Prores RAW and BRAW are not 100% lossless? Only CinemaDNG is 100% lossless. This can make a difference especially when planning to use video frames as stills photography. Also anything which requires fine details, lossless can matter.
I guess that's why Sigma decided to use cDNG raw for their fp. Unfortunately that thing produces a massive amount of data, so you have to get an external SSD to record cDNG in 4K, and it can't do high frame rates in 4K, like a lot of the new 4K cameras can. Compressed video is basically a necessity these days, especially with 8K coming (already here, really, in the Canon R5 and a few other cameras, including some dedicated video cameras), which would make such massive amounts of data with an uncompressed format like cDNG that even a fast SSD couldn't handle the data rate.
Personally, I find RAW video to be overrated. It requires at least twice the disc space and is unusable without extensive processing. While there are dozens or hundreds of 3D-LUT's for log video, I've seen very few for RAW footage. I have two cameras with 16-bit RAW outputs, which I've tried but returned to 10-12 bit cinematic video.
I might change my mind if I wore a beret (or reversed baseball cap) and had a folding chair with my name on the back.
its_a_knife, it's not about matching different cameras on the same set. It's about matching footage filmed by the same camera in different scenarios, making sure the colours are as true as possible to the real garment.
Filming a colour chart doesn't adjust the camera. And matching processed footage to a colour chart is not great. Just like trying to white balance a jpeg instead of a raw...
The ideal solution is to film the colour chart in raw so the adjustments can be made in post with all the information still present. And if there isn't time to shoot a colour chart for every scene, the adjustments could still be made in a raw file instead of a processed one.
The disk space isn't a real problem because after the color matching, the files can be exported in a compressed format.
I pretty much always use PRHQ’s or PRXQ’s to color correct and it’s never an issue to match cameras. What’re you coloring that it’s so essential to have raw?
I'm happy with the Ninja V. The atomX add ons modules can give additional functions as needed. The firmware updates, that come very regularly, have added some great functionality along with compatibility with new cameras. I have gotten some great use from the newish timelapse features. The menus can be a bit frustrating if you are in a hurry, but that's just me.
@Kenneth Almquist That's Chris vs Chris—the same Chris goes against his own alter ego. Actually, his own positive alter ego. That's like good Chris against even better Chris. Evil twin brother is a completely different story.
I like the idea of built-in SDI ports on the BM, but not many cameras have SDI outputs. I have one SDI camera, A Sony FS5M2, but my A7Siii "go to" camera has only HDMI. I can carry three A7 cameras in less space than one FS5.
Using SD cards for recording is a mixed blessing, not the least of which is keeping still and video cards sorted. You can only get about 2 hours of ProRes 422 1080p60 on a 128 GB SD card, whereas I use 2 TB SSD drives on my Ninja V, which can also be used on an Atomos Shogun 7, which records and switches up to four SDI cameras. HDMI to 3G SDI adapters are cheap and powered by a USB battery or V-mount battery plate. It is impractical to use an SSD on the BM unless you are at a table or have a rig to support it.
As with any professional gear, you have to first decide what you need, then find the best fit for your application. That said, this review gives a solid foundation for that decision. Good work guys!
The fact that many cameras don’t have SDI is a solid reason to go with the BM as it does give SDI output / conversion. Yes you can power an external converter, but that has the same issues as using an external SSD.
HDMI has fewer compatibility issues than SDI, which has level A and level B data structures, and cable bandwidth (3G, 6G, 12G) requirements. Not all level A SDI is the same either. I have a Pelican case full of adapters and power supplies to meet these challenges, as well as a trunk full of cables of every flavor.
Optical HDMI cables have a huge advantage in the field, except all of my switching, recording, and encoding gear is SDI.
I never seen some uses hdmi on a professional film set. SDI is industry standard. No more and more is wireless with bolt. But still client monitor sdi, camera monitor sdi. Most red and arrai camera don’t have hdmi output. If you don’t believe me just visit some set and you will se. Fiber optics hdmi I have never seen on set. It’s more common in budget tv production with atem mini.
@ janbanan I’m not saying you are wrong but with workflows moving to higher resolutions this does look like realm of HDMI. Red do 6 and 8k, Canon are about to release 8k, no doubt Sony will follow. BMD have a 12k I believe and I’m sure Arri have higher resolution in their sights. Quad SDI for 8K transmission sound s total headache to me unless TV and film production decided to stick with 1080 monitoring etc.
@gazza73 I don't think fiber optic HDMIs are going to change much. The only thing they get you over normal HDMI is that they can go longer in length, but it's still not a locking connection and now you're worried if you bend the cable too sharply. Interestingly, you don't even get an electrical isolation between the two ends of fiber optic HDMI cables because the source end powers the optical decoder on the monitor end, so there are metal wires that go along the length of the cable as well.
It says Olympus on the front, but the OM System OM-1 is about the future, not the past. It may still produce 20MP files, but a quad-pixel AF Stacked CMOS sensor, 50 fps shooting with full AF and genuine, IP rated, weather sealing show OM Digital Solutions' ambition. See what we thought.
