NAB 2019 rumors (and releases)

puredrifting said:
Just out of curiosity, why do most people bag at how the 8-bit 160 Mbps XF-AVC/MP4 from the C200 must be so terrible (it's actually quite good), yet the 8-bit from all of the Sony A7 variants is never discussed, just that the Sony A7 variants are so great?
I bought the Fuji X-T3 over a Sony largely because of internal 10-bit (and far superior color science).
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Mainly because of price.

It's disgusting a $7500 camera doesn't have better 8-bit or normal 10-bit.

In my opinion, of course.

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Also, cameras - as we know - are limited intentionally. The paper specs per usual mean nothing.

An 8-bit 4:2:0 4K mirrorless camera can provide you a very pleasing image just like something much more expensive as you're learning with the X-T3 vs. your C200.

___

What's also not discussed is how no one ever studies their own 10-bit they are receiving from their camera. They just trust what the Japanese or Germans or Americans or Australians say/provide.

"I'm shooting 10-bit 4:2:2."

"Yeah, how do you know?"

Not saying anyone is lying, but it's never that automatic.
 
In fairness, XT-3 is the new kid on the block and C200 is not crippled by sheer coincident.

Speaking of new things, the new firmware update for Sony A9 is supposed to give it the best AF on the market (it was great before but the new version is even better). Cameras must have quite a bit of spare processing to be able to accommodate these improvements ... sort of like getting your Ecoboost tuned to get those 50 extra HP.
 
I get it as far as price between the C200 and the A7 variants, but the Sonys have always been a distant third for me. I think this is a good case of specs versus actual performance. We know the C200 is artificially crippled in it's XF-AVC/MP4 video but its still very good.
The GH5 has 10-bit and much nicer video features at a much lower cost and obviouly I liked the specs and features of the X-T3 better. I don't know why people need a camera that can shoot at ISO 25,000, even for documentary filmmaking, I rarely need to go over ISO
2500 or 3200? Is it just me or are there any other compelling features that the A7 lineup has that the GH5 and XT-3 don't? I consider FF a handicap, not a compelling feature, at least for video. I've heard the latest A7 variants have really killer AF, I guess that would be one thing, if true.
The GH5 doesn't have great AF although I have not test driven it since the latest rounds of firmware updates. The X-T3 AF is good but I am having wildly inconsistent video performance from the eye and face detect and have turned them off and am just using zone AF, which is pretty solid.
When the X-T3 firmware comes in a few weeks, I will give eye and face detect another go.
 
Heard rumors of a new 8K camera from a big company though I dont know for sure if it is coming at NAB or not. That new G2 blackmagic has me looking for sure even as a RED owner.
 
Sharp people are nice. I was shooting a small thing for a neighbor company and they asked if i want to shoot the rest of the project in 8K. I thought they were joking at first, but they were genuinely offering.
 
puredrifting said:
Just out of curiosity, why do most people bag at how the 8-bit 160 Mbps XF-AVC/MP4 from the C200 must be so terrible (it's actually quite good), yet the 8-bit from all of the Sony A7 variants is never discussed, just that the Sony A7 variants are so great?
I bought the Fuji X-T3 over a Sony largely because of internal 10-bit (and far superior color science).
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Exactly....my clients have all reported back on how good the "4k lite" 8 bit is on the C200....holds up well, light grading, and non of the 1080 8 bit issues that are still stuck in some people's head from past experiences.

Jim Martin
CinemaWorks
 
Jim Martin said:
Exactly....my clients have all reported back on how good the "4k lite" 8 bit is on the C200....holds up well, light grading, and non of the 1080 8 bit issues that are still stuck in some people's head from past experiences.

Jim Martin
CinemaWorks
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Yep, most of work I've done for the studios and even for some features has been shot with that "sub-par, terrible awful" 8-bit XF-AVC.
I just point back to the C100MKI, MKII and C300. All 8-bit only cameras, all were and are capable of great things.
I like 10-bit from the X-T3 (been shooting a lot of wide shots of sky and the lack of banding is nice!) or even 12-bit like the C200 shoots in RAW but I think the overall look of the camera is more important than the bit depth.
A lot of people buy cameras from spec sheets. I buy them operationally and if I like the images they make, specs are pretty far down the list for me overall.
 
On the 1DC 4k banding was generally invisible, but when it showed up.... considering the file sizes and camera price...

If 8bit is an option, it is very very nice to have.

After the 1DC, i promised i’d never pay for an 8bit camera ever again, and i never did.
 
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puredrifting said:
Yep, most of work I've done for the studios and even for some features has been shot with that "sub-par, terrible awful" 8-bit XF-AVC.
I just point back to the C100MKI, MKII and C300. All 8-bit only cameras, all were and are capable of great things.
I like 10-bit from the X-T3 (been shooting a lot of wide shots of sky and the lack of banding is nice!) or even 12-bit like the C200 shoots in RAW but I think the overall look of the camera is more important than the bit depth.
A lot of people buy cameras from spec sheets. I buy them operationally and if I like the images they make, specs are pretty far down the list for me overall.
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I just had a doc I made on my c100 mkI on a proper 2K digital projector and WOW did the DCP look good. As you've mentioned before 4K, etc. is mostly to hook or impress clients.
 
Darktide Media said:
Heard rumors of a new 8K...
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I do not care. They're upping the wrong dumaflache. How about any of:

- global shutter
- bit depth
- media affordability
- color fidelity
- dynamic range
- frame rate
- global shutter (oh I said that already)

Sorry. We now return to your regularly scheduled inscrutable happiness.
 
combatentropy said:
I do not care. They're upping the wrong dumaflache. How about any of:

- global shutter
- bit depth
- media affordability
- color fidelity
- dynamic range
- frame rate
- global shutter (oh I said that already)

Sorry. We now return to your regularly scheduled inscrutable happiness.
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Oh, but we live in a CMOS bayer pattern world.
 
Thanks for the ray of hope. However, "While the new Sony sensor contains a list of new design features, it’s first destined for manufacturing and inspection, not mirrorless cameras or smartphones." (https://www.digitaltrends.com/photography/sony-sensor-backlit-stacked-global-shutter/). In fact Sony has had several global-shutter CMOS sensors of decent dynamic range (12 stops or more) for several years, but I've only seen them in "industrial" cameras. The F55 came out in 2012 with global shutter and 14 stops, but it also is $30,000 and 8 lb., before lens and battery. Someone will say I should have just bought a Digital Bolex, but it wasn't quite there. Give me something like a GH5 with global shutter, and I will shut up. You can even downgrade it to 4K. Keep your faux 6K.
 
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combatentropy said:
Thanks for the ray of hope. However, "While the new Sony sensor contains a list of new design features, it’s first destined for manufacturing and inspection, not mirrorless cameras or smartphones." (https://www.digitaltrends.com/photography/sony-sensor-backlit-stacked-global-shutter/). In fact Sony has had several global-shutter CMOS sensors of decent dynamic range (12 stops or more) for several years, but I've only seen them in "industrial" cameras. The F55 came out in 2012 with global shutter and 14 stops, but it also is $30,000 and 8 lb., before lens and battery. Someone will say I should have just bought a Digital Bolex, but it wasn't quite there. Give me something like a GH5 with global shutter, and I will shut up. You can even downgrade it to 4K. Keep your faux 6K.
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Fuji is working on a global shutter mirrorless. Maybe it will be the X-H2?
 
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