Landscape photography can be a tricky genre, full of subtle aesthetic and technical choices that can really make or break a photo. This excellent video details seven tips that can help you to improve your landscape photos.
Search the internet for photography articles about noise, and almost universally, they will be about how to reduce it in your photos. But is noise always a bad thing? This interesting video discusses why it might not always be bad and why you might want to embrace it at times.
There’s a market for the Blackmagic eGPU Pro, but it’s very specific. Blackmagic Design has updated its external GPU device, replacing the Radeon Pro 580 with a Radeon RX Vega 56. This upgraded model carries the Pro moniker and a US$1199 sticker price, compared to the less expensive US$699 of the base model.
The Short Version
If you have a TB3 capable, entry level Mac (iMac, MBP, Mini), and you need a simple, quick solution for some real GPU power for editing and coloring in Resolve, Premiere or FCPX, then this is worth taking a look at. If you have an LG UltraFine 5K display and a desire to have the least number of cables and a beautiful, whisper-quiet hub on your desk, then even more reason. The Blackmagic eGPU Pro looks and sounds great in a client-facing environment.
If you are not in this situation or you’re trying to spend the least amount of money on an eGPU enclosure, then this is not the machine for you. Like I said, this is for a specific market.
An External GPU and a Hub of Many Ports
The eGPU Pro is, at its core, a graphics card shoved into a hub. It adds much needed speed and performance to an existing computer system. These units have been popular for the last few years because they can breathe performance life back into older machines, or ones that can’t swap out their graphics cards.
Until the last year or so, using one has required some hacking and fiddling to get it to play well in the OSX ecosystem. All that changed with the release of High Sierra. You still had to restart your machine to get it to detect an external GPU, but it was closer to plug and play.
With Mojave, this process is hot-swappable. You can plug-and-play at will, without losing the 45 seconds it take you to reboot. The other big innovation that makes an eGPU a reasonable piece of accelerant hardware is Thunderbolt 3. And this is the giant caveat: you need a Thunderbolt 3 capable machine. Really. While there are TB3 to TB2 adapters that will allow you to connect and use an eGPU, you’re cutting your bandwidth in half, which pretty much defeats the purpose of adding an external GPU.
The BlackMagic eGPU Pro is for machines that have Thunderbolt 3 (USB-C) and a GPU that’s underpowered and can’t be upgraded. So we’re talking about Apple products. Specifically the entire starting line-up of MacBook Pros in 2016, iMacs starting in 2017, and Minis in 2018. If you have one of these machines with an Intel Graphics GPU, you’re the person who will benefit the most from an eGPU Pro. Especially if you are using that machine to edit and color grade compressed 4K video in Davinci Resolve, FCPX or Premiere.
The eGPU Pro fits so nicely into the Apple OSX ecosystem that it is the only external GPU you can buy directly from Apple. Plugging your entry level iMac, MBP or Mini into the eGPU Pro will mean playback will leap from 3-4 fps up to realtime while you stack on nodes. It’s the difference between ripping your hair out and getting work done. And it’s also a nice, attractive and quiet hub that will connect to a the very popular 5K UltraFine LG display at full resolution with a single USB-C cable. It’s the only eGPU that has Intel’s Titan Ridge Thunderbolt 3 controller which brings DisplayPort 1.4 support to all the TB3 ports.
And that’s also who this is for — the person that owns that 5K LG display and a Mini or MBP and wants to work smoothly in Resolve, FCPX or Premiere for serious creative work. It’s for the person that has a pretty great iMac from 2017 that they don’t want to replace yet but need some GPU heavy lifting. If you already have a machine that already has a discrete, higher-end GPU cruising along inside, the performance differences are much less noticeable.
What About Performance on a Pro Machine?
I tested the loaner unit from Blackmagic for about two weeks on my entry-level iMac Pro with a Radeon Pro Vega 56, and it provided a nice boost, but I really only noticed the difference when I was stacking a lot of nodes on to h.264 4K footage. My iMac Pro was suddenly a dual GPU set up. Which was cool, but in terms of actual performance, I saw about a 10-15% increase in render speeds and play, back but only on clips that had a multiple nodes and/or a lot of Noise Reduction applied.
This is a significant boost. But if you’re someone buying an iMacPro, you could just spend another 700 dollars for the Pro Vega 64X GPU, or more RAM and processors.
Why Can’t I Upgrade the Card Inside?
