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Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket... 1 2
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Grant Petty on the future of DaVinci Resolve Studio pricing: "We'll probably eventually charge some kind of upgrade for this." 1 2
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i worked more days in construction this year than i have in the film and commercial industry. sorry but who cares about pushing boundaries and constant releases of new means when there’s less and less work to use the means on? -
For sure. The “18 stops” claim comes from the manufacturer (sensor-level, special HDR mode). It’s plausible as a sensor specification under controlled conditions/multi-exposure HDR — but practical DR measured in real cameras has been substantially lower due to optical and pipeline factors. Although the sensor itself has a “theoretical” 18 stops, many other factors (noise, analog-to-digital conversion, image pipeline, compression, amplifier architecture, pixel readout, linearity, saturation capability) limit the actual practical performance. Manufacturer's claim = sensor under optimized conditions (two/more readings, dual-gain, on-sensor HDR, internal measurements). This isn't necessarily the DR you'll get in a final phone/camera. Actual limits: optics (flare/veiling glare), amplifiers, pipeline noise, compression, RAW/JPEG processing — all of which reduce useful DR. https://www.imatest.com/docs/full.html Imatest/DxOMark measure the system, not just the sensor die (photodiodes (light-capturing pixels), transistors, amplifiers, readout lines, A/D converters, etc.). Lab values applied to cameras tend to show much lower useful DR on sensors of this size — hence the large difference between manufacturer claims and practical DR. However, if this OmniVision sensor actually comes to fruition with 18 practical stops, that will be revolutionary for such small sensors — it would be worth watching for announcements and technical tests. -
After editing 5 days footage with NEV to R3D hack straight from the CFExpress, and with just NEV I still don’t know if Red’s IPP2 pipeline is better than how NRaw is handled in Resolve. Figured out why Red tone mapping and highlight roll of did not look better than NRaw. I have a power grade where one parallel node has +20 on shadows and -20 on light on HDR wheels, and it seems to do the same thing. Applied that power grade to Red timeline too and still it is not better, colors are duller, and if you have camera shake with IBIS accidentally off, you get severe rolling shutter, which is not seen in NRaw files. I do like the Red ISO control, and chroma NR though. Now if actual Zr colors are as good as in some of the latest videos, you can have two good, different looks from the Zr with R3D and NRaw. Not counting ProresRaw as it’s file sizes are even bigger and Raw controls worse than Red’s and Nikon’s. -
For anyone who knows one or two things about imaging science, it was obvious we can't go beyond 16 stops with current combinations of tech, as DR is not just about pixel's saturation. You can save harsh highlights from clipping but you get an overall contrast level that doesn't match to that saved highlights, which is what exactly demonstrated here.
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