JulioD

The majority of Americans are proudly anti-intellectual, anti-science, anti educated, and anti-ideas.
 
 

The majority of Americans are proudly anti-intellectual, anti-science, anti educated, and anti-ideas.
 
 

Well to be fair they basically had done their homework on what film looked like because of the work they did on the Arriscan. In its time a revolutionary film scanner.  
 
The sensor in this ended up being what went into the first Alexa.  

The color science work was already done one way   They just reversed it  
 

Well to be fair they basically had done their homework on what film looked like because of the work they did on the Arriscan. In its time a revolutionary film scanner.  
 
The sensor in this ended up being what went into the first Alexa.  

The color science work was already done one way   They just reversed it  
 

Well to be fair they basically had done their homework on what film looked like because of the work they did on the Arriscan. In its time a revolutionary film scanner.  
 
The sensor in this ended up being what went into the first Alexa.  

The color science work was already done one way   They just reversed it  
 

My mistake.  I didn’t see those links.  
They aren’t lenses that were ever widely available or made.  I suspect they were maybe only for the Japan market.   I’ve never seen those 16mm lenses.  And they “probably” are really for the broadcast video market.

Not really.  
 
They made lenses that went on 8mm cameras. Hardly cinema lenses.  8mm movies were just consumer level cameras. The film version of GoPros or mass market cameras. The optics weren’t anything that was going to make a meaningful imaging difference to the end result.
Many of their 35 stills lenses have been adopted and used on cinema cameras and are revered (aside from focusing the wrong way)
But Nikon never made their own native “cinema” lenses for motion picture cameras.  
 
8mm cameras don’t count. 

No it’s not.  
 
The biggest name in pro sound timecode clocks. 
https://ambient.de/en/products/acn-nl-l-nanolockit-timecode-logging

Rolling shutter and bit depth will be the big question for this.  As far at the 17K, I’m sure it will be similar to the new 12k which CineD just tested and seems pretty impressive.  https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

What they are calling "overclock" isn't.  This looks like some kind of industrial high speed camera.
It's just a different operating MODE.  Just like on the spec sheet. And the so called downsides are more to do with the engineering side on the camera (thermals and data pipes) not keeping up.
And 1000% certain that Fuji aren't going to offer a menu option that says "overclock me baby"
 
 
 

Here you go bro.
This is an example of a sensor spec sheet.  By the way, the really quick way to tell if the rolling shutter is “fast” is to look at the fastest frame rate the camera can do.
It’s not complicated.  But thinking you can just “overclock” without it being DESIGNED to actually do that or have those modes designed from the ground up.  
This sensor is designed around being a stills sensor.  Not a fast RS motion sensor.  
Page 105 shows the maximum frame rates depending on the mode being used.
https://www.dropbox.com/scl/fi/85986570odkx36kc7tw9e/GFX100-Data-Sheet-2.pdf?rlkey=6ek4lgy5lqcx138jz3afliuks&e=1&dl=0
 
 
 

Rolling shutter and bit depth will be the big question for this.  As far at the 17K, I’m sure it will be similar to the new 12k which CineD just tested and seems pretty impressive.  https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

Rolling shutter and bit depth will be the big question for this.  As far at the 17K, I’m sure it will be similar to the new 12k which CineD just tested and seems pretty impressive.  https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

CP16. 
Cinema Products brand…who were also making this new gadget called a Steadicam that’s about to be 50 years old.  
It was a common news film camera.  They also had mag film where the sound was recorded directly onto a mag stripe on the film itself.  It wasn’t as good as the open reel recorder of course.  
 
I used one on my first short movie.  It feels very cheap and lightweight but it was a staple.  

CP16. 
Cinema Products brand…who were also making this new gadget called a Steadicam that’s about to be 50 years old.  
It was a common news film camera.  They also had mag film where the sound was recorded directly onto a mag stripe on the film itself.  It wasn’t as good as the open reel recorder of course.  
 
I used one on my first short movie.  It feels very cheap and lightweight but it was a staple.  

CP16. 
Cinema Products brand…who were also making this new gadget called a Steadicam that’s about to be 50 years old.  
It was a common news film camera.  They also had mag film where the sound was recorded directly onto a mag stripe on the film itself.  It wasn’t as good as the open reel recorder of course.  
 
I used one on my first short movie.  It feels very cheap and lightweight but it was a staple.  

Yeah that's my understanding too, with the ethernet connection.  Why else do a 10G on the camera I guess?  

Well I’m assuming a DIT on a three camera shoot will appreciate it.  
 
pretty sure they are doing a CFe dual card magazine too. 

Fascinating. 
 
Super wealthy hobbyists who make fancy home movies think 24p doesn’t look like cinema having never actually made anything with actors or working with a crew and using their family as their evidence of audience approval.  
Little to no understanding of the difference between acquisition frame rate and distribution or display refresh rate in multiple environments or global territories but still drawing conclusions. 
 
So many experts one one place. How lucky we all are. 
 
 

8 bit 420 can be just fine as long as you don’t want to do anything to it later grade wise.  
 
As long as you’re happy with what comes out of the camera then you won’t SEE much of a difference.  
 
you will definitely SEE the difference between 8bit and 10bit if you try to match two cameras that look different of if the WB is off or has some lighting hue you don’t like.  
 
Basically anytime you want to grade or manipulate the image it is very brittle and won’t handle much correction. 10 bit will. 

They have a corrosive culture that comes from him as a founder.  Having him return after doing some token penalty time is farcical. 
 
What has changed since he left? Nothing.  
 
Meanwhile their stock is still not trading because of serious (criminal?) accounting issues where they lied about sales volumes. 
 
The whistleblower was fired for raising it and that case is still going. 
 
They are awful 

It’s just not how it works.  Sony semi sells and DESIGNS sensors.  They don’t hold back tech from any customer who is willing to pay.  They also do business with Sony direct competitors.
 
They all co-operate a lot more than us consumers realise   
Think of them as a seperate company to Sony cameras.  

At least all the armchair camera engineers go quiet for a while

RED extended the patent. This is a common technique used by pharma companies to extend the IP protection. 
 
https://ymcinema.com/2022/12/01/red-digital-cinema-filed-another-patent-related-to-compressed-raw/

At least all the armchair camera engineers go quiet for a while