Ø I have used Resolve within the workflow to produce 32K by 17K.content. Most recently 20K by 8.5K for a project in NYC. Ø Just not as straight forward as you'd think from that single line Thanks, Phi

Does anyone have any experience with editing high resolution projects (16K and higher) in Resolve and what the actual limit may be (assuming any existing hardware)? I’m aware Blackmagic Design is clai

Hi Everyone, Here is range of camera tests performed earlier this year for GSCA Innovations (Technical) Committee. In the line-up we have some cameras that were of interest to the Giant Screen/IMAX co

Art Adams wrote: “There have been a lot of cameras sold with the promise of being as good as more expensive cameras for lower cost. I have yet to find one that I personally found to be as good as the

Very good, Alfonso. Thank you for taking time to test and share. As usual, very informative. Kind Regards, Pawel Achtel ACS B.Eng.(Hons) M.Sc. “Sharp to the Edge” ACHTEL PTY LIMITED, ABN 52 134 895 41

Not directly related to Sony FX9, but I have experimented with noise reduction on my 9x7 camera and, similarly to your experience with Sony FX9, the noise reduction applied at the RAW level appears to

Ø [Brian Heller] - As David Watkin said: “If they paid me to, I would shoot with the lens cap on.” Ø Ø Of course, RAW is theoretically “better”, but so what. For instance, Ø if the optics are not 1st

Ø [Mitch Gross] Uncompressed RAW is the best quality — so what? It is a more burdensome workflow because it does not deliver an immediate result in the form most clients want and it requires more memo

Ø [Ben Allan] I think the confusion about this was born with Kodak calling their original LUTs a LOG to LIN conversion meaning that it was - “more linear than LOG” ;-) Kodak though, also accurately de

Ø 12-bit raw footage with linear encoding clips harshly, and loses some highlight forgiveness (witness the AJA Cion). Log encoding enables 12-bit raw to deliver quality comparable to what's possible w

Ø I like having a raw option, but I don't see any point in uncompressed raw. It's a waste of space So, how much do you save with Log? 2 bits (20%)? Do you prefer compression artefacts, instead? Again,

[Mitch Gross] I would expect that Log encoding is more useful to a vast number of CMLers and DPs in general than Uncompressed RAW recording. Why? Kind Regards, Pawel Achtel ACS B.Eng.(Hons) M.Sc. “Sha

Ø Perhaps someone can tell me what's wrong with it? It doesn’t have genlock or time code inputs. It lacks 24fps and 30 fps, only 29.97, 25fps and 23.98 fps in RAW and doesn’t do high frame rates. It a

Ø There would seem to be a point in sensor resolution where you wouldn't need primes or an optical zoom at all. Just one very sharp and extremely fast lens. I’ve been filming extremely high resolution

Ø Filter one at T22, this one is with filter 4, 6 stops ND, at T2.8... Ø So, the Cooke is much sharper wide open 😊 At T22 it is diffraction limited (Airy disc size is about 34 mm) and equivalent to sm

Ø It’s not losing resolution there appears to be an increase in chroma aliasing. Hey Geoff, Thank you for doing those tests for us. I know how much time and effort they take! I’m looking at your “midd

Ø HDRx has been a feature in RED cameras for two generations of cameras from DSMC, DSMC2, and Ranger body types to do what you describe in reference to above 16-bit capture. Though that is not tempora

Ø which lens was used in that clip ? Sigma ART 14mm T2.0 at T2.0. Yes, indeed, the lens does fall apart away from the centre J We need better glass for those resolutions. Ø This was touched on by some

Ø But I still question the capacity to interpolate such an image to four times the source resolution. I’ll be interested to see just what the tested comparative results are out of your camera as it se

Ø Can the camera be triggered? Hi Ted. Yes, the camera can be triggered with TTL level signal. Not just that: Unlike nearly all other cameras, the 9x7 sensor supports overlapped readout. This allows t