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This is fantastic 🎉

might wright my dissertation on this after watching this

2026 😂 A lot of time for BM to make new recorders.

Man, really lioke your channel, subsribed! Have to digress about your part on braw, its smaller (12:1) and (18:1) then any of the prores options, also smaller then all-i and many of the H264/h265 options out there, but you get all the benefits of 12bit raw and also one big thing working with braw or any other raw format includin all all-i and prores options is consolidating projects for archiving or later review of grade, with or without frame handles. doing mostly music videos, commercials and narative work, i find consolidating projects with long gop formats in projects is hit or miss, at least few of the clips have fewer frames and you get offline media in the middle of the clip in a timeline. only workaround is to convert all long gop clips to prores/dnx HQX and relink that files to timeline and consolidate from them. which is a pain, and time consuming.

Love what you say on the final

Bravo! Probably the most informative and honest video on YT about video camera technology. Great illustrations and clever humor bits help retain the attention all the way to end. Thank you, look forward to more of your videos.

Exactly! Box cameras are great if it’s going to live on a tripod or if you absolutely need specific accessories for your project, but I bought an fx3 because it has a fan, nice screen, good battery life, autofocus solution, auto aperture solution, and great onboard memory options all built it. It’s a self-contained unit that can give me cinema camera quality in my pocket, or I can rig it out if needed.

It'd have been better if you could share the math of squeezing 12 DR into 10-bit bucket, what's stopping the camera from squeezing it into 8-bit, less resolution? if so, for same resolution we can get 10 stops of DR, but tests show 11+, are those extras internal camera shenanigans? And it'd been nice had you demonstrated "contrast filtration" you mention.

Just randomly stumbled on this amazing video. No previous exposure to any of this stuff, but was riveted by the drama. Obviously I see parallels in other areas of life, human nature seems to mean we often obsess about the wrong things. Very well executed.

"it looks like dogshit" 😅 😅

Great video! Very informative. Of course for smaller cameras you can get cheaper rigs around £300 like FLYCAM

Another way to put it, the cinematographer creates the scene by controlling the light and the camera only captures it. 'Why do cinema productions with the most expensive camera use so many lights?'

I learned more in this video than my last 6 months on RUclips, or even last year. Thank you.

Amazing job! Thx you!

Don't worry about dynamic range. It's irrelevant. Make a movie that rocks the world like Citizen Kane. In the movie reviews nobody mention dynamic range range there. Same is true for terminator 2.

I need to put on my Red fanboy hat and ask you why these cameras are in the same bag as mirrorless in your video? genuinely curious, the power draw, thermal envelope, 16bit in 14?bit container? I get it that these cameras can be a bit of a let down on the current market, either spend significantly less, get a sony and cater to clients that don't care about nuanced look or if they do you need to spend a bit more and get an Arri anyway. But if we are nerding out about camera design something like komodo-x should have some upper hand over mirrorless, why it's not perceived as better?

Such an informative and useful video, thank you for putting this information out there for all of us who are less informed. Matter of fact, that goes for pretty much every video of yours i've seen so far. Also as some have touched on already, great delivery as well. The way you explain these things finally makes sense to me after wading through so much information that is either just wrong, doen't make sense, or is poorly presented and hard to wrap my head around. Comedic touch is also much appreciated. As I really only shoot photography and have very little experience or knowledge of video, I have a question about your advice to not shoot in LOG if you are shooting a dark scene with no ability to add light and therefor must turn up the gain. How would this pertain to shooting still photography? At that point would it be better for me to shoot jpeg rather than RAW? maybe i'm drawing a connection between RAW and LOG that just doesn't exist, hopefully you can enlighten me on best procedures in this situation... also one other thing to perhaps mention is i use a Fuji camera, so its in fact not a Bayer sensor - a topic which you mentioned at a different point in your video - but I have no idea whether this makes a difference either. If you have time to respond, I want to say thanks for taking the time to explain some of this to a novice like myself. If not, then I understand. Either way you have gained a subscriber and looking forward to your future content

A little bit of Tarkowski .... greetings to Russia from Germany. Just a question for me, would more realistic colors look worse?

