The acuity of the problem [of universalization] lies in the necessityof maintaining the I in the transcendence [of the face-to-face] withwhich it hitherto seemed incompatible [given its self-interests]. (TI:276)
Cycle through 1/4, 1/3 or full stop increments to choose exact exposures without compromising the intended shutter speed or aperture. Includes various methods of control via dedicated buttons, LCD display, monitor, or remotely via APP / RCP2.
Face On Body Pro 2.4.1 Full With
The lens body is made of aluminum alloy material, and the key parts such as focusing are made of precision copper material. The lenses are made of German Schott glass with high-definition nano-coating. The front end of the lens is coated with a waterproof and anti-fouling film.
The lens is native to the MFT frame, and can basically cover the APS-C frame after using the adapter ring. If you need to use it on a full-frame camera, please turn on the APS-C frame mode on the camera body, and you can use it normally.
The anamorphic extension lens installed in front of the lens on the market can adapt to more lenses, but it still faces the problems of needing secondary focusing, increasing the size of the device, and reducing the sharpness of the picture, and the price of the combination lens + lens is much higher than SIRUI anamorphic lenses. Therefore, an anamorphic lens with more convenient operation, higher cost performance and better quality will be a better choice.
I believe this is possible since symmetrical math is easier to process than debayering math. The camera is capable of taking that full 12k image, demosaicing it inside the camera, and creating a 4K Blackmagic Raw file inside the camera. All without windowing in on the sensor, which is what most competitors do. If you think about it, it makes sense. It's easier to take 12K and 6K from a symmetrical sensor (just get all your computations in half) than it is to get 4K from 8K on a Bayer sensor where the computations have to take the Bayer pattern into account, which is more complicated mathematically.
Well, by shooting with the full sensor, all your lenses shoot the field of view you are used to, and you have a functional set of coverage. Your 18mm looks like an 18mm. You don't suddenly need an 8mm lens to get a wide shot because you've windowed down to 2K resolution. The biggest frustration when shooting in slow-motion on other cameras is that we need to take out extra wide lenses to get back to fields of view when you window down the sensor.
The camera can do 4K 120fps in full sensor, 2.4:1 4k to 160fps, or if you want 240fps, which is the realm of real slow-motion seriousness, you can go down to a 4K Super 16. The Super 16 is actually really pleasing imagery and didn't feel anywhere near as "artifacty" as windowed views sometimes feel with other sensors.
One idea for an accessory would be a drive holder that screws into the rosette on the righthand side. Some sort of clip or mount would go a long way. That said, I used velcro while shooting and it worked just fine. There is a little screw receptacle next to the USB port to lock in the USB and prevent accidentally knocking it out. Hopefully, third-party manufacturers will launch robust USB-C cables soon with the built-in screw to lock it in place. USB does make me a little nervous as a field connector, and some sort of locking USB-C would be wonderful.
For future generations, Blackmagic could shorten the overall body length of the camera, which is one area where they are different than the competition. This body is large enough to require a shoulder mount, and the full-sized Ronin model, but something shorter would be a game-changer for rigging.
All of the tests are finished in 8K. If you happen to have an 8K monitor, you can watch in full 8K. Though with today's compression limitations from streaming services, it may not look much better than a 4K image. It's far more likely that you'll see noise from the internal compression or the final stage delivery compression than you will see resolution artifacts from 12K. We're definitely in the realm of serious oversampling here.
To me, it seems like this is a camera that will be mostly shot to external NVMe SSDs. That said, it would be nice to see the SD and CFast slots removed and replaced with something else or less space. It'll also be amazing to see this in a full-frame sensor format down the road, though that would be something like 16 or 18K, which feels ridiculous.
I wasn't so impressed with this camera's look. Pushed it wasn't great (but that was YouTube times). We have a few super funky news reports in the ABC here lately, which I suspect might be a new prototype camera running a super compressed intra format. I know, because I run my screen super dynamic custom setup, and when these things come on, the faces turn a mushy red blotch, from the image being too baked with too little real detail etc. Back a few years back, when another set of cameras were being tested, we got horrible nasty yellow studio feeds crawling with aliasing. It could be some horror upcoming h265/h266 consumer conversion, camera from a major supplier, even a phone, but... Even a webcam interview so oversaturated I could turn the colour to 1/3-1/5 to get it normal with a super cheap noisy video look, looked better colour definition than the funky one I'm noticing, which is obviously much better and clearly defined then the webcam. 2ff7e9595c
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