Eric Calabros

4k raw is obviously pixel binned, but pixel binned NRAW seems cleaner than pixel binned ProResRAW.

Check newest reference guide. There is a table for all bitrates.

So NRAW compression ratio is 4.5:1 in High quality and 7.5:1 in Norma quality. 30 minutes or 50 minutes of 8k24 with 512GB card.

I couldn't find it. However its always possible to get moire with 8k resolution. Modern lenses out resolve sensors, even at 100 megapixels. If you want zero occurrence of moire you have to stay in aperture range that diffraction happens, or simply use a softer lens.

Gerald Undone says Nlog is only for preview and is not applied to the file.

The good news is NRAW is apparently not a linear raw. Bad news is it makes massive files. ProRes RAW is line skipped in full frame, but native 5k is available with crop.

I can make a jpeg look identical to 14 bit raw, but "visual" quality is not the point of raw. Lift shadows 3 or 4 stops and then compare again.

Why invest in poor people which is always risky? Invest in their picture 😂

The banding issue is strange. It should appear in a system where different ISO applied to different rows of pixels, not in a system that two levels of ISO is used simultaneously for all pixels.

Its design of the circuit running the sensor, being raw or video. However for heat and power concerns, they use a lower precision readout for video. The problem with that lower precision is there will be more noise in deep shadows. So you save highlights with isoless characteristic, but overall DR will be less than the sensor max potential. In other words, Nikon/Sony/Canon don't need to use the technique Panasonic used here. They just need to increase the readout precision.

"GH6 offers a new “dynamic range boost” mode, where two ISO values (ISO 800 and 2000) are combined into a single exposure". You know, you have to use this method when your sensor is not isoless. Sony sensors are isoless from iso 500, which means iso 500 is so clean that for any higher iso you don't get cleaner image using "analog" amplification, so you stop there and lift the shadows logarithmically to save the highlights. So your iso 6400 shot is not really iso 6400, its iso 500 or 800, plus lifted shadows. Arri had to use that tech because back then cmos sensors readout were really noisy, so analog amplification at high iso could help a lot.

The thing is they want to get rid of all mechanical parts, not adding new ones. They even thinking about abandoning IBIS and do the stabilization, even for still image, with software.

They want to say Sony didn't pay us to choose Sony.

Just look at this from Ewa Wants To Sleep 1958 Painfully low resolution, low DR, no color. But its like a painting. We don't see shots like this anymore.

Damn, I need to sell my Lamborghini to buy memory cards for 10k 120fps.