zlfan

i watched his doc before and was very impressed. previously i assumed he used o7q for f35 444 12 bit uncompressed. after reading this article, i am surprised that he used a bm hyperdeck for 1080p 10 bit 422 prores (hq). 422 prores can be thus good in right hands!

if this 4k g2 is coupled with a ninja v plus, the setup can record braw and prores raw uhd 60p simultaneously. this will be cool.

seems to me that u43 will revive due to this bmcc4k g2 and g9 ii.

12g sdi in and out, hdmi out, usb-c. these are great to rig up the camera using 15mm rail system. hope the bottom has an additional locking pin socket in addition to the apparent 1/4 or 3/8 socket. i experience a lot that the rails rotate due to only one socket at the bottom of the camera (mostly dslr or mirrorless, not the camcorder type body) i think this one can pair with a ninja v or v+ or a bmva 12g 5 inch, a t5/7/9 ssd, some smallrig cage specifically designed for this. at $2000, this can be very useful and low profile, good for traveling or street shooting. also importantly, u43 sensor means a lot of 43 or u43 lenses can have latest 4k raw recording capability. this one bmcc4k g2 vs g9 ii, or paired with g9 ii, can be a powerful setup for being small and nimble, yet modern and high res.

this is very promising. small size, 4k raw, just need an external monitor/recorder.

the short doc is amazing, and it is done by f35. but if it is against the forum rule, just delete it. i accidentally stumped on this article and really like it. but i did not know there is such a rule. sorry.

no. i am far from being this good.

Photographing The Mauritania Railway: Backbone of the Sahara - The American Society of Cinematographers (en-US) (theasc.com) https://theasc.com/articles/photographing-the-mauritania-railway-backbone-of-the-sahara

he mentioned his work in a nano flash subforum and said that 8 bit xdcam codec is surprisingly good for post. but 50 mbits 8 bit 422 long gop for post for a pro series soap opera, really hard to imagine. it also reminds me how lucky we are now, we have so many good cameras and free resovle and cheap led llights. i really think crop mood with its true lossless ml raw and dirty cheap cameras can make things happen. it is just buried in so many good choices now. it is also unfortunately or fortunate to have a dp as a true full time career, since no barrier is left.

"I've said it many times but its worth repeating - the amateurs who shoot the real world need the best specs but are given the worst, and the professionals who shoot on sets with dozens or hundreds of people to massage every aspect of the scene to look good to the camera need the least specs but are given the best." yes.

because noise can overcast banding. banding is worse than noise.

help the image keep from falling apart too, like adding noise true.

" We did the color correction for "Key & Peele" on a Davinci Resolve. Of note is the fact that our recording medium for the season (after a horrific trial with one of the external 10-bit 4:2:2 recorders) was 50 Mbs XDCAM disc. We never lost a frame and we have hard masters of all of our footage, but I didn't learn until we were in post that that is an 8 bit standard. However we were able to do a tremendous amount of push/pull and the 8 bit never seemed to create problems. There is, of course, a notable difference between 35 and 50 Mbs. The shots we did in non s-log (60fps material) were far more problematic. __________________ Charles Papert" i think he did the whole season 1 on key and peele with f3 s log to 8 bit nano flash 50 mbits mpeg2 long gop. cg is really good. something to consider though, f3 has a nice sensor and good dsp; he had good budget on lighting, maybe he used one stop lower than the native iso to reduce noise; most of the scenes were staged so he could control dr. but the final results are amazing for 8 bit 50 mbits mpeg2 long gop. https://vimeo.com/channels/keypeele

10 bit vs 8 bit. to make 10 bit really better than 8 bit, the camera has to be very quiet. when the codec is thick and the camera is at high iso, noise cancels the limited advantage of 10 bit over 8 bit. and most modern cameras shoot log at native iso of 800 to 2000, at which starting to show noise, even though the latest cams have good low light capabilities. for log shooting, in order to protect high light, it is typically to expose at about 60%-70% ire, and this is typically darker or underexposed, or ettl on the histogram. for most digital sensors, ettr when shooting and then push half a stop to one stop down in post to reduce noise makes the image looking darn good. shooting log ettl then pull up half a stop or a stop, you will see heavy noise in the shade frequently. personally, i think 12 -16 bit raw shooting is the best if wanting to do post cg. 10 bit log does not have much more benefit over 8 bit rec 709 if you shoot 8 bit rec 709 sooc. the reason why 10 bit log is useful is to match the color of different cameras in post. nowadays, 10 bit log is used as a quick leeway to 12 bit raw, which is not the right approach in most of the cases, imho.

The traditional TV network industry uses 50 mbits long gop codec as the standard, like bbc does. twenty years ago, when it was established, it was really good at the time. nowadays, higher standard should be implemented. i agree with you that arri and red reels are good even on 10 years' old youtube channels. i notice this also on tv too. typical news pieces are shits, all kinds of muddy damped color, but the movie channels, especially the black and white ones, are much better looking.

i think the motion blur we talked about is actually 24p film based, means no blur from rolling shutter, no blur from codecs. nowadays, lower end digital cameras have more to worry about than using a 24p film cam.

i rewatched my previous footage to make sure the above mentioned impression is right. to my surprise, only ml raw is really tack sharp during slow panning, r1mx is close enough but if panning speed is a little bit up, there is still something blurred or dizziness. prores hq at 24p is clearer than xavc480, but still there is some bumpy fillings, nano flash's highest 280 mbits intra frame is about 50% more than prores hq, still there is blur/dizziness during panning. it is a joke that 50 mbits long gop codec is the standard for broadcast industry. uncompressed/true lossless raw is the king if wanting to shoot 24p.

for your financial status, i think a brand new alexa 35 plus a set of cooke primes for portraiture, and another red monstro 8k and a set of zeiss master primes for nature, either miller or oconner or sachtler heavy duty tripod is fine. you may need a small travel package, om1 with some pro lenses are good for this purpose.

wow

i hope there is an affordable cinema camera using foveon based ccd sensor, global shutter (ccd sensors are gs), s35 or vv, 10 mp, 24 bit, uncompressed raw, 60p, will beat 8k 12k cameras to death.

try 180 or 360 degree slow panning, you will see clearly the difference between 24p and 60p. for 24p slow wide panning, i am used to ml raw's unaffected image quality, r1mx's redcode 42 is good enough, prores 422 hq is barely enough, even renowned xavc 480 makes me feel dizzy, not to say other thinner codecs which are popularly used in many latest mirrorless cams. on the other hand, even af100a's avchd 24 mbits 60p is totally fine to my eyes. for hollywood blockbusters, even they use 24p mostly, you never know if they do motion blur reduction in post or other techniques onsite to reduce motion blurs, unless you are onsite or in the circle.

i think the sensor design then was way more free going than now. now all sensors try to mimic alexa, not bad, but not much diversity.

totally agree. af100 body is nice, packed with almost all of the important features, like peaking, wave form, vectoscope, etc. i like it very much.

i know i am a shitty shooter shooting shitty scenes over and over again. because all are shits, so this shitty factor is eliminated. now, a shit lover likes a specific shit out of all these shits. this is interesting. why? lol.

actually, i am a firm 24p converter now. why, suddenly i have 5 more cinema cams at my hands, ipad, mac book air, ipod touch, phone, and my desktop monitor's web cam. oh, my em5 has a 24p i think? although only use it for photo so long. they will blow c300 30p out of water for sure. 24p is good for all the human kind too, because each one has a phone is a cinematographer now. probably more than one billion dps? good for everyone, why not. cheers,