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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Panasonic going towards 8K to the masses...

Christoffer Glans said:
Am I missing something? If this is going into the GH60, if this has better specs than the Monstro sensor.
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There is no official statement where this is heading first and when. Although 2020 seems likely.

Christoffer Glans said:
It surely needs to be subpar in other aspects?
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That is unknown at this point and will remain that way until it's in a camera and properly tested.

Christoffer Glans said:
Otherwise, why would anyone buy a Monstro with this around the corner?
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Because it exists today implemented in a high end camera.
 
If it does genuinely go into a GH6 by 2020, what on Earth would their Varicam look like ?
 
Šabović Adis;1786070 said:
S35, 12K...why not?
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As it seems, this one is S35.
 
Hrvoje Simic said:
As it seems, this one is S35.
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So we have to wait for the real sensor 12..16k to get the right field of view or a speedbooster otherwise people don't want to watch it anymore.

Thumbs up for Panasonic to introduce this major step in sensor development.
Looking forward to a finished product.
 
Hrvoje Simic said:
Flying squirrels using auto pilot.
But it's in Swahili so you can't see.
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Who, what where! I'm not a Minion you know, I don't understand that. :smiley:
 
Jarred, can we have Minion emotivecom?

Who runs this place now anyway? :)
 
From what I can tell, the assertion that this sensor can be expected to go in the GH6 appears to be pure speculation from the 4/3 Rumors editorial staff.

It's not part of the official Panasonic press release, which comes after the GH6 blurb. It seems more like wishful thinking than anything else at this point.
 
Zeb B said:
Happy RED Ower:
1. Buy once, don't chase the next new thing and make personal projects that are technically pretty darn good for years to come. My Epic-M gave me many lovely shots.
2. Have a Rental Business that supports a large asset.
3. Have a series of immediate projects supports the Buy v Rent
4. Be rich and have the next new thing with little regard to resale
5. Stay off RU and don't worry about where RED (or any other cam company) is going next. Like the RED phone thing: I'll look at it when it's released and fully functional. Not worth a thought until it's real. The cost and aggravation to be a Got it First Guy is a waste of life

Posted this recently on another thread. Shot with an Epic-M, Canon lens at like 75fps or something. Out of camera type grade. Go ahead, zoom in

1vn5Q4.jpg
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well said! that´s the mindset! I HATE the " lets make diamonds with the cheapest rocks and the newest cheap tool "
 
Misha Engel said:
So we have to wait for the real sensor 12..16k to get the right field of view or a speedbooster otherwise people don't want to watch it anymore.
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Question mark.


Šabović Adis;1786081 said:
Dunno, I thought that this one, being meant for GH6, is M43 format. Or something...
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I don't see any official statement of that sort anywhere.
I calculated on pixel size which someone mentioned somewhere unofficially so that is all hearsay for now.
 
Hrvoje Simic said:
(...)
I don't see any official statement of that sort anywhere.
I calculated on pixel size which someone mentioned somewhere unofficially so that is all hearsay for now.
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Yeah, my bad. Link in the O.P. said "43rumors"...and voila. :rofl:
 
Hrvoje Simic said:
Question mark.
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Sarcasm.

A good story does a 100 times more than a field of view.
Just look how many bad movies where made with the best Cameras (ARRI65, RED VV).
And how many with modest one which are really good.

I have the feeling that people like Nolan, Tarantino, etc... just want to make a point that they are so artistic by using film or others that can only film with at least an ARRI65 otherwise its not artistic enough.

Be more like Jordan Peele with "Get Out" a good movie with only a 5 M$ budget or "Three billboards..." from Martin McDonagh with only 15 M$ and not like Michael Bay with a budget of more then 200 M$ and make a total crap movie with some of the best cameras and other equipment in the world.
 
Hrvoje Simic said:
Ansel Adams doesn't make TV sets.
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I laughed my arse off five minutes straight at that one...

