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    #11
    Senior Member puredrifting's Avatar
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    Quote Originally Posted by NorBro View Post
    I guess they are still a bargain compared to these:

    Attachment 135702
    Wow, which camera were these for? F65? And how long ago? That's outrageous, even for a few years ago.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    #12
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    Big URSA 4K...September 2014.

    And to make matters worse, they were knocked off of BM's approved list after a few weeks and SanDisk discontinued them shortly after that and released 128 GB versions (which are probably in their 4th or 5th generation today).

    Fortunately, the cards still worked here and there; just would eventually drop frames @4K/60p/80p. Definitely no RAW...needed to use two at once for that until faster ones came out. But then you had to copy and transfer files from two different folders.

    What a PITA that was...early adopters, ha. No one really knew who BM was even then in '14.

    But at the end of the day, it was still worth it though because the images from that camera at that time were heavenly.

    Most people never saw or used anything like that besides high-end ARRI/RED guys and gals.

    ___

    EDIT: Just noticed you were talking about the Sony cards after the edited post...I have no idea which camera those are for.
    Last edited by NorBro; 05-29-2019 at 04:22 PM.


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    #13
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    I looked it up...indeed F65.


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    #14
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    The next generation SD cards will be NVMe but backward compatible, whereas the QXD size CFExpress will outperform then (~ 4 GB/s vs. 1). The proprietary media formats - and the related markup - are going out of style.

    Much like URSA.


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    #15
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    lol. RED probably makes more money on theirs than some companies make selling some of their cameras.

    URSA was ahead of its time...UMP is pretty successful and now G2 is going to make a run.

    Obviously with the availability of and access to better technology the writing is on the wall.


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    #16
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by filmguy123 View Post
    This is a great camera but I think this price cut would have gone a lot further 2 years ago.

    The media also really does make things difficult.

    I always loved the image from the Varicam LT though, more than from the EVA1.
    Yep.

    And yes... The media is expensive. Basically the cost of the base camera all over again on cards.


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    #17
    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by Milan O. View Post
    I only have two 256 GB P2 cards and have managed with those. I guess it depends on what kind of stuff you're shooting. When doing more high-end work I use the O7Q and record raw.

    Internal recording 25 fps on a 256 GB P2 card:
    4K and UHD: 83 min
    1080p AVC-I444: 150 min
    1080p AVC-I422: 287 min
    1080p Prores 4444XQ: 81 min
    1080p Prores 4444: 121 min
    1080p Prores 422HQ: 180 min
    1080p Prores 422: 267 min

    I use a Gratical Eye as EVF, works fine, and a Vocas shoulder mount. If you're going to use EF-lenses the handgrip/arm is the way to go. since you can control iris on it. The control unit can also be placed in front of you on a small arm if you're having the camera on your shoulder, and by doing that you have quick access to everything.
    Quote Originally Posted by puredrifting View Post
    Thats the challenge, I shoot documentary and often shoot 6-8 256GB CFast 2.0 cards in a day. No way I want to go back to the two cards and have to be downloading one while shooting the second drill like I used to do in the early days of P2. Talk about stress.
    Yep. In the real world you need lots of cards. I was on a BTS/EPK shoot for a big movie a few years ago and we were shooting the green screen interviews 4K RAW on my F55. I had to bring in an R5 recorder and the rental house only had two cards(which are insanely expensive, too) available for it. Even though we had a dedicated data wrangler backing up and verifying everything to two drives, I was still uneasy about blowing the cards out on-set, multiple times throughout the day.

    Sometimes it's not just about the recording space, it's about the cards being taken here and there and having others to shoot on.

    And I despise external recorders like O7Q, etc. The only ones really worth a damn are the Sony R5/R7 and CODEX that are designed to integrate into/onto the camera.


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    #18
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    Well, AFAIK I live and work in the real world and haven't needed more than two cards. I'm not saying that you specifically don't need more cards. If you're shooting wildlife in the middle of nowhere you might need 20, but as I said before it depends on the job. I rarely ever record more than 160 minutes when working a single day.
    As for using the O7Q I would of course prefer if I could record raw internally but I can't. With the O7Q the image is very good and much better if shooting HFR compared to recording internally. Of course there's the option to use a Varicam Pure but it's a matter of budget. For the O7Q I can use SSD:s which are quite inexpensive these days.


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    #19
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    Quote Originally Posted by Milan O. View Post
    Well, AFAIK I live and work in the real world and haven't needed more than two cards. I'm not saying that you specifically don't need more cards. If you're shooting wildlife in the middle of nowhere you might need 20, but as I said before it depends on the job. I rarely ever record more than 160 minutes when working a single day.
    As for using the O7Q I would of course prefer if I could record raw internally but I can't. With the O7Q the image is very good and much better if shooting HFR compared to recording internally. Of course there's the option to use a Varicam Pure but it's a matter of budget. For the O7Q I can use SSD:s which are quite inexpensive these days.
    I agree that three hours is a lot of record time for most people. I certainly question needing five cards, but I guess it's possible.

    I like pointing out just how great the RAW output quality is on the VariCam LT. It's uncompressed RAW in either 12-bit or 10-bit LOG structure depending on resolution and frame rate. At 2K240p, the RAW output is higher quality than any other camera can deliver with the exception of a dedicated high speed system like a Phantom. Cameras from all other manufacturers will compress the RAW output at such a frame rate, on some quite heavily. The VariCam LT stands alone in the image quality it can deliver here.
    Mitch Gross
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    Panasonic System Solutions Company


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    #20
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    Posted this in the other thread too...hubba-hubba.

    LT.jpg

    https://www.lensauthority.com/produc...amera-ef-mount


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