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Greetings Everyone, More free seamless texture images to share with you! You'll find them on this page on my website: GROUND - Tile-able https://soundimage.org/txr-ground-seamless/ USES FOR MY IMAGES You can use my images to create materials for 3D objects, as backgrounds for videos, for visual effects (VFX) or anything else you can think of! They're 100% free to use with attribution, like my thousands of other images, music tracks and sounds. OTHER NEWS I'm finishing up an original music score for the upcoming fantasy game "Warbound" so I'll be free to work on other projects soon. Feel free to contact me if you need help. As always, enjoy, stay safe and keep being creative! 🙂

True, I would agree with this. For me, I always make it a priority, even though it's costly and I don't "see" anything new when spending all that money on RAID drives/arrays, memory cards, and the computer upgrade. But I do that knowing that in the past, I've always benefited from it and have never regretted it.

You're not wrong, but the complicated part is deciding whether you can afford storage and computing power, or whether to use that money on lenses, snacks for your crew, other life expenses, etc.

If you want the best quality, can afford storage, and have good computing power for editing, I don't see why you wouldn't shoot RAW. It's not too complicated, really.

At ISO 6400, ZR is way better than Komodo X, and equal to S1ii. With noise reduction, even ISO 25600 is useable. And thats what matters for the target market. They're mostly one man with no or very limited lighting equipment. Underexposing and lifting the shadows in post is not what they usually do. Its good to have lower noise floor, but you don't want to go much down there anyway. Because despite less noise, you're still dealing with poor SN ratio, due to shot noise, which is inevitable side effect of underexposure. That's why much of R&D money in CMOS sensor industry is directed to improvement in saturation level (more room for overexposure), and solve the noise problem with AI.

Very interesting to see Paule’s Zr vs S1ii comparison. In his Prores Raw in DaVinci Resolve video comments he said he was surprised that S1ii internal PRRaw had the same amount of sharpening and noise than H.265, which shouldn’t be the case. Could explain the 10 stop latitude. Very close to pulling the trigger on Zr, but still in doubt if 4 inch screen is as good and convenient to use than Z6iii’s EVF, where you can correct your near sight vision. Don’t want to look the Zr display from meter away now, it would get quite uncomfortable fast🤣

For me, the iPhone has been competent for filming since the 13 pro max. I’ve produced whole documentaries with it. Now with the 17 pro max out, with an iPhone and maybe an action camera, I can document high quality content while being extra nimble and incognito.

They are from the same sensor and if the ZR can achieve the same as the S1ii, then it would already be very very good (RED Raptor territory). The S1ii has the DR boost mode which showed 10 stops of latitude, that is Alexa LF level, but with 27ms, which is not great at all.

Of course - the Komodo was designed to be a crash camera for big productions. Red really didn't plan for having a bunch of people using it for A cameras. It's always been an odd one out among their lineup. Anyway, I'd also say that it's pretty impressive that the OG Komodo, a 5+ year old camera with a (supersized) S35 global shutter sensor is coming up about even in those tests with a brand new FF camera with rolling shutter. Though I'd also guess that outside of that sort of over/under test, the ZR will have better apparent/usable dynamic range than the OG Komodo and maybe even vs the Komodo-X which is noticeably better than the OG. I think that there is almost no doubt that the S1 II will win it. 😄

Nice video from Nikon India.

Nice side by side test video of the ZR and RED Dragon and Komodo. As always it is the Komodo which is little bit the odd one. His latitude test was unfortunately flawed as he did not match the 18% grey exposure. The one where you overexpose is clearly too bright compared to the underexposed one. I went to watch his other video review of the Pana S1ii, and their, the base exposure was very close. Here it is easily around a good stop overexposed. I did some screen grab and looked at the RGB values as I was a bit insure if it was not my eyes playing games to me. Here he has 4.5 overexposed and 3.5 down. That is 7.5 to eight and the S1ii he had 5 above and 4 below so 9 stops of latitude. Edit: I forgot to add, he is supposed to do a test of the S1II and ZR. Hopefully he does a good latitude test with same lighting and exposure, as the S1ii has become the king of DR in that price range.

I definitely prefer to go to the movies when it’s empty. I don’t like the random noises and the constant moving about.

