zlfan

m43 or 43 is actually similar to the original 35 format, so it is not big deal to be against using m43/43 due to this format issue.

I guess he used iPhone to do the vlog. actually, iPhone vlog footage is not far behind the big two. the lens is not good on iPhone, distortion is eye catching, not friendly to the lady. it is amazing how things get so close. 20 years ago, a phone, a crop sensor, a top brand of cinema camera, they just did not get along at all.

very very close. except extreme situation, Alexa lf seems overkill.

I think red's r3d is probably the best raw codec. r1mx can go recode 42 1:75, epic-x can go 1:3, epic dragon can go 1:2. all of the nles can render r3d very efficiently.

I actually like hassy's 6x6. that is real open gate. lol. just no equivalent in the movie world. it is interesting that about 20 years ago, 4:3 was considered old fashion and nobody liked it.

cdng seems having a proprietary compression. you are right, cdng has an uncompressed version.

in the comment, he mentioned that the whole project was 10 million bucks, there were 25 camera rigs for realtime streaming. that means about 30 grands for each cam for this single project.

only arriraw is uncompressed, magic lantern raw is true lossless codec or uncompressed. other raw formats are codecs, like r3d, prores raw, braw, canon raw light, sony raw format using r5 or r7, etc.

low light may be the issue. but s16 lenses and format have their unique feelings. 6.5k is pretty good enough.

bingo. that will be a killer combo.

thank you very much. you should open a new topic about this. i mean about ursa 12k's different modes, especially s16 6.5k

if ursa 12k has the z mount, that will be delicious.

thank you for the info. this should be the landmark feature of ursa 12k, instead of buried in the s35 12k glory. there are pl mount s16 lenses, more expensive than c mount lenses.

it is almost 8 k, like 6.5k to 7k. really nice. a s16 6.5k cam. this actually justify ursa 12k. s35 12k is niche requirement. but s16 6.5k is unique and has many potential requests.

i want to use c mount lens on z mount cams. if they have s16 mode, there will be no vignette on wide angle c mount s16 lens.

Ursa mini 12k s16 mode may have >6k resolution. good to know. is ursa 12k lens mount flange distance shorter than c mount?

the rolling shutter seems fine in 4:3 open gate. dr seems good.

if you use c4k raw mode on gh7, coupling with a Zeiss s16 pl 10-100mm, it is about 28-280mm ff. there should be no vignette on the tele side. on the wide side, very possibly there is no vignette neither.

if you shoot 5.8k raw, there is no extra crop, 8 mm is 16mm ff.

news and events can be at this level. you still can break the bank account too. lol

have you tested em1 series and gh6 and g 9 2 in terms of ibis at focal length greater than 100mm, at least greater than 50 mm? I guess Olympus ibis still beats penny by a mile at long focal length, which is critical for manual focus lenses adapted to m43 bodies.

news and events. I shoot for my YouTube channel. I waste too much. I think go pro 12 is enough for my needs. but I always say to me that if I have of a hobby of collecting luxury cars or sailing boats, I will be totally broke. then I am happy. lol.

out of major companies, only z mount has a shorter flange distance than c mount. unfortunately, Nikon is not taking advantage of this.

I have been watching a 80 gb blade runner 2049 rendition. very very beautiful. sharp enough. it was shot on Alexa mini, xt, studio. the highest resolution is 3.4k for these cams. of course, the master primes are sharp. I put a cp2 50mm f2 on a f3. the final footage looks sharp enough. I guess for normal scenarios, 4k is enough. for aerial, wildlife, space, yeh, more resolution makes sense. yeh, dr helps in uncontrolled situations.

hahaha. you have the humor.