I say that's a candidate for the "Red's Quote Hall of Fame".

____________________________________________________________________________________________________________________________________________________

I have a life and things to do, but RED FOMO is a bitch.
 
Misha Engel said:
Sarcasm.
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Question mark wasn't on the sarcasm, visible from the moon, but the motivation.


Eric Lange said:
I laughed my arse off five minutes straight at that one...

I say that's a candidate for the "Red's Quote Hall of Fame".
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Without the context it would seem as a special case of stupidity so that's another entertainment bonus.

:)
 
Except that this technology has been talked about coming to the GH series for years, if people had been keeping track. With the talk of Red prosumer level pricing. It is more likely now.

Don't people expect Red to not upgrade their technology to compete with this, even using HDR for the last two stops.

I'm surprised that there seems to be no hydrogen sensor technology so far. I thought it would be good for the multipoint and the cheaper cameras being talked about with the Foxconn deal.


Christian Celada said:
well said! that´s the mindset! I HATE the " lets make diamonds with the cheapest rocks and the newest cheap tool "
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If you are good enough you can. :)

Like Superman making diamonds.
 
Zeb B said:
Happy RED Ower:


Posted this recently on another thread. Shot with an Epic-M, Canon lens at like 75fps or something. Out of camera type grade. Go ahead, zoom in

1vn5Q4.jpg
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A close up of eyes in controlled situation isn't really saying much of the overall capabilities of a sensor or camera. I can fool people with my iPhone camera using my studio flashes, it's a different thing when shooting in uncontrolled situations with practicals and mixed color temps.
 
Christoffer Glans said:
A close up of eyes in controlled situation isn't really saying much of the overall capabilities of a sensor or camera. I can fool people with my iPhone camera using my studio flashes, it's a different thing when shooting in uncontrolled situations with practicals and mixed color temps.
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If you got mixed color temp lights... then it´s not really cameras fault things look odd, is it?

As if you hit a persons face with tungsten from one side, daylight from another and then some bad, incomplete spectrum leds from the front. It will simply never look good.

Even if just using one color temp you limit the results if the picture does not land someplace towards the center of the color cube. That goes for all cameras. Then some cameras has a larger cube than others and or differently shaped but exposing one channel or more out of the scope for the given camera is quite easy. What is difficult and should be the strive is to get it in the middle.

Most people using large costly cameras also have the same philosophy about lights. Not many people book a Alexa studio XT and leave the rental house without any lights. That would be like getting a formula one car and not have a team to go with it. But for red cameras as they are small and can be operated by a single person they much more often are used in situations where the light situation is not controlled, so we see a lot of pictures form people like my self that own a red camera and tend to take their camera and just shot something without setting any lights. (Its odd, but lots of redusers me included own camera equipment for I dont know how many 100k USD but dont own a single lamp worth bringing to a shoot). Arri cameras on the other hands mostly live at rental places where they also rent out plenty of lights.

The arri cams are far from perfect or able to handle any color temp.

Try shoot a ALEXA in a pure red coloured environment. Where both blue and green is starved even when red is flooded. Then you simply got a third of the original alexa resolution if you dont filter your camera and things will look really flaky, you are then down on something far less than 1080 in resolution. On top of that you got Arri´s "film look" way of developing things, i.e they clamp down on signal colors of red green and blue... So what that leaves you is a compressed red chanel.

Here is an exampel of such project we did, where things for sure could have been done better.

Blinking red light in a red environment with mirrors. The colorist did a great job to rescue some of the shots but for sure, balancing the light in camera would have brought out tons more quality of the alexa sensor in this case.

So to me the broken skin tones and what not is not a red vs arri thing, it´s about how you light and how you filter as both have their limitations and they need to be watched and cared for, or shit will simply fall of the plate. But to me its quite easy to see that monstro has a way larger plate than what Arri are currently strutting.



https://vimeo.com/231855072
 
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