Here is the big complaint that is leveled at the BM eGPU Pro: unlike every other eGPU unit on the market, the Blackmagic eGPU Pro takes a very Apple-like design take — you can’t swap out the card inside. This renders the unit semi-disposable since GPU’s are a volatile commodity in the economy of computer system building. Today’s top-of-the-line “pro” GPU will become a slow-moving tugboat compared to the options available 18 months from now.
I think that this is largely true in fields like 3D animation and Machine Learning. And if you’re looking to build a system with lots of raw GPU processing power this is really the wrong thing to invest your limited resources in to. But that power user is not who this unit is aimed at. This is for accelerating Resolve on Mac hardware with USB C ports. I know, that’s a very specific market. I have no idea how many people that may be, but Blackmagic does a great job at creating relatively affordable, highly specific pieces of hardware for what I imagine are very niche markets. How many people need thousand dollar colorociter control surfaces?
But Why Is It 1200 dollars?
You can buy another eGPU enclosure and Radeon RX Vega 56 Pro for about half the cost of the BM eGPU Pro. So why the premium price?
Because the person that is willing to pay that kind of money doesn’t have the time to fiddle around with shoving a GPU into a controller in a box, and troubleshooting anything that might go sideways. Blackmagic profiled, who I think, the perfect user for the eGPU: the team that did dailies for ROCKETMAN.
They already had a iMac 5K and needed some extra power to iterate looks, create different LUTs and knock out h264 dailies. A note, this article is about the base model, not the Pro, but the market is the same.
If you have already own a 2018 Mac mini that you want to set up as a dailies station. Or you have a newer MBP and want a more powerful home system. For an additional 2500 bucks, you could add the eGPU Pro and an LG Ultrafine 5K display and be in business with a couple of USB-C cables and a visit to the Apple Store.
Are there less expensive options for external GPUs? Absolutely. But the eGPU Pro offers up a beautiful piece of hardware, quiet and cool, with the ease of plug-and-play without the hassle of wondering which piece of your puzzle isn’t working.
Sex and stripping seem to go hand in hand, but in this edition of the A to Z of photography, I cover the acclaimed work of fashion photographer Bob Carlos Clark, “Shooting Sex” and then delve into the technical details of the photo finish.
Starting out in commercial photography is a daunting prospect, especially for those who are more creator than entrepreneur. I was one of these people, and I’d like to share some tips that are very easy to implement that could save you from a lot of headaches down the road.
True 10-bit colour depth with 1,200 nits of peak brightness in the ASUS ProArt PA32UCX provides an entire spectrum of colours to work with for video editing and post-production.
ASUS announced recently the ProArt PA32UCX, the world’s first 32-inch 4K UHD HDR display with a peak brightness of 1,200 nits and mini-LED backlighting. This technology enables 1,152 zones of local dimming control and support for multiple HDR formats, including Dolby Vision, HLG and HDR-10 to produce the brightest whites and the deepest blacks with sharper, more detailed imagery.
ASUS says that “the first PC displays to support Dolby Vision have been developed in partnership with Dolby”, and they are made for content creators who demand exceptional display performance and colour accuracy for their visual workflows. It aimed “at discerning content creators including videographers, cinematographers, and colorists who are seeking the finest display for their workflow.”
ASUS Smart HDR Technology
The ASUS ProArt PA32UCX is the world’s first 32-inch 4K HDR monitor with peak brightness of 1,200 nits and mini-LED backlighting. With true 10-bit color and Quantum Dot technology, support for DCI-P3, Rec. 709, Rec. 2020, and Adobe RGB color spaces, together with a rich selection of connectivity, including dual Thunderbolt 3, DisplayPort and three HDMI 2.0 ports, the PA32UCX is primed to take on any studio workflow, able to perfectly translate a story to the screen.
The monitor also features ASUS Smart HDR Technology, which supports multiple high-dynamic-range (HDR) formats and multiple PQ curves to suit the specific needs of content creators. Dolby Vision HDR transforms entertainment experiences with ultra-vivid quality, providing incredible brightness, contrast, colour and detail to make storytelling come alive. When compared to a standard picture, Dolby Vision can deliver colours never seen on a screen before, including highlights that are up to 40 times brighter and blacks that are 10 times darker.
