We’ll discuss the discussion of the FX9 and camera testing, along with: “are the differences worth it, or is it all ego?” Geoff says, “In every test we've done so far the Alexa is the winner, the diff

I tested one of the Wave-Freefly cameras today here in Dubai and came across some issues, and was hoping that those with more knowledge than me, I come from the old world, so my sensor knowledge has w

No need to pack your color charts for a shoot on Mars. A few are already there: https://mars.nasa.gov/embed/25619/ Anyone know what sensor/color science they use? Noel Sterrett Admit One Pictures

Hello All; Attached to this post is an advisory note for our VariCam, EVA and other production camera users, regarding a COVID / lack of camera use issue. This advisory relates to the camera's system

I’ve been watching the first few lessons in this series, thank you Kevin, and they’re great. Anyone who want to know more about HDR should take the course https://www.fxphd.com/product/introduction-to

This Wednesday the 13th we will be discussing virtual production with some people who have practical experience of it. The cast isn’t fixed yet 😊 holidays are still getting in the way! This is one we

Over this holiday down time I rented an XDCA-FX9 raw back to do some Sony FX9 tests. I was surprised to find that the noise suppression as well as the distortion correction and shading compensation st

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

Of course, Linear is different to Rec.709. Current display technology can’t reproduce a true linear image - ACES is an example of true linear encoding and how it looks. I think the confusion about thi

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

Interestingly by default if I’m supplying drives I’ll now just supply SSDs (either T5 or Sandisk). When clients baulk at the cost I just send them the difference in time to offload a card to SSD and t

This tiny full frame 5.9K Bayer sensor L-mount camera shoots 4K Cinema DNG (8 bit internally, 12 bit with a tiny USB SSD drive attached) and outputs via HDMI to a Blackmagic Video Assist 12G (BRAW) or

I paid $2,120 for 512 GB Sony AXS media ~ $4/GB. It was a ridiculous price even then. USB-c SSD media for the Sigma fp is $220 for 2,000 GB ~ $0.11/GB. Compression does not improve images. It is used

https://vimeo.com/491507391 This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld. The second section has been corrected using BRAW set

I’m a few weeks away but I will be publishing a series of tests that I’ve been shooting with the BMD G12 I’m shooting at 12K but with a 8K frameline. I am using a shutter angle as small as I can so th

The Digital Cinema Society has posted test material shot with the Blackmagic URSA Mini Pro 12K camera. Along with an essay from our monthly eNewsletter, it is designed to to look at the challenges and

I'm curious if anyone is advocating for or using high density encoding with codex cards. I own an Alexa SXT plus and have been shooting a lot of Arri raw with XR cards on commercial projects and I'm c

Hello We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Record

This week we’re back in the Northern hemisphere and will be talking about the results from the production version of the BMD 12k (all previous conversation has been about the pre-prod version) LAX 9am

Because of the generosity of members a couple of weeks ago we can now afford to reactivate our high speed cloud storage. RAW files, except for the FX9, are available from C500-2, BMC UMP G2, BMD 12K a