We got our Canon C400 two weeks ago, and it's the closest we've seen to matching the image quality of our Alexa Mini LF (in RAW mode). The previous C500mkII was already praised by many Arri users as the perfect B-cam, and the C400 takes it up a notch. If Sony gave the FX6 or FX3 better codecs or RAW, the Burano might not look much better-at least not for 5x the price. BTW, the Canon 24-105mm 2.8 is a fantastic zoom lens-close focus, parfocal, beautiful bokeh, sharpness-it’s an amazing everyday lens for the C400! These are really exciting times in the industry!
2 дня назад+3
Blackmagic could start using the advantage of having industry standard software - DaVinci Resolve. If they added some unique capabilities for cinema production that would be saving time for post-production team that would help sell their cameras. I would love to see LIDAR accessory and AI masking tool that would create super accurate masks based on 3D data.
The DR for the Ursa cine 12k is very impressive! And that's even before applying highlight recovery which usually adds 1-1.5 stops in the highlights. I know you guys don't count that but hey, it's there if you need it and it never failed me in real world usage to be honest.
They need to somehow enable it to shoot open gate. Even if it was something like a 2.8K readout downsampled to 2K. Lower resolution but fast readout. It has to feed the viewfinder 2048 x 1536. So coming up with some option to use the full sensor height of the camera would add a selling point to it above the GFX 100 II.
I do love medium format coming from analog large format and working with gfx100s but I would love for fuji to release an aps-c one, lens wise and for solo operators/ documentary filmaking the size factor and quite frankly the price would allow myself and I’m sure a lot of filmakers to afford it while being able to buy lenses 😅. Like great dynamic range as the xh2s, global shutter or near it, internal nds (vnd would be awesome!) and the main aspect for me, XLR input with phantom power and great internal preamps. As bonus, raw or compressed raw. Niche options that could really get those few hesitating filmakers like pre-rec for wildlife (especialy since aps-c sensors and the crop 120fps of the xh2s for exemple are great for it!).
Fujifilm Filmmaking Camera Price guess: $16999 w/PL Mount or $24999 with that really cool zoom lens which covers the whole sensor. I think a lot of folks are missing that the lens is also a first of it's format, and knowing these folks well (own both Cabrios and Premiers) I'd trust them to build the best space ship! Cheers JS
40:52 Don’t forget that Sony has the 20-70mm f/4 G lens. I love mine and I find that 20mm is usually wide enough for me, so I consider that the “perfect standard zoom range”.
I think they call it a “filmmaking” camera to help bypass expectations that it compete with modern cine cameras capable of high frame rates. The Eterna is going to top out at 30fps and will be at its best running at 23.976. And there are DPs who drool over the large format look and who will love to have this camera as a set-ready option to get from the rental house. And in the end it’s a crew oriented design for a niche set of users who will love to have it available on the rental order sheet. Except in a few unique instances it’s not an owner/operator design.
And meeting expectations of new creator class of film and media makers. Even in Hollywood, many crave to use ALEXA 65, but have to settle for less. Larger than FF with appropriate optics is the next gen look!
@@waveland Best as I can guess, it's all migrating to small hand held viewing, like phone and pads, but there is a lot of noise in the projector realm too for folks at home. I think you're eluding to the "they can't tell the difference" argument, but part of the filmmaking dream will always be the big screen! There are estimates of more than 300K "creators" in US, how they turn it into a business model remains to be seen, although if YT ultimately replaces broadcast and cable its share of the pie will be bigger to share with them? Really just guessing
@ I have used the GFX100 for stills in the past and for the price it’s a remarkable camera in its category and in large high quality prints there’s some validity to the larger sensor “look” though I think a lot of that comes down to the 4:3 framing native to the stills aspect ratio. But in the context of modern commercial filmmaking a lot of this “medium format look” talk is a distinction without a difference because the viewer’s experience is too muted by their consumption tools. Anyway, I don’t wish anyone at FUJIFILM any ill will, but by the time they get this camera delivered, that sensor is going to be way behind.
