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Fuji GFX 100 ProRes RAW?


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4 hours ago, Andrew Reid said:

If BRAW is tied to Blackmagic FPGA that is a completely 360 degree turn away from ASIC and your power economy goes out the window.

If ProRes RAW encoding also needs FPGA hardware, the heat management and battery life problems again scupper that.

Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run).

There is nothing magic or special about FPGAs other than their basic ability to be user programmed/re-programmed, which is their 'Unique Selling Point'. That makes them very attractive for low to medium volume products which need high-throughput data processing - instead of sinking a lot of up-front development capital into an ASIC. It also makes it a lot easier and cheaper to fix bugs and add features after you've launched the product.....

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Z-CAM with ProRes RAW is in many way more useful on that camera, because you need to add the screen anyway, and it doesn't have a standard or widely supported internal RAW codec, so you may as well us

Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run). There is

Yes! Beta firmware enabling Ninja V ProRes RAW recording from the GFX100 was made available today (also Sigma fp).

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On 5/27/2020 at 6:38 PM, Andrew Reid said:

D44ED0BE-9725-4094-8764-C18B01FCCD36-sca

The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features.

NEW BLOG POST:

https://www.eoshd.com/fuji/rumor-fuji-gfx-100-to-get-prores-raw-internal-recording-or-external/

 

I have the option to buy this camera with 32-64 and 110 for 15k new, or my previous choice before seeing this  was Leica sl2 with 24-90 and 90+280 for same amount of money. I'm aiming at commercial lifestyle shoots and fine art over 1 meter in height prints, my question is what would you buy?

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Fujifilm have certainly brought the goods with this new firmware update even outside of the ProResRAW feature and I'm quite intrigued by the grain effect .

420944090_ScreenShot2020-06-30at10_10_46.png.1b216ea6db806ad57d1c2d4548416e20.png

https://fujifilm-x.com/es-es/support/download/firmware/cameras/gfx100/

I'm guessing that @Andrew Reid is currently exiting some shop somewhere with a Ninja V under his arm to give this a go !

Although, as with the update announced for the Sigma fp, I do wonder when Atomos will actually release their firmware to allow this to be used.

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It seems a bit of a mystery as to why Atomos can't update their firmware at the same time as the camera manufacturer does :)

There doesn't seem to be a firm date given for it yet.

There is no 1080p RAW because the image in 1080p is so dodgy on the GFX 100 :) You have to go from 100MP to 2MP so the amount of binning is off the charts.

I am also not sure who buys a $10k 4K medium format camera to shoot 1080p in 2020 so maybe that is another reason why they didn't bother with it.

Personally I would sooner shoot with a more practical 2.8K internal RAW codec but there is no denying the appeal of the image out of the Ninja V.

More thoughts on the blog:

https://www.eoshd.com/raw-video/fuji-gfx-100-is-first-medium-format-camera-to-shoot-12bit-prores-raw-with-atomos-ninja-v/

@BTM_Pix Downloading the firmware now. I have a feeling the grain simulation is JPEG only but I'll give it a try!

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I totally agree with your analysis, @Andrew Reid. RED is shooting itself in the foot by patent-trolling other camera manufacturers who implement raw video recording. They should continue making their high-profit margin cameras for the professional cine market and, instead of burning their money on nonsense like the Hydrogen phone, offer attractive license packages for their RAW codec so that it becomes a prosumer industry standard. Everyone would profit, RED probably the most.

As a long-time Linux user, I am reminded of the company SCO (which owned the copyrights of the historical Unix source code) and its attempt to patent-troll and bully Linux development through a gigantic lawsuit - and ended up going out of business because of that.

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I can understand why RED does want to be a bit selective and doesn't want REDCODE on an ARRI or Sony F65 for example

But the mirrorless cameras are no competition and actually compliment the larger A-cams on most shoots.

So to be able to use one or two of them with the same codec as the Komodo or latest RED A-cam would be ideal.

