In 99% of cases there seems to be little benefit to using 10bit other than more difficult to edit, larger file sizes.
The above screen shows the Canon EOS R5 codec selection menu in 8K!
Two of the most unique cameras on the market today are both L-mount with 10bit capabilities in 4K. The Sigma Fp of course shoots Cinema DNG 4K RAW at up to 12bit to SSD via USB C and 8bit RAW internally. The Leica SL2 shoots very high quality 10bit 4K LOG internally with more of a passing resemblance to Arri Alexa colour science and LOG profile.
I thought I’d get to know the two, if that’s the case!
Cupertino tech giant Apple has launched a legal petition vs RED at the US Patent Office, which began in May this year.
Comment on the EOSHD Forum Blackmagic Pocket 4K topic
(415 pages and 1 million views on just one thread!)
Something for Blackmagic to look into here on the EOSHD Forum thread for the Pocket 4K. Anecdotal evidence say the camera is suffering from macro-blocking and banding in blue skies which you don’t expect to see with a 10bit codec let alone a RAW codec. Since the BRAW codec update, various users have been claiming it’s a backward step for the film-look of lossless Cinema DNG raw.
Now this is a bit more like it. It isn’t quite a Sony A7 III but it is definitely the most interesting full frame camera for $1299.
Sony is working on a new codec to replace XAVC, which is based on the older H.264 compression standard.
The new codec is called XEVC according to leaks, based around H.265 (HEVC) Version 2. This supports Bayer RAW encoding, 8K and 12bit 4K at data rates efficient enough for almost any media, even current SD cards.
At least until the A7S III comes out…