Good point, although I would argue that it's sort of pointless bringing it into any comparison. The Alexa 35 is in a league of its own. For starters, it's S35, not FF unlike the Arri LF and URSA 12K Cine LF. Secondly, its DR is off the charts, almost like a cheating code - it will probably remain untouched for several years and only equaled by ARRI whenever they release an LF version of it. Thirdly, price wise it's 4X more expensive than the Mini LF and 7X more expensive than the URSA Cine LF.
@@fatandproud1 Surely it can't be 4x the mini LF. That would make it at least $200k. Also in that case it would be more than 10x as expensive as the Ursa Cine. Are you factoring in VAT? Maybe I forgot to carry the 1.
I'd recommend Fujifilm to try to pivot the hype around GFX Eterna to it's fullframe capabilities. The they should stop all the chatter about rolling shutter in GFX mod by making sure everyone knows there is pretty capable fullframe bloody to begin with and the GFX capability as an extra. Not the other way around.
Just upgraded my GFX100II with the new Firmware. FLOG2C is really good over FLOG2. The GFX Eterna Sensor should be scaled down to 36-40mp. Native 6-9K resolution in a MF sensor. WOW
46:50 Confusion about bits and bites...a byte is 8 bits. 800megabit/s is nothing. Did you mean 800Megabyte/s? Even then, it's still an issue with any camera that shoots RAW. BMD's cameras are compressed 1:3 and still go past this limit on some of their cameras. The real problem is sustained write speed on cards. And how expensive they are.
I know you asked them about the readout tech and "sensor scaling" but did they explain in more detail how it actually works? Did they clarify if it's averaging or skipping photosite? Or is the new RGBW sensor allowing this innovation more?
Blackmagic doesn't disclose the details, but I'm actually pretty sure it's due to the symmetrical RGBW sensor. By having white pixels, you can average them with the color pixels shifting the luminance value without losing color information. This explains why only some resolutions can use the full sensor (12k, 8k and 4k iirc) while 6k cannot. That points to a base-3 grid: think a color pixel in the middle with two adjacent white pixels, and then you average them to make a single pixel.
gfx video looks amazing i really worry for the rolling shutter. i wonder if they are ever going to atempt to do global shutter. i shoot action so i might buy a komodo x
I'm really interested in this camera and would love to purchase one. For what I shoot, the rolling shutter doesn't bother me. If it's over USD10K I would most likely pass. Out of my budge at that point.
GFX ETERNA just can't really be higher priced than the GFX100 II.... You are loosing an incredible photo camera and video specs, appart from sensor size (in a few modes) are good, but not incredible. It's a new mount video camera, few lens can cover the full sensor, fewer are native.
That would be awesome but the GFX100ii is slightly less than that. your getting internal ND, proper IO, improved video ergonomics. I think that would cost a bit more than that for the extra features? I would love to be surprised with that price tag though.
Aputure made Arri slash the prices of their Skypanels, it's not impossible for Blackmagic to do the same.
We got our Canon C400 two weeks ago, and it's the closest we've seen to matching the image quality of our Alexa Mini LF (in RAW mode). The previous C500mkII was already praised by many Arri users as the perfect B-cam, and the C400 takes it up a notch. If Sony gave the FX6 or FX3 better codecs or RAW, the Burano might not look much better-at least not for 5x the price.
BTW, the Canon 24-105mm 2.8 is a fantastic zoom lens-close focus, parfocal, beautiful bokeh, sharpness-it’s an amazing everyday lens for the C400!
These are really exciting times in the industry!
Blackmagic could start using the advantage of having industry standard software - DaVinci Resolve. If they added some unique capabilities for cinema production that would be saving time for post-production team that would help sell their cameras. I would love to see LIDAR accessory and AI masking tool that would create super accurate masks based on 3D data.
