it than her relocation.
A lot more.
In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets.
One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware.

The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging.
 
The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month.
Possibly now not as surprising as I'd originally felt.
The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further.

Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out.
Full story here :
https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q
 

That small project of mine is really interesting for me. Trying to match Barry Lyndon is extremely difficult. The fp is too clean even in ISO 3200 compared to the original footage.
Next thing I have noticed is how soft the image is due to the 0.7 lens they have used. Nothing I could replicate with my 50mm 2.1. 
So am now trying to get closer with added film grain, blur and some sort of focus effect.

The first comment underneath the first video is by Simeon Pilgrim from nikonhacker.com who asks some pertinent (and unanswered) questions about how this is done.
If you follow the trail back to nickonhacker.com you would imagine that, despite there not being a huge amount of activity on there in recent times, that something as significant as this would be generating a huge amount of discussion amongst the Nikon hacking community during the past two years since the video was published.
But there really isn't.
Which is pretty unusual really.
However, in the description for the first video, it states that :
"From our study, it can be done by yourself , as long as you have the right password file installed in XQD card"
Now the upgrade process for ProResRAW on the Z6/Z7 was purely software, evidenced by certain Nikon service centres doing a sub one hour while you wait service to activate it if you took it there personally.
Going back to nickonhacker.com, the very last post in the Z6/Z7 thread is this one :

This tallies with the description of the video that said "as long as you have the right password file installed in XQD card"
It is this key that will have been generated at the service centre and it will be based on the serial number of the camera so is unique and not transferrable to another camera.
And it is worth noting that the title of the video is "DIY enable RAW...." rather than "DIY add  RAW".
So, based on all of this, what you are seeing in those videos is a camera that already has the license having the functionality disabled and then re-enabled through PTP.
In that sense, the "DIY enable RAW...." title is technically correct if obviously a little misleading.
What would be needed to make this work from scratch is the way to generate the "HDMIRAW.KEY" file which, after a two year gap, either doesn't look like its been achieved or, if it has, then it is happening in private with someone potentially profiting from it.

July / August 2022
Smartphones and their growing threat to mirrorless cameras – 2022 edition
https://www.eoshd.com/news/smartphones-and-their-growing-threat-to-mirrorless-cameras-2022-edition/
2 years later – Canon quietly removes fake overheating limits of EOS R5 in firmware update
https://www.eoshd.com/news/2-years-later-canon-quietly-removes-fake-overheating-limits-of-eos-r5-in-firmware-update/
One step closer to WWIII – Throwback to my Taiwan footage and experience living there
https://www.eoshd.com/youtube/one-step-closer-to-wwiii-throwback-to-my-taiwan-footage-and-experience-living-there/
(Shot on Panasonic GH2 and Samsung NX5)
Thoughts on the Fuji X-H2S
https://www.eoshd.com/news/thoughts-on-the-impressive-fuji-x-h2s/

< "no recompression"
< uploads an 8K clip in 4K

< "no recompression"
< uploads an 8K clip in 4K

Some of us knew its coming tho

Have to say I am a bit impressed by this result, not just how well the smartphone keeps up with full frame but because it shoots internal 4K RAW (Motion Cam) and A7 IV, erm, doesn't!
But just for kicks I did shoot a RAW still on the Sony to see how it would come out versus the RED (RIP) Hydrogen One. It is not even a very modern smartphone by the standards of 2022. It comes from 3 years ago.
HydrogenOne 4K RAW converted to JPEG:

Sony A7 IV

Yes of course the A7 IV is cleaner in the shadows, I wasn't able to push the phone as far around the wall and tree due to noise, but there's something about the way the dynamic range is handled on the phone I like. I think the A7 IV almost has an HDR effect going on whereas the phone seems more real to me.
It was much easier to do a quick grade that looked nice on the phone as well.
Anyone let me know if any interest in doing a more serious comparison and in downloading the original RAW files if you want to grade them yourselves.

the sensor output is lineskipped. There is no "internal Prores" in any of the Nikon Z cameras except the Z9. 
You get 1:1 ProRes RAW if you shoot in DX.
 
There is no crop in ProRes RAW. Personally I wouldn't bother with the PRR upgrade and spend it somewhere else. You will find the convenience of P&A the footage in Resolve and not having to spend time transcoding. 

Snort 🙊