This thread has derailed totally so it's nice to see a fp comment! I would like the next fp to dump out the whole 6K sensor or offer other crops of it. Whilst i understand the fierce my pixel is bigge

I've had one of these since it first came out and it is an amazing camera for it's size and cost. I've spent a lot of time ripping apart the RAW and working out where it's limitation are (for me), thi

Who do you see as the audience for the camera - IMHO i think it's quite specific but i think a lot of folks might be looking at this as a generic cine camera which i don't think it is. Looking in Nuke

I can't say what Panasonic and Atomos are doing but i can point out that the sigma fp has possibly the same sensor and will output RAW DNGs to a USB3 SSD (or a lower depth DNG to an SDXD card internal

I think you need to read the details very carefully about what did/didn't/might have transpired and also how the industry in general has evolved with the same issues. In your point there i *think* thi

You make the assumption that the cameras internal colour science in moving from native sensor colourspace to a defined log colourspace does the job well. As you know there are many ways to massage a l

As per your previous comment, it's the Reds that Sony produces that IMHO causes more workflow issues than anything else. Natively they're outside 709 space. If you use RAW then you can manage that muc

No skin in the game but i used to have an FS700 and the F7 isn't that different. IMHO the onboard colourscience is terrible or at least skewed towards a different aesthetic. SGamut is as well. Anythin

I believe Apple have chosen that colourspace in order to present a brighter, more saturated UI experience. And i suspect it's the primary choices more than any other part of the P3 standard. iPhones,

Not an FCP user but if you don't use the mac for this type of thing then there are a couple of points to remember that can catch you out. 1. Modern Macs are usually near or are P3 colourspace, iMacs a

I would still say Leaves are better than water. High shutterspeed and you'd be able to easily see the compression artefacts inside a frame. There are some great examples with R3D showing the way incre

I think there's a lot of truth to this and we may joke about it now. AI and Deep Learning are creating massive shifts in all sorts of areas. VFX and simulations being an obvious one but what i think c

Nice analysis Daniel, I was trying to work out whether there is any benefit to storing both G rather than an average, it is feasible that a CFA has two different greens to help extend dynamic range. N

Yeah, found that. Bit light on background details and i would read the same in between lines that you did What i would say though is that perhaps the beauty of this isn't the codec (because so far tha

Where did you find them? Me too. So demosaiced in camera but not doing all the colour matrix stuff is not really RAW is it? That's something like RWG/LogG10 although perhaps the RGB is really XYZ spac

Coined by you here. This RAW looks to be BMD Cameras only because they say that part of the debayer has been moved in camera. They're not very specific with that though but one of the beauties of RAW

I think they've output since v9, we're on v11 at the moment. I think all the product versions write prores (base Nuke upwards) They output all flavours properly, including alphas and 4444 and even 444

There's a lot to be said for open source and lots of developers contributing when it comes to quality/features/innovation. But reverse engineering a proprietary 'standard' is probably not ideal in thi

I can't speak for ffmpeg specifically but there have been a few windows 'compatible' versions of ProRes sold as actual products and i can front line attest to the fact they're not the same and the enc

I disagree a bit. On location we'd be dealing with all sorts of LED and other lights that aren't controllable so a meter that actually shows the spectrum and power is ideal and quantitive. If that 'me