The DR for the Ursa cine 12k is very impressive! And that's even before applying highlight recovery which usually adds 1-1.5 stops in the highlights. I know you guys don't count that but hey, it's there if you need it and it never failed me in real world usage to be honest.
Looking forward to Jonnie's BK 12K Cine LF test shoot footage. Very interested in this camera.
They need to somehow enable it to shoot open gate. Even if it was something like a 2.8K readout downsampled to 2K. Lower resolution but fast readout. It has to feed the viewfinder 2048 x 1536. So coming up with some option to use the full sensor height of the camera would add a selling point to it above the GFX 100 II.
Where can I watch the video on the URSA Cine? Thanks
What about highlight recovery in BRAW? Will it increase DR of Ursa or is it already calculated in lab test?
I do love medium format coming from analog large format and working with gfx100s but I would love for fuji to release an aps-c one, lens wise and for solo operators/ documentary filmaking the size factor and quite frankly the price would allow myself and I’m sure a lot of filmakers to afford it while being able to buy lenses 😅. Like great dynamic range as the xh2s, global shutter or near it, internal nds (vnd would be awesome!) and the main aspect for me, XLR input with phantom power and great internal preamps. As bonus, raw or compressed raw. Niche options that could really get those few hesitating filmakers like pre-rec for wildlife (especialy since aps-c sensors and the crop 120fps of the xh2s for exemple are great for it!).
Fujifilm Filmmaking Camera Price guess: $16999 w/PL Mount or $24999 with that really cool zoom lens which covers the whole sensor. I think a lot of folks are missing that the lens is also a first of it's format, and knowing these folks well (own both Cabrios and Premiers) I'd trust them to build the best space ship! Cheers JS
3:00 “You don’t work for two years just to make a re-housed camera.”
You’re right! It took Sony three years to give us their re-housed flagship.
40:52 Don’t forget that Sony has the 20-70mm f/4 G lens. I love mine and I find that 20mm is usually wide enough for me, so I consider that the “perfect standard zoom range”.
The Fujinon 32-90 looks AMAZING. I wonder what the price point would be
How much time do you devote to wondering about the price? I’ll just wait til the price is announced.
Really enjoy the show guys but it’s hard to get through it all with this many ads it’s very distracting it’s every few mins
Thank you for letting us know! We will do our best to adjust accordingly.
I think they call it a “filmmaking” camera to help bypass expectations that it compete with modern cine cameras capable of high frame rates. The Eterna is going to top out at 30fps and will be at its best running at 23.976. And there are DPs who drool over the large format look and who will love to have this camera as a set-ready option to get from the rental house. And in the end it’s a crew oriented design for a niche set of users who will love to have it available on the rental order sheet. Except in a few unique instances it’s not an owner/operator design.
And meeting expectations of new creator class of film and media makers. Even in Hollywood, many crave to use ALEXA 65, but have to settle for less. Larger than FF with appropriate optics is the next gen look!
@ Okay. So who’s the consumer for the new look and what devices will that audience use to view the material?
@@waveland Best as I can guess, it's all migrating to small hand held viewing, like phone and pads, but there is a lot of noise in the projector realm too for folks at home. I think you're eluding to the "they can't tell the difference" argument, but part of the filmmaking dream will always be the big screen! There are estimates of more than 300K "creators" in US, how they turn it into a business model remains to be seen, although if YT ultimately replaces broadcast and cable its share of the pie will be bigger to share with them? Really just guessing
@ I have used the GFX100 for stills in the past and for the price it’s a remarkable camera in its category and in large high quality prints there’s some validity to the larger sensor “look” though I think a lot of that comes down to the 4:3 framing native to the stills aspect ratio. But in the context of modern commercial filmmaking a lot of this “medium format look” talk is a distinction without a difference because the viewer’s experience is too muted by their consumption tools. Anyway, I don’t wish anyone at FUJIFILM any ill will, but by the time they get this camera delivered, that sensor is going to be way behind.
