ND64

Don't want to be "akshually" guy but.. If its RAW, it has no color rendering. Color is what RAW developer software provides. Image sensor doesn't output a "look".

Which means they're guarding the act of compression itself. Frame rates and level of compression are also stupid. Its like to patent a CPU with 8 cores to prevent anyone else making any CPU with more than 7 cores. Nobody should be allowed to patent the scale of something.

They should have patented the algorithm of compression, not the compression itself, because 1- compressing raw data is obvious 2- done before on still raw up to 5-6 fps in DSLRs, like Nikon D2x.

Because most of the judges don't understand the technology behind these things.

Sony IBIS problem is not like it can't move a lot. The problem is overcorrection. All IBIS systems should be content aware. They should know whats going on in the scene. Respond to vibration isn't enough.

What's up with this dance trend in promotional videos? It should give me information, not entertainment. I can evaluate the noise and DR in a single frame from a simple shot.. just show me a dark room with a bright window.

Basically they patented a condition 🙂

Big corporations couldn't even imagine someone would patent the idea of saving RAW file.

Sony A1 read out noise at ISO 640 (the lowest, or true base) is only 0.927e which is insanely low. Now assume that we combine the ISO 100 image with max saturation capacity, and ISO 640 image with lowest noise. We have 20log(39579/0.927) and thats 15.4 stop. And that would be at 1:1 signal ratio, which is only useable after temporal noise reduction in post.

Its like Russian invasion of Ukraine in fear of NATO Expansion (RAW recording for all). Its an unwinnable war for Ukraine, but I hope they win.

Seems you think reputation trumps physics.

There is no exception. ARRI didn't reinvent the CMOS sensor, they just achieved lower noise floor with double readout. State of the art CMOS is limited by 15 stop, which 13 is useable. These are so clean that they're only limited by shot noise. In other words, the noise problem is already solved; so to increase DR you need to work on the other side: saturation level. Unfortunately its so hard to increase the saturation capacity that Nikon celebrated when they achieved 1/4 of a stop more capacity and called it ISO 64, which in reality was only ISO 80.

No BSI, no fast read out, no clean 4k60, no CF express slot, and ridiculous EVF for the price. Fuji gonna be fine.

I don't like to say that 17+ DR is a marketing lie, but even state of the art CMOS sensors can't reach that level.

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.