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The EOSHD YouTube Channel (23,673 visits to this link)
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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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Mike Vogel’s riding high with this new series : ) Good to see him doing so well — a true pioneer and one of the indie AI filmmakers producing some of the most interesting work across YouTube and related digital platforms today. It also proves that solid project development remains fundamental to filmmaking, whether old-school or cutting-edge: https://www.linkedin.com/posts/pixverse_a-luxury-mars-resort-no-return-shuttle-activity-7469342407965241344-G5Of -
This is a forum for people that shoot with budget hybrid cameras. None of the above points relate to what anyone here is actually doing with their work, or whoever they're showing it to. Completely contrary to that, Dynamic Range is something I struggle with in real-world shooting for a large percentage of the shots I take. The idea that they're somehow equally important is beyond imagination. I'm done. Feel free to continue the discussion about pocketable 8K gimbal cameras, 17K sensors, 150MP doorbells, 5000fps smartphones, or whatever theoretically true but practically irrelevant things you want. -
I only ever pay attention to what is visible when I apply my entire image pipeline, so I didn't know offhand, but I just shot some test clips and viewing them straight out of camera I don't really see aliasing. I do see some artefacts in the 4x mode that are hard to describe, a bit of noise (and perhaps some processing artefacts on the noise?) but definitely not aliasing, even when I shot hard edges and rotated the camera slowly to try and reveal any aliasing. The 4x mode is soft, obviously because it's sampling a small area of the sensor and then upscaling it to 4K, so maybe that smooths over things perhaps. I could do a 8-bit challenge... maybe we should make it interesting and limit the entries to 720p or something just to add a spin. I'd be tempted to enter the Charmera. To say that it's 8-bit is perhaps the understatement of the year!
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That is precisely the point about limits, already laid out rather extensively in my post on the previous page... although I may have to start charging royalties if we keep returning to it ; ) No way : ) This discussion is precisely about how measurable advantages translate, or sometimes fail to translate, into real-world use. Additional dynamic range matters when the contrast of an actual scene demands it. Additional resolution matters when a workflow requires cropping, reframing, stabilisation, VFX work, digital reach or high-resolution frame grabs. None of those are imaginary specification-sheet exercises. They are perfectly ordinary practical uses. You may not need any of them in your own work, which is perfectly fair. But that is quite different from saying that 8K offers no valid practical advantage over 4K at all. Reality is precisely where those limits are established ;- )
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Just chiming in to say I was working with someone recently who was extremely happy with his Osmo 4p. Never having to balance a gimble ever again etc.. However, they said the one problem with this cameras is they're too light, which makes it more susceptible to up and down movements when walking. Their solution, which really made me laugh, was to mount it onto their regular camera, Blackmagic 6kPro, and use that as basically a paper weight. I'd stupidly assumed they were getting double angles of everything!
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