DJI's Mini series has always been a great entry-level option for beginners, hobbyists, or those willing to sacrifice features for size. But with its newest model, the Mini 3 Pro, DJI promises to bring pro features to its most compact model. Does it succeed?
Sony has just announced its updated 24-70mm F2.8 GM II and there are a host of impressive upgrades. We took this new lens around a very soggy downtown Calgary to see how it performs.
The Nikon Z9 is one of the best cameras we've ever tested. But is it the best of the best? Chris and Jordan have been testing the Z9 with the new 2.0 firmware for a while, and they have the answers.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera for around $2000? These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing around $2000 and recommended the best.
Most modern cameras will shoot video to one degree or another, but these are the ones we’d look at if you plan to shoot some video alongside your photos. We’ve chosen cameras that can take great photos and make it easy to get great looking video, rather than being the ones you’d choose as a committed videographer.
Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform. In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media.
Chris and Jordan are out of the office this week, so we're taking a trip in the wayback machine to feature a classic episode of DPRTV: a review of the EOS R, Canon's first full-frame mirrorless camera.
Last week, we featured Markus Hofstätter's scanner rebuild, which saw him spend three months bringing back to life a massive scanner to better digitize his collection of large format photographs. This week, we're taking a look at the results, kicked off by a beautifully detailed 30cm x 40cm collodion wet plate portrait.
The lenses lack autofocus and image stabilization, but offer a fast maximum aperture in an all-metal body that provides a roughly 50mm full-frame equivalent focal length on Fujifilm and Sony APS-C cameras.
Apple has responded to an open letter published last month, wherein more than 100 individuals in the entertainment industry asked Apple to improve the development and promotion of Final Cut Pro.
Venus Optics has launched its Indiegogo campaign for its new Nanomorph lenses, revealing additional details about the world’s smallest anamorphic lenses.
Most smartphones these days offer great-looking video and make vlogging very easy, but there are always accessories that can help to make your footage, and you, look even better
The WG-80 remains largely unchanged from the WG-70, but it now has a front LED ring light that's twice as bright as its predecessor. Aside from that, the 16MP CMOS sensor and 28-140mm full-frame equivalent lens stays the same.
Astronaut Samantha Cristoforetti is aboard the International Space Station for a six-month mission. She and the other astronauts aboard the ISS witnessed the recent full lunar eclipse, and Cristoforetti captured amazing photos of the spectacular event.
Vivo has announced the global launch of its flagship X80 Pro device, which features an impressive quadruple-camera array on the rear, headlined by a main 50MP custom Samsung GNV sensor.
ON1 has announced the newest update to its ON1 Photo RAW 2022 all-in-one photo editor. Version 2022.5 integrates Resize AI into the editor, plus it includes improved noise reduction and Sky Swap AI. The update also includes new camera support.
Many cameras have a distinct sound. MIOPS partnered with German sound artist Kuntay Seferoglu to harness the diversity of camera shutter sounds and create the MIOPS Camera Symphony.
Panasonic's new 9mm F1.7 lens promises to deliver top performance in a pint-sized package. Does it raise the bar for ultra-wide angle lenses in the Micro Four Thirds system? Check out our sample gallery to find out.
Despite most units still not shipping for a few weeks, DJI has released a firmware update for its DJI Fly app that allows for activation of its new Mini 3 Pro drone, which will unlock the full feature set for the first ‘Pro’ sub-250g drone from the company.
It says Olympus on the front, but the OM System OM-1 is about the future, not the past. It may still produce 20MP files, but a quad-pixel AF Stacked CMOS sensor, 50 fps shooting with full AF and genuine, IP rated, weather sealing show OM Digital Solutions' ambition. See what we thought.
The app is developed by cinematographer and colorist Zak Ray, who's brought together over 1,000 lenses and 150 cameras into a comprehensive and interactive database app for planning out your shoots.
The leaked renderings and information suggests this new FPV drone will come in at around 500g (1.1lbs) and feature a CineWhoop-style design with protected propellers for safely flying in tight spaces.
The lens, which was previously avaialble for Sony E-mount, is fully manual, but chipped to provide support for focus confirmation and in-body image stabilization with compatible Nikon Z-mount camera systems. Cosina says the lens is set to go on sale next month, June 2022.
The total lunar eclipse will start tonight in most hemispheres and extend through midnight into early Monday morning. Here are some tips on where to view it and capture this rare event.
Is the GH6 the best hybrid camera there is? Jordan has been shooting DPReview TV with the Panasonic GH6 for months, so he has plenty of experience to back up his strong opinions.
The Sony a7 IV includes a new screen reader assistive feature that makes the camera more accessible for the many people who struggle with vision impairment and loss. It's a great first step in making photography and digital cameras more accessible.
Markus Hofstätter Is no stranger to massive DIY photo projects, but his latest one took three months to complete and resulted in bringing back to life a massive scanner that he now uses to scan his ultra-large format photographs.
Representation matters. Google is working to improve skin tone representation within its products and services and improve its AI technology to better understand images of people of all skin tones.
As we work towards our GH6 review, we've taken a closer look at some of the video options by shooting clips to highlight some of the compression options, picture profiles, image stabilization modes, the dynamic range boost mode, and low light performance.
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