FHDcrew

Well this is truly insane. I bet we could see a Magic Lantern-style hack, maybe some form of internal RAW video. Even if it is the pixel-binned 1080p readout.

Would be interesting if the MotionCam team could get RAW video out of it!

The Sigma FP is a solid option. But we don’t get good AF or IBIS on the camera. I do really wish all of these large-sensor cameras with fast CFExpress throughout would allow us to access the raw feed of the sensor and just dump it into the memory card. Similar to what magic lantern did. But yes I suppose this whole burst-mode 2 video, isnt worth pursuing in light of the Sigma FP, let alone all the feature-packed 10 bit cameras we can choose from.

For a while I’ve been contemplating an experiment. Many cameras have burst modes where they write RAW stills to the card at a certain framerate. My Nikon Z6 for example can do 12fps at full resolution in 12 bit RAW. My thinking is as follows: Theoretically we could shoot in the RAW burst mode, and then use state of the art motion interpolation software, such as RIFE or DAIN, to fill-in the missing frames to get us to a usubale video framerate. Believe it or not, it works. I was able to shoot at the 12fps burst and interpolate the remaining frames, and the video sequence looked somewhat convincing. I was actually very impressed. Our problem here is buffer size. On many cameras, the high-speed modes only last a few seconds. This is the sad reality, as then the framerate slows down. A way around this is to shoot at a lower framerate to keep things continuous. My Z6 can do 5fps full-sensor RAW to an XQD card with no apparent limit. However, with tue current state of frame interpolation, 5 FPS just seems too low for anything other than simple slider/dolly moves. I filmed myself talking in the 5fps mode, and the result after frame interpolation was very unnatural movement. Where things are currently, 5fps is just too low. You really need at least 12fps to make things look decent. The other thing that could be tried, and I have tried this, is to lower the resolution/use apsc crop mode to basically shrink the file size down. I still couldn’t hit a sustained 12fps, but was able to get probably around 7fps continuous all-day. Sadly though, still not enough data to interpolate effectively. I’m curious if upgrading to a very fast CFAST 2.0 card would give me constant 12fps in this crop mode? I can think of cameras that would work well with this technique. The 1DX Mark II comes to mind, with an unlimited 14fps buffer using electronic shutter. That should bode well with frame interpolation. I’m also keenly watching frame interpolation advancements. I hope that within the next year or so, new advancements in the FOSS interpolation research unfold, so as very low framerate content (like that unlimited 5fps mode) can be interpolated with very natural motion. Curious to hear your guys thoughts. Manufactures are lame and don’t like to give us an uncompressed dump of the RAW video all of these cameras are capable of. Magic lantern proved all of these cameras could be giving us internal RAW video without stupid patents and licenses and proprietary codecs and Jeremy Youngs and bulky external recorders. Any ideas on not-crazy-expensive cameras that have a decently high burst-rate, without a buffer limit?

Hey, in a world of Peter McKinnon copycats, a cavern haunted by LUT packs, an abandoned forest cursed by lightroom preset packs… I’d say having a unique style and use-case is a blessing.

Seriously though, paired with the gyro stabilization it somewhat solves the two features the cameras have always lacked. Good autofocus and built in stabilization! If you don’t need great battery life then, it’s possible to have a pretty minimal or even bare-bones setup!

Makes me wish I got the 13 pro over the 13!

Good point, you certainly have a unique, fascinating use case

So you are saying there are no problems with the HDML cable clamp when on the bag?

Yeah seems to pretty much do everything you want, minus internal ND, internal RAW video, and full-frame 4k60. Also to be honest I’m not a fan of the 20,000 pinned posts. You have to either hunt through these or scroll down a lot to see who has most recently posted.

It really sucks. Though to be fair mini HDMI, while still not ideal, is worlds better than micro hdmi. Mini HDMI is on the Z6, as well as some of the Canon RF range

I’m leaning more and more in that direction. I feel uneasy being dependent on mini HDMI and external recorders all the time for my image.

Can you send a picture?

Alright I need to devise a solution. I’ve got two external recorders for my Z6, an Atomos ninja v and an Atomos ninja star. They work great but I hate having to attach them each time I pull my camera off my bag. I’m also getting a “double” HDMI clamp solution. Basically what is used here, where we have a clamp for the camera’s HDMI port as well as a screw-in female HDMI cable. My question is how to rig this so that my recorder can stay attached, and this clamp setup can stay attached without bending the HDMI port on my Z6, saying as the camera will be in my bag which can be jostled around at times. I want the dual-clamp setup to remain plugged in, and I want either my ninja v or ninja star to stay mounted and ready to go when my camera is in my bag. So I can pull the camera out and begin shooting right away. Any recommendations?

Well if you go the Nikon and Megadap route, definitely let me know how well the the Megadap performs!

I read your posts in greater detail. You seem to want 6k or 8k to pull high-ish res stills from. No way would the ninja star help with that.

Only caveat of the ninja star, other than being discontinued and scarce on the used market, is that it uses micro hdmi 🤮

If you can live with C100-style oversampled 1080p, get a Nikon Z6 (or Z7) and pair it with an Atomos ninja star, to get improved autofocus versus your Panasonic system, while keeping 10 bit and log. Much cheaper way to get into the Z system. The ninja star is compact and doesn’t feel as intrusive as a larger recorder, such as the ninja v does. So your setup can stay decently light and compact. The Downsampled image is extremely clean, I use it for work all the time. All you need to do is set the camera record setting to 4k, and in the HDMI menu change the resolution from AUTO to 1080p. And the Megadap ETZ21 should work fine. Haven’t tried it, but assuming I stick with my Z6 I may pick it up.

Yeah the Z mount is strangely really the best option when it comes to adapting glass. You have the following options, all supporting continuous video AF Nikon F Mount - Nikon FTZ & FTZ II Canon EF - Fringer EF-NZ Sony E Mount - Megadap ETZ21 & Techart TZE-02 Nearly any manual lens - Megadap MTZ-11 I mean I can’t think of another system with all these options. And you still have the cheap viltrox autofocusing primes, or Nikon’s pricey but excellent S-line, if you want solid native Z mount glass Other systems may have even more native options to choose from, but they don’t have such a wide variety of near-native-performing adapting options. The Fringer EF-NZ is actually interesting, because you can pair it with quality sigma art glass and get good AF performance. Then you can turn around and buy a Sony plus the MC11 adapter. Now that same glass works on your new Sony camera. And then you can get a canon R5 or R5C or C70, use canon’s EF adapter, and keep the same lenses. Now you just went through three separate brands, maintaining autofocus functionality, all without ever selling your sigma glass.

I want to want to want to not want to want a new camera 😅 Yeah I suppose that statement sounds silly. But in my case it’s true. I don’t want to want a new camera haha

Yeah but I don’t even want to want a new camera. If you know what I mean. It’s annoying. But not having to deal with external recorders is appealing.

And this is really why I’d like the Xt3 over a Gh5. Though maybe I don’t need to upgrade…I could keep using my Ninja Star with my Z6 for clean 10 bit and a smaller more lightweight setup. But then I still don’t like the setup time. And the ninja star is micro hdmi. Ugh. I kind of hate wanting a new camera. It’s stressful and feels somewhat like wasted pleasure.

Woot

True, at the end of the day the story is what matters. But man you really get a sense of satisfaction when you make an image you are proud of.

IDK I feel it makes a difference. Maybe the viewer doesn’t look out for it, but I think the viewer might just say “it looks better” because they see the increased quality, but don’t know all the nuances to look for in what makes a *subjectively* pleasing image.