Excellent video dude. I want to switch to Mac but I'm scared of the jump. I already use iPhone and IPad but scared shitless to exchange my PC for Mac simply because I see my self as a super excel user, my work involves working 70 to 80% on excel spreadsheets. If I have to now change they way I work in excel (shortcuts and custom banners etc) I may regret it big time. Again very good vid👍🏻

Where are you getting the generalization for 12bit = 12 stop and 8 bit = 8 stops. Why not say each bit is a stop then 8bit = 256 stops?

I was frustrated with most of the exposure tools on the market and created my own zone system inspired by Ansel Adams. I have heard of EL Zone but never looked into it. Thanks to your video I realized I basically recreated it... :/ Anyway, it's basically an FX6 / FX3 LUT that I leave running on the small screen while using a dedicated external monitor / raw recorder for composition. Let me know if you're interested in checking it out. Cheers!

Imho the classic broadcast body is still the best for ergonomics. Amira is close to it but it’s pretty heavy and not necessarily as easy to operate. The reason why it was once popular is the sensor not the ergonomics. Blackmagic was sporting “eng-style” for all their high end models until very recently. However, the design is nowhere near of the actual competition. Why can’t we then innovate away from this once proven design? Well, while the sensors and media has changed, humans are still the same, two hands and a head between.

Great video, yet again.

Very interesting. Some nerdy details I already knew, and some I had no idea. That video is a lot of work. Thanks for that! ;) Regardless of all that, I do look at numbers (mainly CineD Lab Tests) when I'm looking to upgrade camera body, just to give me an idea, but I always judged DR by eye, based on my experience with the previous camera I owned. I also ALWAYS use a precise LogC conversion taylored to the sensor of my camera (Emotive Color), so all of the cameras I owned since 2017 had the exact same colors. That way, it's very easy to notice other aspects of your new image. Does it feel like I see more in the shadows when exposed for the highlights? When I switched from the GH5 to the BMPCC 6K, the extra stop of DR was VERY noiticeable. When I switched from BMPCC 6K to the Lumix S5, I didn't expect that much of a difference since IMATEST only showed 0.3 stop difference.. but i was wrong.. it was still noticeable in some shots, especially when shooting a very high dynamic range scene, like in the woods, where there are strong sunlight piercing the trees canopy and very strong shadows. From S5 to S5IIX, I haven't noticed any difference, since it's pretty much the same (0.2 stop difference based on CineD's IMATEST). We could also just say that most modern cameras have enough dynamic range to meet most requirements, that people should learn how to ''use/control'' their dynamic range instead of obsessing about the numbers. Camera manufacturers should now focus more on improving where it truly lacks, compared to the competition's equivalent. Still, we all dream of being able to shoot indoors with only natural light, expose for shadows and not having blown out windows.. and people aren't going to change until it's achieved. You can always blew them out in post if you want to. Not that there's anything wrong with blown out windows though. We're used to see movies shot on 35mm film, and there was still lots of blown out windows. They could have used ND gels, but they still choosed the embrasse the windows as speculars.. indeed as an artistic choice, and it can be beautiful/well desired. So I definitely agree with you... use your eyes and artistic sense, and just create! We absolutely do not NEED more DR that those affordable mirrorless cameras can offer in 2024, and even though I would gladly take some more.. I wouldn't replace my S5IIX for extra DR alone, that's for sure. Creating a clean highlight rolloff, smoothly fading to pure white, is extremely easy on ANY camera. You just need to taylor it to your sensor's response (where the highlights RGB channels start clipping unevenly). You simply desaturate this area and smooth out the top of the curve. Yes, you will technically loose this ''useless/ugly'' highlight data, but your image will look much prettier and film-like/Alexa-like.

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this is exactly why my next camera will be a Z200. i'm getting off the ride.

