sanveer

You're right. "The new sensor has 1MP resolution and depth accuracy of 10cm at the distances from 10m to 100m." I am guessing this will be for automobiles. 10 metres is too far for ILC Cameras, as a starting range.

That's bad news. Though I would have imagined that since Panasonic is out of the sensor (manufacturing) business completely, a specialised ToF sensor may be more specific to its own use, than perhaps for clients. Or perhaps Panasonic is using it for its factory use, like you mentioned. DFD is here to stay 😁

Everyone probably know about the theory that Panasonic's DFD is it consoling itself, and trying to help its users believe that everything is great in the focusing aata of the sensor. Maybe Panasonic has finally circumvented the restrictions put by Sony. http://image-sensors-world.blogspot.com/2020/02/panasonic-develops-apd-based-tof-sensor.html?m=1

Sometimes you give very sagacious and beneficial advice.

"How has your relationship with Sigma and Leica evolved over the course of your alliance? We meet periodically to [maintain] our relationship, and right now we’re discussing how to expand the L-mount system. We need some new ideas to expand the system to a wider variety of customers. We cannot disclose details, but [at the moment] we’re discussing changes to the communication protocol between the cameras and lenses." Hopefully this means 2 things: 1. The possibility of installing larger sensors than M43, in M43 bodies (ala JVC LS300), with probably IBiS too. 2. The possibility of ToF and other AF assist sensors on the camera/and lenses to completely circumvent the need for PDAF. The electronic contact points on ILCs need to move to this Century. It needs a complete overhaul in design.

Saw this yesterday somewhere, and it's absolutely amazing. The grading is a little curious, but the digital restoration is superb. I guess it could be upressed to 8k too, if necessary.

Unless they come up with a superb industrial design idea, when the mechanical shutter retracts in, to allow for the electronic variable ND to move forward or backwards. If one were go have 2 distinct camera bodies (and 2 completely different mounts too?) for videos and photo, it wouldn't really be a hybrid camera, would it? Also, then one would rather have a proper cinema camera and a high MP full frame or medium format (Sony A7R iv?)

Unfortunately, that would affect photo quality, substantially. Especially with fast moving subjects and mixed lighting. For video it won't make any difference.

Actually Fuji already has 2 ILC mounts, and they creating a 3rd one, or even if it uses one of the existing ones, for a new sensor size, doesn't make much sense. Plus the XT3 does over 75% of what many full frames do, and many things that many full frames probably don't. With IBIS and slight tweaking of the sensor and/or processing, the XT4 could be a good replacement for a full frame, with a smaller size and better pricing.

*Data is based on 10 Best Picture and Cinematography nominees. And, coincidentally they have Exactly 20 cameras, figured in the total list. Meaning none seem to overlap, and everyone is using a different and yet, single camera model for their entire film?

Thank you for the revert.

What brand and specs of tablet? What price is it at, after the discount?

Using a GH5 after a short break (only using smartphones), I realised that ILCs have terrible sound quality, in playback. They're just not loud enough, and the sound is pretty muffy.

The product itself looks eerily similar to a DJI Pocket, which makes me wonder whether it is a Pocket with some fake masking in top, or a genuine chinese yellow label product. I think all Crowdfunding sites need to constantly check the veracity of products in their platforms. There have been some multi-million dollar frauds before, and because of them, genuine campaigns have taken a hit.

Is there any noticeable difference between the dynamic range of the Zoom and Sound Devices 32-bit recorders? I am asking this, because reviews are one thing, but real life use helps way more. And you're into professional sound recording.

Autel returns with 8k photo and video with slightly lower resolution, 6k videosnand a photo and infra cameras in the Autel Evo II Series. And apparently great obstacles avoidance. They have a 1/2inch (with an f1.8 lens) and a 1 inch sensor option (with an f2.8-11 aperture option). The only problem seems to be that the bitrate is 120mbps, at 10-bit video. https://auteldrones.com/pages/evo2

I wonder if the electronic ND filter affects image quality on smaller (/tiny) sensors?

Thank you gun jumpers ?

Actually there is a theoretical limit of bit depth with dynamic range. Meaning that a camera with 12 bit will have 12 stops (which isn't true for the GH5 with its 13 approx stops). Maybe if Panasonic pushes it to 14-bit, highlight and shadow recovery could improve.

I realised after @IronFilm pointed it out. Quite an embarassing gaffe.

It's SCARY that Corporates and Not Authors, have been pushing Copyrights to a Century and beyond. Copyright should only exist for a few years (10-20) post the authors death. After that its just corporate terrorism. Also it's scary how corporates and the big artists caught for copyright theft aren't punished more severely.

Thanks for sharing this. It would be interesting to see whether it would allow greater detail or less micro blocking when zoomed it. Sometime ago, there was a theory about 8-bit 4k 4-2-0 having the colour depth of 12-bit 4-2-2 (or something of that type), when downchaled for resolution and then upscaled for bit depth. I tested it on DaVinci with my friend, but I am not sure whether it held up better for grading or made any any difference whatsoever. The link doesn't seem to open or its extremely slow.

Hahahahahahahahahahahahahahahahahaha I suddenly realised that I never thought about it ???

Check his channel via this video. This has stme great cinematography and editing and very impressive sound design: About that 2016-17 Panasonic-shot film, I have absolutely no idea about.