First announced at NAB 2019
HDR-10 support ensures compatibility with existing streaming video services and a growing list of HDR-enabled games, including hard-clipped, optimised and basic PQ curves. Hybrid log gamma (HLG) support addresses broadcast and satellite TV, including the BBC’s iPlayer and DirecTV.
ProArt PA32UCX monitors are pre-calibrated to guarantee industry-leading delta-E (∆E) <1 colour accuracy. Each monitor features advanced gray-scale technology to ensure images are accurately reproduced onscreen. The monitor also includes technology to ensure 95% uniformity compensation to guard against brightness and chroma (colour) fluctuations across different parts of the screen.
Created for everyday use, from the inside out, it 32-inch screen is virtually frameless on three sides, making it perfect for side-by-side, multi-display setups. An ergonomic stand offers extensive swivel, tilt and height adjustments to ensure an ideal viewing position.
The post ASUS ProArt PA32UCX: world’s first 4K display with mini-LED backlighting appeared first on ProVideo Coalition.
I got the idea of shooting a total moon eclipse with a long lens. I was thinking about the Canon EF 500mm, but all I could get was a massive Canon EF 800mm lens. The lens turned out to be too long for the eclipse photo I had in mind, but I got a great opportunity to shoot for a while with this long and heavy white beast.
Have you wondered how it looks when a landscape photographer gets up early in the morning and hikes to the top of a mountain to photograph a sunrise?
The new Komodo 6K camera from RED is still a mystery, but it uses Canon’s new RF-mount, giving it access to, as Canon says, some of the best lenses ever built. Is it a reason to forget the 6K BMPCC?
The new Blackmagic Pocket Cinema Camera 6K introduces a change in mount for the system, using Canon’s EF-mount instead of MFT, but many believe the new RF-mount from Canon should have been used. And yes, there is a new cinema camera coming, from RED, that uses Canon’s full frame mirrorless mount: it’s the Komodo, and RED showed more about its new 6K camera at the same time Blackmagic Design announced its new 6K model.
Available immediately for $2,495, the Blackmagic Pocket Cinema Camera builds on the popularity of the Blackmagic Pocket Cinema Camera 4K, but has a larger Super 35 sensor size with 6K resolution, allowing higher image quality. Body dimensions are very similar, despite the larger lens mount, but the sensor change gives not only more capture area, but opens the path to use a whole new set of lenses.
Advantages of the EF-mount
The EF lens mount model works with a wide range of lenses from companies such as Canon, Zeiss, Sigma and Schneider, says Blackmagic, while also pointing to other features of this new model: the ability to create cinematic images “with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects! Extra resolution also gives you more room for reframing in editing and color correction. This means that you can shoot in 6K and then in post production zoom and re‑frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality!”
At almost double the price of the 4K model ($1295) the new the 6K version is, no doubt, a different camera, that will appeal to many people, owners of the BMPCC 4K included (Blackmagic Design, apparently, lets you opt for the 6K model if you’ve ordered a 4K and have not yet received it). The bigger sensor is a good reason to upgrade (if you REALLY need it!), but so is the EF-mount, which is the most popular option these days, and gives access to a huge collection of lenses. Still, many hoped that Blackmagic Design would go for a full frame sensor, as the S35 sensor in the BMPCC 6K will reduce the field of view of wide-angle lenses.
Will Blackmagic Design offer PL-mount?
It’s never easy to satisfy everybody, and while the BMPCC 6K will be the reason for some to move away from Micro Four Thirds, others will still prefer to keep with the format, and their BMPCC 4K, because of the type of work they do. In terms of the mount used, the move to EF is clearly an advantage, according to the reaction from many users – and that’s probably one of the reasons why Blackmagic Design made the camera – while others dream of the day the company will use a PL mount and some others, yet, believe the right camera should have Sony’s E-mount, forgetting that Sony does not license its mount to others.
A full frame sensor would also be a “must have”, according to others, but that’s another story all together. Let’s look, instead, at the lens mount, because many believe that the BMPCC 6K should have a Canon RF-mount, instead of the EF-mount chosen. It is easy to understand Blackmagic Design’s choice, though: the EF lens mount is a popular solution, that has been used since 1987, when Canon radically changed its mount, to a larger diameter mount (54mm internal), the largest among all 35 mm SLR cameras. Designed for Canon’s EOS family of SLRs and kept when digital EOS cameras took place, the EF-mount is used by multiple companies, from Z-Cam to ARRI. Now Blackmagic Design Pocket Cinema Camera also offers it.
