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By Andrew - EOSHD · Posted
Real 1080p on compacts is a unicorn. None of them do it, they are all pixel binning the 1080p and 720p. There's a wide variance in binned image quality though - some pixel binning techniques get close to native res 1080p. Pixel binning works well on the RX100 M1/M2, these use a good sampling method. Cleanest 1080p for the price, with the fast aperture zoom and the size is as small as it gets. The RX100 M4 or newer got the fast stacked sensor, so they CAN do a full pixel readout for 4K, no crop, but the 1080p is still binned. LX15 I can recommend as an all-round stills compact with 4K, but it still cannot sample the full width for a full pixel readout, the 4K is a crop and the 1080p is binned. I never used it for 1080p so can't vouch for the binning quality. I always 4K'ed it. -
By MurtlandPhoto · Posted
I’m getting a Pocket 4p in hand in the coming days. Looking forward to seeing how it matches up with the S1ii and Pyxis 12K. The videos I’ve seen truly are remarkable. -
AFAIK Panasonic don't use Sony for all of their sensors - they've implied the GH6/GH7/G9ii sensor is not from Sony (I think the words were 'it's not made by who you think it is' in response to a question at a launch event). OmniVision are also in the LOFIC game - the OV50X50 is a 50MP 1" sensor with both dual-gain and LOFIC - https://www.ovt.com/products/ov50x50/ 'TheiaCel® technology' is their version of HDR capture including LOFIC - https://www.ovt.com/technologies/theiacel-technology/ -
The reality is although I would desire 1x SL3-P over 1x S1Rii… …2x S1Rii + 4x primes kills to death, any (existing) single camera lens combo from any manufacturer. The closest today might be the Nikon Z8 or the Sony A7Rvi with f2 28-70, but even then, 28mm is nowhere near 18mm and 70mm is not 85mm. And that is the ‘one & done’ camera/lens scenario, ie, it does not exist without a substantial compromise. Real world, I shall soldier on with my pair of S1Rii’s with my 4 primes because they just work. I’ve been trying to find even a single criticism of the S1Rii and other than overheating shooting even ‘just’ 4k on longer takes on hot days (no longer an issue now I have my audio-less S9 and second S9 in the house), I can’t find one. Loved my S1H and my S1R’s, but this developed hybrid of the two is better real world tool and one of the best hybrid cameras in existence to date. -
Good discussion and I think this cuts to the heart of how different the thought process really is. If I'm shooting in public with a single prime then this is how I am thinking about it: - I have a fixed FOV, but I can move around and closer/further and when I do that I change all of the following at once: - the size of the subject in the frame - the perspective I have on the subject - the size and position of the subject compared to the items in the foreground and background - my distance to the subject - my influence on what I am shooting - So I visualise the situation in 3D and estimate where I need to move to create the composition I want - I move there and refine the camera position and take the shot If I'm shooting in public with a zoom then this is how I am thinking about it: - I have a flexible FOV and I can move closer/further so when I do that I can: - zoom, which changes the size of the subject and foreground and background in the frame without changing their relationships, or my distance, or without changing my influence on the subjects - move, which changes the perspective I have on the subject and therefore the relationships of the objects in the scene to each other, and it changes the subject distance and my influence on what I am shooting - So I visualise the situation in 3D and estimate a line/cone of positions I can be in to create broadly the composition I want through varying combinations of focal length and my position - I weigh up my priorities, trading subject distance, my influence on the subject/scene, and composition against each other to work out what I think is the best balance - Depending on the layout, I also consider how fast I can get there compared to what is happening in the scene - I move there and refine the camera position and zoom simultaneously, and take the shot One is starting with a single FOV and working from there, the other is starting with an infinite number of FOVs. The thinking is completely different. When I'm using a prime the idea of zooming is completely alien and when I am using a zoom the idea of there being set focal lengths is completely alien. It's like I have two programs in my head, one for primes and one for zooms, and I just run the appropriate one for what lens I am using at the time. The idea of taking a zoom and limiting it to preset lengths might seem like a miracle compared to having a prime, but it's a disaster compared to having a zoom lens. I spoke more about this in my dedicated thread about it, and once you start thinking beyond composition and into aesthetics and tone the idea that a 35mm vs 50mm FOV are 'similar' is about as ridiculous as a photo editor only allowing you to crop the image by 0% or 30% (this is the difference in FOV between a 50mm and a 35mm). I'm sure you're aware of these fundamental differences from your own shooting and you'll have been doing all this consciously or unconsciously. If you start from a technical perspective then a zoom is just like a set of primes, but from a creative perspective it's nothing like a set of primes whatsoever.
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