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Everything posted by Tzedekh

  1. I'm still a little confused by hybrid log gamma. Does shooting in HLG mode increase the dynamic range over that possible with V-LOG? If so, what is the GH5's DR with HLG?
  2. I don't understand the point in implementing an HDR mode if it doesn't capture any more than the 12 stops achievable with conventional means.
  3. Anyone know anything about the GH5's hybrid log-gamma HDR mode and how much, if at all, it extends dynamic range?
  4. ​Actually, Apertus experimented with raw over HDMI when developing the Axiom Beta.
  5. I'm sure it is the LTN4625A. I think Andrew meant that the new sensor has a 16:9 aspect ratio, as does UHD. The 4,608 x 2,592 resolution represents a 20% oversampling over 3,840 x 2,160.
  6. Geez, I wish camera companies would stop using the CMV12000. Unfortunately, at present there seems to be nothing better. If any sensor manufacturer is listening, we need a >4K global-shutter, ISO 2000 sensor with >14 stops of dynamic range and negligible fixed-pattern noise.
  7. The only thing I can think of is that there are three layers of pixels, each of which has 4.44 MP. The 2,052 x 2,166 array is then cropped to 2,048 x 2,160. Because the pixels are twice as wide as they are tall, the aspect ratio is the 1.89:1 DCI standard. The additional horizontal resolution may be achieved through something like pixel-shifting.
  8. I hate to be a Debbie Downer, but if the LS300's sensor is the AltaSens AL41410C, the dynamic range is theoretically only about 10 stops, and that's with a rolling shutter. As to whether the the 4K is 4:2:2, I suspect it is. JVC also announced the GW-SP100E remote head camera system, which seems to use the same sensor. Among the specs: "Up to 4K Ultra HD 50/60p recording at 4:2:2 150 Mbps" and "4K single file recording at 150 Mbps." I assume that if the GW-SP100E can record 60p 4:2:2 at 150 Mbps, the LS300, at 24/30p and 150 Mbps, is probably also doing 4:2:2. I suppose the latter spec means that JVC isn't using their goofy process of simultaneously recording to four SD cards, RAID-style, but is recording as a single file.
  9. I agree, but in all fairness, it's the same sensor that's in the AJA Cion and the BMD s35 4K cameras. Sadly, there's a paucity (and by that I mean a virtual absence) of off-the-shelf 4K sensors with decent dynamic range. A custom sensor could be designed and fabricated through a company like Alternative Vision, but it would cost two to four million dollars and likely take at least a year, and God only knows how good the results would be. Quality control and yields, yada yada. And then there's all the work that has to be done to write the code that makes the sensor usable.
  10. If you're willing to go a little smaller, the RX10 has built-in ND.
  11. Why can't it send a raw signal directly to the XQD cards the same way that the Ursa sends one to its CFast cards? CineForm RAW 4K at 24 fps is typically 50-75 MBps, well within the rating of an XQD card. Higher-speed ones could handle 4K at 60, 96, or even 120 fps (though the FS7 tops out at 60 fps). By the way, CineForm is the basis of SMPTE's newish VC-5 standard.
  12. HEVC is great, but Samsung will likely support only 4:2:0 8-bit.
  13. Interesting. Same sensor as the GH4, yet the GH4 can do DCI 4K but this can do only UHD. Or am I jumping the gun?
  14. http://www.sony.co.uk/pro/article/broadcast-products-be-first-to-discover-true-freedom-of-expression?SM=TW1&src=040914News_Broadcast_T1teaser__a3&cmp=scl-cc-10324
  15. In other words, a big sensor and the guts of a Z100 (which does 10-bit, 4:2:2 intraframe XAVC up to 600 Mbps).
  16. That would make it $4,000 more than an Ursa and $1,000 more than a Cion, both of which have a global shutter.
  17. No, I mean XAVC can go up to 960 Mbps (see figure 3 in Sony's "XAVCTM Specification Overview"). Sony's PXW-Z100 records up to 600 Mbps and doesn't even do 12-bit 4:4:4.
  18. XAVC can have a data rate up to 960 Mbps. And if you mean XAVC S, it can, at present, go up to 100 Mbps, I believe.
  19. I actually misspoke. As reported by EOSHD, on the RX10 the entire 5,472 x 3,080 sensor is read out at 60 fps then downsampled by the Bionz X processor to HD. To me, that means no binning or line skipping. Maybe the RX10 couldn't handle 4K recording or output without overheatng.
  20. This is equally true of the Sony RX10 -- it samples natively at 4Kp60. It then sends the image to the Bionz X processor.
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