The RED Komodo uses Canon’s RF-mount
Blackmagic Design went, apparently, with the solution that can satisfy the most people in the near future, as lenses for the EF-mount are widely available, while lenses for the new RF-mount are slowly entering the market. Canon’s RF-mount, announced in September 2018 is, in fact, compatible with the EF-mount – and also with EF-S lenses – using adapters, meaning the camera would offer users the option to work with EF and RF lenses. That would be the way to go, some people believe, especially because the new optical designs allowed by mirrorless offer, as Canon and other brands claim, better quality. Maybe we will see that in a new BMPCC 8K, at the next edition of NAB?
A company is moving to RF-mount, though, and it is RED. Not much is known about the camera, but the company used every opportunity in recent weeks to keep people talking about its Komodo. Is the “dragon” able to bite a slice of the market the 6K BMPCC aims to capture? Probably not, at least in terms of price, because as Jarred Land posted on REDUser, the camera is only going to be under $5K if you own a Hydrogen One, RED’s smartphone, which Mashable considered to be “the biggest loser of 2018, the worst phone — no, worst product — released this year”. A smartphone that promised much and never delivered, despite its price of $1,294.99.
RED Hydrogen One, the worst product of 2018
Now there is a new Hydrogen Two smartphone in the works and owners of the Hydrogen One “will get significant preferential treatment for the HYDROGEN Two and/or new Cinema Camera model, both in delivery allocations and pricing” said RED’s founder James Jannard, suggesting that something new was coming. That something is the Komodo, which by the end of July Jarred Land mentioned in a post at REDUser, stating this:
“I told everyone that I wouldn’t reveal Komodo until it was ready.. There still is a bunch of time before the first batch starts shipping towards the end of the year and everything can and probably will change.
But in the spirit of discovery… perhaps I can still stay inside those rules and tell you what Komodo is not:
– It is not DSMC3
– It is not a replacement for DSMC2
– It is not 8k VV
– It is not a Dragon or a Helium or a Gemini or a Monstro Sensor
– It does not have an HDMI port
– It does not use proprietary media
– It is not a “module”
– It is not under $5k, unless you own a Hydrogen.
– It has no XLR ports
– It does not have a fixed lens
– Its body does not weight more than 2 pounds.
– It is not larger than 4 inches in any dimension.
O.. and since Komodo is alive and breathing and you will probably see it pop up over the next few weeks and months in the hands of some very talented people banging on it to try and break it… I guess I can at least leave you with this……
A mystery called Komodo
While the Komodo conversation at REDuser continues, and is now 40 pages long, with the most diverse ideas about what new camera/module is, new images published confirm that the RF-mount is used, and we also know the camera uses CFast cards, as at least one image indicates. Again, even at REDuser, despite the applause from many because of the mount used, that some believe to be the future, there is people asking for a Sony E-mount, forgetting that Sony keeps the mount exclusively to its cameras.
Komod0’s sensor size is still a mystery, and has kept people exploring the most diverse ideas, supported by drawings, some closer to scienfe-fiction than science, but it’s probably Super 35, meaning it will compete with the Blackmagic Pocket CC 6K, which costs half of the price, as it seems. So, in the end, despite the eventual – and in many cases theoretical – advantages of the RF-mount, the RED Komodo (dragon) will not defeat the Blackmagic Pocket Cinema Camera 6K, which has, one could say, a very attractive price for anyone wanting to step up to 6K and a popular mount, as the Canon EF is.
In the end, if this was a fantasy story, I would probably say that no dragon can defeat blackmagic…
The post Will the 6K RED Komodo (dragon) kill the Blackmagic Pocket Cinema Camera 6K? appeared first on ProVideo Coalition.
The Samyang AF 45mm f/1.8 FE lens for Sony E is quite the intriguing lens, providing an autofocus prime with a wide maximum aperture in an impressively small and cheap package for Sony shooters. Does it give you a lot of bang for your buck? This great first look video aims to answer just that question.
Sony cameras have some incredibly powerful and advanced autofocus systems with intricate settings and numerous customization options. At times, however, all those capabilities can almost be a bit overwhelming. This helpful video will show you the ideal autofocus settings for portrait shoots.