@Ilkka Nissila I don't necessarily want "log," specifically, but the arbitrary curves from most photo cameras are more difficult to work with, compared to a documented curve that the editing software can mathematically transform into a common space. And yes, while log does move bit depth from the main exposure range, 10 bit is plenty of depth to overcompensate.

While I think it would make sense for hybrid cameras to offer similar "looks" across photos and video for easier presentation together, I am not really sure storing photos in log format makes sense. First, while linear encoding would waste bits due to the highlight photon shot noise making the least significant bits meaningless, this has already been corrected in compressed raw file formats such as Nikon's (technically lossy but visually lossless) compressed NEF. If I recall correctly, Nikon simply leaves out the LSBs in highlight pixels, thus saving storage space. In log video mode, cameras bias the exposure metering to produce about three stops of underexposure compared to normal SDR photos, and this leads to a lot of noise in the main subject (if there is one). It may not be such an issue for video because in video you can do temporal noise reduction which you cannot do for photos since they're individual frames with different content in each image. Usually in still photography, people want the main subject to have the highest possible image quality, and exposure metering algorithms typically emphasize the detected or selected subject and only secondarily protect highlights from blowing out. I still almost always increase midtones in post-processing by a curves adjustment, reducing highlight contrast and bringing the subject (midtones) up in brightness. For scenes that require a large dynamic range, many photographers I know of shoot a set of bracketed frames in order to ensure high SNR for each major part of the image and then merge the images with masks or other such techniques (depending on the subject). For video, exposure blending with masks is not possible but some automated DR-enhancement methods that blend two amplification levels exist in a few cameras (dual gain output). While the idea of having highlight exposure latitude is appealing, it comes at a cost in the midtone and shadow SNR and I think many still photographers would consider the outcome to be of poor quality compared to what they are used to. It's also the case that many if not most (?) still photographers use Auto ISO and manual exposure mode as their go-to exposure mode and they expect the camera in most cases to set the ISO precisely to get close to the desired brightness for the main subject as they are shooting. I often set the camera to ISO 100 or 64 and Auto ISO, lettting the camera vary ISO from 64 to 12800 to get the exposure correct and the photos near usable as they come out of the camera with minimal tweaking. This won't work for log as most of the ISO settings are unusable in log given the 3 stop underexposure built-into the approach. Yes, you can apply +2-3 stops of EV correction and then get similar results to linear modes but then the exposures on the screen will look off and it's harder to see the subject and get the correct feeling of the scene and how it would render in the photograph. I just don't see this going anywhere outside of a few filmmakers wanting look-matched still photos when video is their primary output. Still photographers outside of agency photojournalism shoot raw and that's that for the most part.

This is my reason for shooting photos raw. The difference between 8-bit jpeg and raw photos is much greater than between 10-bit log and raw video. And also most in-camera jpeg profiles aren't exactly documented, afaik. With a documented log curve you can adjust white balance and exposure in post, and while you lose "some" fidelity vs raw, the transformations are accurate. So on a slightly different topic, I'd personally really like for more photo cameras to shoot 10 bit log photos, and for standard photo editing software to have the same kind of color management that Resolve has. I don't do anything crazy to my photos, but I do see the limits of 8 bit jpeg in normal use, which I do not see with 10 bit log video. Overall, I sort of suspect that most people who want to shoot raw video already are. External raw recorders are easy enough, so if you're already committed to the workflow and HDD requirements, the external recorder often isn't the breaking point.

The best camera is the one you hold ; ) ...and that's the "toy" when in good hands! :- )

@kye, your framing, beyond that of a traveller, unveils the eye of an artist :- )

Where I can download S1II raw files to play with?

You seem to post nothing but angry negative stuff. Why waste your time with all of us talentless hacks?

Ouch

Another frame grab showing a bit more DR. Same Resolve + FLC workflow, but no grain added, so what you see below is the noise and compression artefacts from the Prores. Default exposure: -2 stops to see where the clipping point is: +2 stops to look at the shadow detail: Very serviceable, especially considering this was shot from the window of a moving train (the OTHER reason why rolling shutter matters).

Dunno if anyone’s posted this on here, but i saw this on my instagram because i followed the DP a while ago, looked pretty good, with some unfortunate highlight clipping here and there. wont help you guys because you cant really shoot.

(Including SmallHD)

Here's some more grabs.