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    Senior Member Grug's Avatar
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    I really hope this new recorder gives us 4k DCI 1-60fps (variable framerates) like the Ninja V was supposed to have. That’s FAR more significant to me than the 120p mode.

    Getting the SDIs onboard is a big deal though, the current lump of Ninja V + SDI module is a real dog to rig up.


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    Quote Originally Posted by ahalpert View Post
    downsampling? which ones? I thought there was just a crop in the 4k120p? like a 1.1x crop?

    at 8.6k, I think you could squeak out 24fps (like maybe 25 or 26) at the same number of pixels/second as 4k120p (at 3840 wide)
    I'm trying my best not to push this thread off-topic anymore so we could maybe move to another thread, lol. But I believe the FX9 ProRes RAW is 4K and not 6K although it is a 6K sensor. I forget how they are achieving the 4K RAW output, maybe the XDCA attachment is doing some kind of processing. The Sony Alpha 1 currently does 4332 x 2448 RAW output to the ATOMOS Ninja V, which I assume is simply a downsample of it's 8.6K sensor.

    I know typically if the RAW is not at the sensor size or a crop some do not consider it "real" RAW, but personally I just care if it is a 12-bit codec. From my experience with editing and color grading the 16-bit linear output that the new Sony's are outputting that can be recorded at 12-bit log ProRes RAW files, they are as robust as one can get from a codec. I'm still wondering if the 8.6K Sony Alpha 1 sensor will end up in a Sony Cinema Line of camera. I'm still strongly considering the FX6 as the e-ND is VERY enticing to go along with the quality of footage.


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    Quote Originally Posted by Grug View Post
    I really hope this new recorder gives us 4k DCI 1-60fps (variable framerates) like the Ninja V was supposed to have. That’s FAR more significant to me than the 120p mode.

    Getting the SDIs onboard is a big deal though, the current lump of Ninja V + SDI module is a real dog to rig up.
    Grug, I'm curious, how much ProRes RAW do you find yourself shooting versus the internal codec or simply ProRes 422? I know ProRes RAW is still a mess to work with if one is a Davinci Resolve user. I'm still transcoding the ProRes RAW to ProRes 4444 prior to bringing into Davinci Resolve. Thankfully I figured out how to sort of batch transcode using Adobe Premiere Pro and Media Encoder. Not too terrible, but still an step in between direct editing.


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Grug View Post
    I really hope this new recorder gives us 4k DCI 1-60fps (variable framerates) like the Ninja V was supposed to have. That’s FAR more significant to me than the 120p mode.
    How can those framerates be a function of the recorder and not the camera?


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    Senior Member Wes.'s Avatar
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    How is the lead time on this camera these days?

    If I needed it for a shoot just over 1 month from now, does that seem possible? Just curious your thoughts, am planning to call some places tomorrow. Will report back any significant findings.
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    Senior Member Ben Scott's Avatar
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    I think there have been delays so a month would be optimistic.
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    Senior Member Ben Scott's Avatar
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    My Tilta Baseplate/top plate kit arrived. It's excellent. Obviously removed lots of bits I don't need like the baseplate mounted ARRI rosettes but it is great.
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    Quote Originally Posted by Wes. View Post
    How is the lead time on this camera these days?

    If I needed it for a shoot just over 1 month from now, does that seem possible? Just curious your thoughts, am planning to call some places tomorrow. Will report back any significant findings.
    Well I ordered an FX6 with 24 - 105 early March from BH. First is was to be at the end March - then end of April - still no camera - maybe June - who knows. I needed it for a shoot in May. You should order it now. -
    I tried other dealers and no one has it in stock. Maybe their is a place out there that has it in stock but I have not found it.

    Hope you find one and if you come across a retailer that has it in stock with a US warranty (no gray market) let me know.


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    Senior Member Grug's Avatar
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    Quote Originally Posted by Teddy_Dem View Post
    Grug, I'm curious, how much ProRes RAW do you find yourself shooting versus the internal codec or simply ProRes 422? I know ProRes RAW is still a mess to work with if one is a Davinci Resolve user. I'm still transcoding the ProRes RAW to ProRes 4444 prior to bringing into Davinci Resolve. Thankfully I figured out how to sort of batch transcode using Adobe Premiere Pro and Media Encoder. Not too terrible, but still an step in between direct editing.
    Well, I've mostly shot narrative work on it so far, including a Bollywood feature that I'm half way through at the moment. The feature has been almost entirely Prores Raw (which was a nightmare for the first four days, and we actually abandoned it, until on day five, by chance, the ability to now batch process Prores Raw through FCPX became an option - which has transformed the workflow from "nightmarish", to just "very frustrating").

    I've shot a couple of content pieces in XAVC, and it's certainly a far less painful workflow (and it's nice not having to have a Ninja V + SDI module or Shogun 7 mounted to the camera). Unfortunately, I find XAVC Class 300 pretty thin for colour grading, so I'm only really recording it for projects where having the best quality isn't a concern.

    Quote Originally Posted by ahalpert View Post
    How can those framerates be a function of the recorder and not the camera?
    The camera does 4k DCI 1-60fps in XAVC, it just doesn't do those variable framerates in raw recording (while UHD 23.98p/25p do). It's even more frustrating since Atomos' firmware notes clearly listed 4k DCI 1-60fps as an option.


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    I placed an order for my FX6 in mid December and got it mid February so expect maybe two months delivery time.


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