Film and Digital Times August 2019 Edition #96 is now online for subscribers. Print copies are going out the week of August 12. Read all about the Angénieux introduction of Optimo Prime Lenses at the Cannes Film Festival. SIGMA Full Frame Classic Art Primes and fp Full Frame camera. “The Innocents of Florence” by David Battistella, shot with RED and… read more…
What starts as a great idea can lose its way as others begin to add to the story. Films have many elements that can affect the overall experience, and a film is only as strong as its weakest link. Rewrites, bad acting, interference from producers or studio executives, or just a bad suggestion can derail the promise of a concept. These films started as interesting concepts that had promise but they weren’t able to live up to their initial promise.
10. The Good Dinosaur
What if the asteroid that caused the mass extinction of the dinosaurs missed? And what sounded like a cool concept that could have resulted in any number of interesting stories ended up as a cliché boy and his dog story. Except the twist is that the boy is a dinosaur named Arlo and the dog is a human boy named Spot.
The story focuses on how Arlo is the runt of the litter in his family of farming dinosaurs, but his mom and dad love him even though he has a habit of messing up. Arlo becomes lost after getting caught in a storm and he finds Spot and together they embark on the adventure of a life time, and not only do they find their home but they each discovered themselves and a friend along the way.
The film was in development for years and they eventually had to retool the entire film and even replace all the voice actors except for Frances McDormand, who plays the mother. The end result comes across as rushed and empty. And what’s even worse is the fact that this is a film by Pixar, a studio known for its scripts that are creative, sharp, and insightful when it comes to explaining the human experience in a way that entertains and allows the philosophical side of audience’s brain to run wild.
The concept is very simple but it’s a compelling question because it draws on the imagination we had as children. A time when most went through a dinosaur obsessed period, so when we are given this what if question an assortment of answers pop into the brain and I doubt many pictured a world where dinosaurs, simply become anthropomorphic.
A man (Adam Sandler) is shopping at Bed Bath and Beyond and he finds a section at the back of the store, marked Beyond. A crazy inventor (Christopher Walken) is found in the Beyond and he presents Sandler with a device that could help solve all of his problems, a universal remote that can control the universe. The universe essentially becomes a home entertainment system that you can pause, rewind, fast forward, mute, etc.
Like a concept from an episode of “The Twilight Zone” the downside of a great thing begins to show as the man starts to see that his life is beginning to lose the small things in life that make it great and he is losing the family that he once had.
This film feels like it was written as a sci-fi drama that unfortunately found its way onto Adam Sandler’s desk who decided to make it into a comedy that has to resort to cheap laughs as Sandler acts as though he is making up his lines as he goes. The film benefits mainly from the supporting cast who help to show the possibilities that could have been. Julie Kavner and Henry Winkler deliver sensitive performances that show the heart at the centre of the script.
As aging parents they represent the time that he is losing as he is trying to speed through the mundane aspects of his life. Through watching them he sees that time with his family is not mundane but little moments that are fleeting. His parents took pleasure in raising a family, which is something he is not doing with his own family.
The film touches on the possibilities and the consequences of controlling the world around you, but it always goes back to lame jokes and a tepid performance by a guy who should only make films that were meant to be comedies.
“Click” has the elements of a great sci-fi; a fantastical object to drive the story forward, a twilight zone twist so that the tale becomes a cautionary one, and a mysterious character who resides in the beyond and is hinted at to being more than just an inventor.
8. Bird Box
People are going crazy and killing themselves and others. There are monsters that are causing these reaction, but no one can see them. If you look you will die. “Bird Box” boasted a great cast and a director, Susanne Bier, who proved her merits as a director with the films “In a Better World” and “After the Wedding.”
What sounded like a promising film and one that produced some memorable intense scenes as the survivors started a life where they couldn’t view the world outside the house. The film failed to create fully fleshed out characters and instead relied on flat characters who felt like they were created by following a checklist of interesting characters; the old rich republican white guy, the bitchy white woman who is closed off emotionally, the fat girl with a good personality, and the bleeding heart liberal who opens his door to others.
The films redeems itself from the endless eye rolling with the scenes on the river as the Sandra Bullock character embarks on a journey as an attempt to save the boy and girl for whom she is the sole guardian and parent of. The river scenes show the potential of the concept and how it would have been better served if it focused essentially on one character instead of adding a bunch of supporting characters who were mainly there to add to the body count.
The problem with most concepts is how they end and this film is a great example of how a concept was taking but failed because the writer didn’t know what to do with it. The grand conclusion to the film is that blind people created a utopic refuge in the middle of nowhere.
