zlfan

I just watched the gold rush 1925. where is the 24p magic? why am I still enjoying the story and composition and action such much? lol.

Black Magic just announced a new full frame 12 k cinema camera, can do 12k 60p. The higher resolution, the more severe dizziness if there is camera movement. For example, sd 480 shaking and panning does not give much dizzy feeling, but 1080p is much worse, 4k is even worse. 12k with 60p is much smoother than 12k 24p in moving scenes, due to the high resolution.

initially, 24 fps and cameras were motorized due to the need to synchronize with sound. when I watch Chaplin's soundless movies, I really enjoy them, and I think they are cinematic. like city lights, modern times, and earlier ones. sometimes he even used rack focusing. Chaplin was during the transition period of 16p soundless to 24p sound. I think 24p effects are exaggerated and glorified and even sacrified afterwards.

7d2 can write 200 MB/s for both cf and sd cards, much better than 5d3. not sure about eos r.

agree. pro io is useful, especially for Multicam shootout. iq wise, they are not that outstanding.

I set my epic-x mysterium-x to 5k 60p 2.40 5:1. I used 5k 24p 2.0 3:1. I don't see significant improvement over r1mx 4.5k 24p 2.40 7.5:1.

I really like ml raw. it bests all of my so called pro video/cinema cameras. if you don't care about xls, nd, double recording, sci out, etc. if you don't care rolling shutter.

nikon always does surprising game changing moves. d90 earlier than 5d2, buying red, z mount shortest flange distance, etc.

exciting. game changing.

but strong codecs are better than weak codecs.

according to my experience, this is true.

one of my go pro 12 videos with a lot of moving shots got multiple up votes and highest viewing rate on my channel. good stabilization with 60 p beats 24p no stabilization day by day.

One of my crop mood videos got voted on YouTube. I think the key factors are the color and the good enough resolution. It was about landscape. I used shutter speeds from 1/48 to 1/2000, because I want to have a small package and don't want to have a nd filter in a matt box or some vari nd. I don't see significant effects of the shutter speed on the landscape shots. Here is my take: The so called magic 24p motion blur actually has negative effects on fast actions, no matter if the codec is weak, or strong, or uncompressed raw; it has negative effects on slow motions, if the codec is weak; it does not have significant effects on landscape. Even if the magic 24p motion blur exists, it has very limited application scenarios, maybe in drama, or soap opera, etc, for talking heads or dialogues, etc.

i figure out the best way to do 60p. for 60p, do shutter speed of 1/60sec. there are two advantages: 1. lighting requirement is easier to meet. 2. motion blur is closer to 24p, if 24p is what you want, because it is actually the shutter speed that determines the motion blur, not the fps. 3. at the same time, 60p helps tremendously on motion for weak codecs. no quarrel no politics all are happy. cheers,

funny 24p believers. they even attack you that you are an egyptian scammer because you challenge their 24p belief. they never accept and will never provide scientific evidence why 24p is sacred. but they will attack you because you dare ask them to provide evidence why 24p is sacred. lol.

i knew andrew's website well before this forum. i checked his updates on new cams long time ago, maybe 15 years passed by already. just have not registered on the forum until recently. sometimes it is fun to talk online. people throw all kinds of suspicions on you when they don't like your arguments. i think the other guy who supports 60p has burned out because he may never expect that he will be attacked due to his rich financial status. funny world. lol.

60p afficiando can be a medical doctor, these two are not exclusive. lol.

because i may be from cairo too. lol.

you mean that guy who cheated some one here on board? i don't want to sell you my selected cameras. i want to hold them until in my cold hands. lol.

doubled the buffer size, this is not trivial. means that om1 2 can do 200 raws at 120p, about 2 sec. will see hdmi raw out if it is full frame 6k.

until now, all of votes on my youtube channel are for gp12. this means that image quality is a package, including stabilization; 60p for smooth panning, especially when codec is thin; high resolution; some color grading; beautiful scenes or models; beautiful songs or music. i am sure r1mx and f3 can do better, as demonstrated by hollywood level blockbuster features, but they need sturdy and heavy tripods, steadicams with jacket and arm, dollies, jibs, heavy duty glides, experienced dps and colorists, etc. they are truly for cinema settings.

To be fair, gp12 footage is more resistant to heavy post grading than af100. Not sure why, maybe high resolution helps? So to speak, modern mirrorless cams have their advantages too. But may not be so when compared to F3 and R1MX, because both of them can go through heavy post without much sweat, especially r1mx. For F3, internal painting is so powerful, little is needed for post, i.e., there is not much maneuver room for post.

for the modern mirrorless, i think gp12 is mature enough for me to buy one. unless gp has new cams with internal raw recording, i am happy with gp12 and will not upgrade for a long time. g9 ii is nice, but not as refined as om1, in terms of build quality and ibis. om1 still lacks in several major aspects: 1. buffer size, 120 fps can only do 1 sec. at least 2 secs recording buffer is useful. 2. hdmi raw out is cropped 4k. should be full frame 6k raw out. this is probably the biggest gripe for me. although the buffer size is equally concerning. 3. limited information about the internal 4k recording, is it subsampled or supersampled 4k, like r5c, etc? if so, the 4k iq is good enough, no need for 6k internal recording. otherwise, 6k internal is needed. also, internal 4k is only 60p, it would be nice to go 120p, as om1 can do 120p electronic shutter, and it is stacked cmos sensor. if om1 mk2 can improve on these aspects, i will buy it without any reservation. other mirrorless cams, they may be good, but i like my f3 or r1mx better, either on tripod or shoulder mount.

i like to be anonymous. otherwise, people may lurck into my home, destroying all gears, because i dare to challenge the 24p sacristy. lol. just a joke.

i guess you mean cinema cams when you say film cams. if so, yes.