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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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By Andrew - EOSHD · Posted
DPR is telling me about care homes, maybe they think it's itme? That's the first fold on desktop of an article - 10% content, 60% ads, 30% blank spaces. Maybe if they want to stuff 60% ads down our throats on every page at every scroll position, giving some of that blank space over to useful content would have been a consolation prize but they didn't even do that, the stupid cunts. Scrolling further and it gets worse. It's like a malware site. Finally relieved to reach the bottom of the article, with just 4 ads here - unfortunately they are laid out completely at random as if sprayed on with a paint gun. The conclusion is that DPR is now dead and it may have well as been shut down. Everything that was usable and useful about the classic site has been eviscerated. In terms of the historical specs and camera info I'll make my own site that can replace some of it, like a Wikipedia for every worthwhile camera ever made going back to the 90s. It's actually under development now so expect to see it within the next few months. -
By Andrew - EOSHD · Posted
Indeed. So much empty space reserved for ads, the content just looks completely lost and every single change they've made to every single detail and feature feels like a massive downgrade, their tools and feature comparison database for example... now almost unusable. Yet still they pat themselves on the back for a job well done. Typical isn't it! -
By eatstoomuchjam · Posted
It looks like a beautiful place. Glad you had a nice trip! Were you looking for additional feedback on the video? -
By eatstoomuchjam · Posted
I quite liked it, but do know that if you're trying to capture anything with sound, the fan noise on the raw is really obnoxious. The image was pretty nice, though! -
By Ilkka Nissila · Posted
If you have 20 mm and 60 mm as the equivalent focal lengths that are available, the wider angle makes sense for including oneself in the footage, and showing a bit of environment, which must be a common thing in social media. However, at least I would preferentially shoot with 35 mm or 50 mm a lot of the time. By starting with an 8K sensor, you can get more detailed crops that mimic those lenses at least in angle of view. Of course, you lose light in cropping so the quality won't be the same as using one of the native options, but it is probably less damaged than if you start with a 4K sensor and crop from 20 mm to (say) 50 mm. I'm personally perfectly happy shooting in 4K with a 35 mm full-frame mirrorless camera and doing a bit of cropping doesn't really bother me, but the camera that I use makes the 4K footage by downsampling from 8K resolution, so even in the 4K file (typically for me Prores 422 HQ), there is a better starting point for cropping than if I had shot with a 4K native sensor camera (due to the Bayer sensor not registering all colors for all pixels natively). I think 20 mm would be extremely wide to shoot everything with (that's what the DJI Pocket 4P's magical sensor produces, 20 mm equivalent footage), and I'd want to moderate the angle of view a lot of the time to something in the 35 to 50 mm range. Thus the sensor resolution is likely to play some role in the practical quality that can be obtained. Although I like the idea of a camera that has a gimbal and can be just taken out of the bag and used, and I commend DJI for bringing the long-in-development LOFIC sensor into an actual consumer product, neither of these cameras (luma ultra and Pocket 4P) are really for me as I basically never do videos with myself in the footage, and the 20 mm equivalent angle of view is just not what I want from a video camera. Cropping (to get an acceptable angle of view) from a small-sensor camera is going to make noise more visible and detail less clear. I think use of a gimbal on a heavy full-frame mirrorless camera is painful for the setup that is required. Eventually I think some good compromises will arise, with moderately light total weight, internal (optical) zooms that don't require recalibration after FOV change, better integration of camera controls into the gimbal user interface, and some digital signal processing that is optimized to reduce the gimbal motor noise from on-camera audio tracks (this will require work on the motors themselves and the processing) are likely to make things more practical for me, but for now most of the time my gimbal is just not being used. With regards to the dynamic range, I'm used to slide film from long ago and when using it (for still photography) it was essential to photograph in what we called good light, which meant light that was suitable for the material, with no exposure latitude whatsover, and I still try to choose where I shoot so that the subjects and the scene will look good straight out of the camera where possible. With my camera the top video dynamic range is 12 stops and I've not run into anything that would make that feel inadequate, given the starting point of acceptable conditions for photography to begin with, in fact it feels wildly liberating what kind of post exposure adjustments are possible today. I would argue that if there is a situation which requires higher dynamic range, then alternatives probably result in better quality: use lighting for the main subjects in the foreground. If the scene can't be lit then shoot in a location which gives better results without lighting. Post-processing has its limits and I would argue it is not easy to mimic really good lighting on a scene with high contrast but no light (or too little light) on the subjects in post-processing. However, if you can use and benefit from 17 stops of dynamic range, by all means use it if available. I think my life is easier by carefully choosing where the original material is shot.
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