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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
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Big portion of that 16 stops is unrecoverable due to heavy baked in raw processing and NR. LOFIC low light performance is intrinsically poor, so they have to use two or even three readouts with conventional approach and combine them all (which is not very linear) then add some sharpness tricks to reconstruct the degraded quality. At this sensor size and consumer level, nobody cares and the only thing matters is that it makes truly HDR image. To implement this tech in bigger sensor for pro bodies, that process should be way more refined. -
I think “completely and utterly” may be doing a little too much work there @kye : P There is also a slightly amusing irony in relying on CineD here, given that Andrew’s forum rules have historically discouraged linking to the site whenever possible, although, of course, he also made clear that such links would not be censored. That aside, the DJI result is undeniably impressive. The 20mm LOFIC camera in D-Log2 seems to be in a different league when it comes to measured dynamic range and exposure latitude. I’m just not sure that this particular test supports such a definitive verdict on the two complete camera systems. Those spectacular figures apply specifically to the 20mm camera in D-Log2. The 60mm camera does not offer D-Log2 and produces considerably more conventional results. On the Luna side, the CineD test seems mainly to reveal that its current I-Log processing is seriously problematic, particularly because of the aggressive internal noise reduction. They did not test the standard profiles, which they themselves suggest may currently be the better option. So, to me, the fair conclusion is that DJI’s best sensor and profile comprehensively outperform Luna’s present I-Log implementation in these specific laboratory tests. That is still a major win for DJI — just not necessarily a complete and utter defeat of the Luna in every respect. In these comparative tests [1 2 3] though ; ) the result is rather less one-sided : ) Now compare the Luna’s 8K with the Pocket’s 4K and judge for yourself ; ) Whichever one comes out ahead in any particular test, I think both cameras are genuinely worthy of the OOAK label. The Pocket 4P is unique in what it achieves with its 20mm LOFIC sensor and D-Log2 in such a small body, while the Luna Ultra is equally singular in its modular design, detachable remote screen, internal 32-bit float stereo audio and overall shooting concept. They are not merely two versions of the same product competing on a laboratory chart; each offers something that currently exists nowhere else. LU I | LU II | LU III | 4P I | 4P II | 4P III Part of it has already been posted, among others, for instance right there. -
Yeah, “Unconsciously Stumbling Upon The Appropriate Lens Choice Since 1978” is definitely something I’d like to have as an epitaph. -
L10 update… Shot 5x wedding ceremonies plus their day prior & post events exclusively on the L10. Stills only so far… The experience and results have been great. Not S1Rii great or even S9 great (but in isolation more than good enough as a back up camera stepping up to do a job) the latter of which is supposed to be my back up camera but was in the shop being supposedly fixed…but as it turned out the fix was going to cost more than buying another mint used one, I bought another. Also one week long family adventure as my sole camera. Also perfect for that. However, now that I am back with 1.5x S9 camera bodies, I have decided to repurpose the L10 as; personal plus back up plus dedicated gimbal unit. Bought my 4th gimbal but this time determined to actually use and keep it…my previous issues being a combo of; reliability, weight, too much kit, user ineptitude…but as it’s an RS4 Mini with the tracking unit and L10, it should be a pretty sophisticated and lightweight unit. Only 3x more jobs that have video this year but at least it will be a good test ahead of 2027 where every job is hybrid. Should be GH7 level results, albeit with a fixed lens and the lack of IBIS the L10 has removed and improved… -
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.
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