I have an interview coming with Jarred Land of RED but he is taking his sweet time to reply :) Very busy. I'll keep trying to encourage him that this is a good idea, whenever I get the chance.

It really would be wonderful to shoot REDCODE on both a Komodo and something like an EOS R5.

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Andrew, do mention in your interview with Fuji that they should do the decent thing and give us a firmware upgrade for the X-T3, especially for AF/video improvements. It will buy a lot of customer goodwill when the X-H2 comes along... Customer choice will also include new Canon and Sony  cameras at that point so customer goodwill will matter. Thanks!

 

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The complete non-starter issue for me on all these external RAW updates over HDMI is the fact that it’s always C4K or 16:9. What’s the heckin point of a “medium format” or “full frame” RAW camera if I can’t even use the FULL frame? 

#anamorphicproblems

Seriously though, I want to use the full sensor height. Anything else is just infuriating. I assume it’s some limitation of the HDMI hardware, either the camera’s output, the signal format, or the Atmos’ input, but that doesn’t make it less frustrating.

When there’s a camera that can shoot RAW and be speedboosted into IMAX 15/70 territory, I’ll be there with bells on. Until then, my GH5S and Blackmagic Pocket 4K will tide me over just fine.

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4 hours ago, Caleb Genheimer said:

The complete non-starter issue for me on all these external RAW updates over HDMI is the fact that it’s always C4K or 16:9. What’s the heckin point of a “medium format” or “full frame” RAW camera if I can’t even use the FULL frame? 

#anamorphicproblems

Seriously though, I want to use the full sensor height. Anything else is just infuriating. I assume it’s some limitation of the HDMI hardware, either the camera’s output, the signal format, or the Atmos’ input, but that doesn’t make it less frustrating.

When there’s a camera that can shoot RAW and be speedboosted into IMAX 15/70 territory, I’ll be there with bells on. Until then, my GH5S and Blackmagic Pocket 4K will tide me over just fine.

It requires far more aggressive line-skipping to readout the full height of the sensor which is 8736 pixels.

Currently GFX100 uses 2/3 subsampling vertically to derive a 4352 pixel Bayer from a 6528 pixel height, and that already saturated the maximum readout time of 32ms required to achieve 30fps video frame rate.

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18 hours ago, Andrew Reid said:

 

It really would be wonderful to shoot REDCODE on both a Komodo and something like an EOS R5.

Yeah that would be amazing. Allthough REDcode crops when you use lower resolutions right(it was like that back in the day with the scarlet-x)? But the 8K is my main problem with the R5. 4K would have been plenty.  

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5 hours ago, androidlad said:

It requires far more aggressive line-skipping to readout the full height of the sensor which is 8736 pixels.

Currently GFX100 uses 2/3 subsampling vertically to derive a 4352 pixel Bayer from a 6528 pixel height, and that already saturated the maximum readout time of 32ms required to achieve 30fps video frame rate.

https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/

fuji-44x33-4k-binning.jpg

What 100MP quad bayer capable sensor were Fuji referring to in this document (if not the GFX 100)?

It doesn't look like the GFX 100 actually employs this readout method.

So is this something they are saving for a future camera?

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4 hours ago, Andrew Reid said:

https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/

fuji-44x33-4k-binning.jpg

What 100MP quad bayer capable sensor were Fuji referring to in this document (if not the GFX 100)?

It doesn't look like the GFX 100 actually employs this readout method.

So is this something they are saving for a future camera?

That's their 100MP X-Trans project that has since been shelved.

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14 hours ago, buggz said:

It isn't neccesarily the sensor size thing with HDMI...

I still love and use my GH5 and always shoot in HLG anamorphic open gate mode.

Can't do that via HDMI either, NOR can you even view an output.

Though, I see this head line in multiple places:

I don't understand...

Atomos Introduces 5.8K and 4K ProRes RAW External Recording to the Z CAM Cameras

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