Because the blind are immune so in this new world they can strive. And now that they have Bullock has saved the children and delivered them to a place where they can have a life she will finally name them. And cue the beautiful sunlight in the garden and she can now open her eyes. The heavy handedness takes away from a concept would have worked better as a more straightforward thriller.
7. What Dreams May Come
A man who has recently lost his son and daughter has now died in a car crash and he is in the afterlife. The world before him is a beautiful oil painting that can delve into. After exploring a beautiful afterlife that he is guided through by his son and daughter (who have chosen new appearances) he discovers that his wife who is now alone in the mortal world has committed suicide. He will embark on a journey to hell to save the soul of his wife.
The art direction and Oscar winning visual effects are the saving features of a film that suffered from a longer screen time (1 hour, 54 minutes) then it required. Tvisuals are beautiful but the filmmakers rely too heavily on the spectacle instead of the mental toll that these events would have on the characters or their driving force for their actions. Love is a compelling reason to do things, but is a crutch for character behaviour.
Robin Williams stars fresh off of his Oscar win for “Good Will Hunting” and he does a fine job, but he lacks the gravitas to allow his character to be a convincing driving force in the world that he has found himself in. The film draws on depictions of the afterlife found in renaissance paintings and the book “Dante’s Inferno” and these sources of inspiration would be better if the filmmakers committed more to a story that explores the affects that this existence would have on the recently departed.
There are 3 worlds depicted, the mortal world, Heaven, and Hell, but the contrast found in all 3 are not explored fully outside of great work by art directors, but these realities are more than just visuals. The ambitious work on the visuals elevated this film into becoming memorable, but it detracts from the story and serves merely as a crutch.
6. The Monuments Men
Hitler has amassed a vast treasure in valuable artwork by way of thievery and murder. Now the American army must train art historians to go into Europe to save the art and culture of a people who have suffered greatly under the oppressive arm of Nazi Germany. And it’s based on a true story.
George Clooney wrote , directed, produced, and starred in this film and surrounded himself with some of the greatest character actors working today; John Goodman, Hugh Bonneville, Bob Balaban, Bill Murray, and Jean Dujardin. These actors don’t get the screen time they deserve and if it wasn’t for the attachment the audience has towards the actors they wouldn’t care when the characters die on screen.
The film has many great characters and subplots, but they are never fully developed in favour of giving more screen time to Matt Damon and Cate Blanchett, and although they both do a decent job their storyline falls flat.
The concept is great but the biggest reason it is a terrible film is because the concept would have been better served if it was made as a mini-series where the story and characters could receive the screen time that they deserved to fully flesh out the characters and their individual adventures as they spread out over Europe on separate missions.
Though it lacks some of the bells and whistles that the G5 X II offers, the Canon PowerShot G7 X Mark III adds a newer 1″ sensor design and some useful upgrades to an already impressive compact. Faster readout speeds make it possible to shoot up to 8.3 fps with continuous autofocus, and video shooters will now find 4K/30p and direct YouTube streaming on a camera that was already popular among vloggers.
Take a look at some of our first shots from the G7 X III and keep an eye out for our full analysis soon.
In this video, I go through the updates from the previous version as well as my thoughts and experiences shooting with the camera, some good things some not so good things. Overall I think this is one amazing camera, especially for the cost.
Check this camera out: http://bit.ly/2GQSx2L
Low Light Test: https://youtu.be/8t4Wz-9CFV0
Camera Tour: https://youtu.be/5ep0RULiwQM
Menu Walkthrough: https://youtu.be/CQ9A1dDUgAg
Data Rates for 4.6k (4608 x 2592)
Blackmagic RAW 5:1 – 110 MB/s
Blackmagic RAW 8:1 – 68 MB/s
Blackmagic RAW 12:1 – 46 MB/s
Blackmagic RAW Q0 – 110 to 274 MB/s *
Blackmagic RAW Q5 – 27 to 78 MB/s **
Apple ProRes XQ – 360 MB/s
Apple ProRes 444 – 238 MB/s
Apple ProRes HQ – 158 MB/s
Apple ProRes 422 – 106 MB/s
Apple ProRes LT – 73.5 MB/s
Apple ProRes Proxy – 32.3 MB/s
Outro music from ArtList IO – http://bit.ly/GregArtlistio – Get 2 months FREE!
My IG @gregfarnum