I have a question about the ISO on my Z Cam F6, which has a dual native ISO of 400 & 2500. When I shoot a scene that is properly exposed at the base ISO of 400, I notice it has more noise compared to when I ETTR at a higher ISO, like 3200. Why does this happen?

Holy cow, I needed this. You have a new sub.

This is one of the best videos on the topic. Hats off! As a VFX professional approaching hobby cinematography I quickly realised how the cinematic look was influenced by the limitations of the filmstock and the creative workarounds DPs came up with to manage the scene contrast before if was recorded. But it's expensive to achieve. People these days think they can slap a LUT on a crappily lit scene and expect magic because 'dynamic range'... LOL But i also realised the problems with uncontrollable saturated light sources when doing run-n-gun , namely street lights and car lights which have become much brighter due to LEDs being used.

8-bit SDR displays 10-12 stops because of gamma

God tier video.

WOW - what an impressively thought out and researched vid! Thank you! You could probably have made virtually the same point about resolution, lens aberrations, or even camera stabilizers. Really good speech about tech fetishes being more about procrastination and comfort than art.

Zona takes a piece of you everytime you visit

That’s the market, you get for what you pay, the best way to get with it by buying a camcorder unfortunately most of them have a horrible sensor.

Thanks for doing this, so we can just sit down and watch 😅 cheers!

Great job!!! This must be the most no-nonsense video/cine/imaging tech channel I've seen so far, and I've been through lots of them that were mostly wasting my time and others. But... One thing I've met oh so often - why 'negative amplification'? There is a specific word for this, and it's called attenuation.

The best video on the subject I've ever seen so far.

i feel like there is a whole spectrum of its own within the world of computational photography and its dynamic range capabilities. but as a standalone for a simple breakdown of most of the important factors of hardware photosensor equipment this was very well made and commendable have a great day <3

43:35 At least yours is a sweet potato. I'm still shooting on a regular Russet. Might do the baked mod though.

Where to start: Photons - yes there is shot noise in light but most of the problematic noise in a video system comes from the electronics. It's only when you get to extremely low light levels that the randomness in light starts to become a factor. Photon shot noise only increases by around 1/2 a stop for each stop you go down while the effects of read noise doubles for each stop you go down. So in the deep shadows the read noise from the electronics is almost always more significant than the shot noise. The number of photons hitting a photosite during a typical exposure is not in the thousands, it will be in the 10's of thousands and the amount of photons needed to result in a full image well in a typical modern sensor is closer to 100,000.

Yesterday I was on a shoot and the Sony Monitor and camera app was kind of a nightmare, and I was just trying to use 1 camera (FX30) and my iPhone. Took me forever to get it connected but once I did it worked until I turned off my camera or closed my iPhone. When starting my camera back up it would always give the failed to connect to the camera warning and then I would have to fiddle for over 20 minutes trying to get it to connect again. Cannot remember what sort of worked but basically kept having to turn off bluetooth or remove the camera from the app other wise it would never pair even after pairing the first time before I shut the camera down? Any body have success getting it to work properly or what the exact way is to get it working and keep working automatically every time I want to use it or turn my camera off? Seems pretty useless if just turning the camera off makes this happen? Thanks !

This video is incredible. Great work. I’m now better off for it.

Definitely one of the most important video to watch for all camera nerds to escape all the marketing bs. We often chase the latest cameras with high chart scores and end up not using their full potential.

great work

Another great one🎉

Absolutely awesome explanation, great editing and animations too!

whoa a camera tech video that is accurate understands the subject matter

Very interesting video, thanks! I have some questions... so the analog to digital conversion point I'm guessing was solely for discussing the sony A7siii and its marketing trick? It seems like from what you said that log circumvents the 12 bit dynamic range limit. Also another question about photos - the photos I've shot in my camera's 12 bit electronic shutter mode have a lot more dynamic range than the 10 bit log video files. How could that be, if the camera only has one data value at the darkest shadow stop?

Fun Fact: that motorcycle shot you used as an example from The Creator was shot on a Nikon Z6!

Google sent me here.