@@waveland4.3 format is the reason why i own a gh7 and it would be a reason to buy a medium format camera. I love 4.3 for fotos and video.
On the GFX 100II CineD test, what is the Rolling Shutter at 35mm 3:2 in video mode
Really wish they had tested those modes on the camera.
@@geoffreybassett6741 I primarily use 35 mm 3:2 mode on the GFX100II. Its too much rolling shutter when going handheld in GF mode
4.8K 3:2 at 23.98 fps rolling shutter is 27.9ms
@@robwillmarsh Damn
Doesn't the Alexa 35 have better dynamic range than the Alexa Mini LF? Or are you only comparing LF cameras.
Good point, although I would argue that it's sort of pointless bringing it into any comparison. The Alexa 35 is in a league of its own. For starters, it's S35, not FF unlike the Arri LF and URSA 12K Cine LF. Secondly, its DR is off the charts, almost like a cheating code - it will probably remain untouched for several years and only equaled by ARRI whenever they release an LF version of it. Thirdly, price wise it's 4X more expensive than the Mini LF and 7X more expensive than the URSA Cine LF.
@@fatandproud1 Surely it can't be 4x the mini LF. That would make it at least $200k. Also in that case it would be more than 10x as expensive as the Ursa Cine. Are you factoring in VAT? Maybe I forgot to carry the 1.
@@robertpaterson5477 You may be right - early in the morning maths (and without a coffee) is not my forte.
I'd recommend Fujifilm to try to pivot the hype around GFX Eterna to it's fullframe capabilities. The they should stop all the chatter about rolling shutter in GFX mod by making sure everyone knows there is pretty capable fullframe bloody to begin with and the GFX capability as an extra. Not the other way around.
Why not interview Gunther Machu on all the lab tests. He is the expert and can provide deeper insights.
Just upgraded my GFX100II with the new Firmware. FLOG2C is really good over FLOG2. The GFX Eterna Sensor should be scaled down to 36-40mp. Native 6-9K resolution in a MF sensor. WOW
46:50 Confusion about bits and bites...a byte is 8 bits. 800megabit/s is nothing. Did you mean 800Megabyte/s?
Even then, it's still an issue with any camera that shoots RAW. BMD's cameras are compressed 1:3 and still go past this limit on some of their cameras.
The real problem is sustained write speed on cards. And how expensive they are.
The nisi and the arless work with the gfx sensor
I know you asked them about the readout tech and "sensor scaling" but did they explain in more detail how it actually works? Did they clarify if it's averaging or skipping photosite? Or is the new RGBW sensor allowing this innovation more?
Blackmagic doesn't disclose the details, but I'm actually pretty sure it's due to the symmetrical RGBW sensor. By having white pixels, you can average them with the color pixels shifting the luminance value without losing color information. This explains why only some resolutions can use the full sensor (12k, 8k and 4k iirc) while 6k cannot. That points to a base-3 grid: think a color pixel in the middle with two adjacent white pixels, and then you average them to make a single pixel.
gfx video looks amazing i really worry for the rolling shutter. i wonder if they are ever going to atempt to do global shutter. i shoot action so i might buy a komodo x
I'm really interested in this camera and would love to purchase one. For what I shoot, the rolling shutter doesn't bother me. If it's over USD10K I would most likely pass. Out of my budge at that point.
Ursa cine 12k DR looks like 17 stops
Erm, no.
GFX ETERNA just can't really be higher priced than the GFX100 II.... You are loosing an incredible photo camera and video specs, appart from sensor size (in a few modes) are good, but not incredible. It's a new mount video camera, few lens can cover the full sensor, fewer are native.
$7,999
That would be awesome but the GFX100ii is slightly less than that. your getting internal ND, proper IO, improved video ergonomics. I think that would cost a bit more than that for the extra features? I would love to be surprised with that price tag though.
@alexcristescu8604 one can hope
$10k minimum, $15k max
I think $15K is too much, you could get two GFX100ii basically. I would say 10-12K would be the sweet spot.