sanveer

1. The pixel-level read node design is similar to IMX610, only the implementation is different and dictates that it has fast conventional read speeds.
2. The physical pixels are 49 megapixels and the entire sensor is natively designed to be 49 megapixels, reusing the 4.2um BSI pixel design and using both analogue binning and digital binning together to achieve a 12 megapixel sensor.
3. IMX510 disables the all-pixel readout mode, so there is no possibility of an all-pixel readout, and naturally it cannot achieve 2x2 OCL AF, which is the biggest difference between it and IMX472.
4. Dividing IMX510's logical pixel into four physical pixels. The readout is achieved using 1:2 analogue binning before PGA and digital binning after ADC. The specifics are:
 A. 48 physical megapixels, divided into upper left, upper right, lower left and lower right in-group pixels.
 B. 24 mega pixels are read, binned in the form of upper left + lower right, upper right + lower left, dual stream 14bit readout.
 C. 2:1 pixel binning in the digital domain to generate 12 megapixels at 15bit, discard 1bit to 14bit output.
 D. The readout speed is around 21ms, approximating 48fps; when the precision is reduced to 12bit, 96fps can be achieved.
 E. The ADC does not have an 11bit mode, so it cannot achieve the faster 24M 11bit -> 12M 12bit.
 F. The digital binning discards 1bit of precision regardless of the mode of output, a waste of performance deliberately designed into IMX510.
 G. In one video mode, the internal readout of two 3.84K/128fps 12Bit ADC streams are digitally binned, but the resolution is not twice that of 3.84K. The precision and resolution are wasted.
5. Due to the uniqueness of the readout mode, IMX510 cannot achieve any 2x1 OCL in-group AF, and the orthogonal readout pixel groups cannot be used for phase detection. Therefore the only phase focusing design for the IMX510 is masked PDAF. A focusing method using 2x2 OCL AF will only be available when the all-pixel readout mode is unlocked.
6. The hardware performance of the sensor goes well beyond the limitations of the "IMX510" name.
7. If this sensor were to be a normal Bayer sensor, the readout speed would depend only on the total number of analogue pixels before the ADC, due to the pixel readout design. Thus 48 megapixels at 24fps 14bit. For this a Modified Bayer CFA can be used, which is suitable for pixel designs with 2:1 analogue signal binning - maximising its performance and enabling dual mode switching between high resolution and oversampled high speed shooting:
 Crop to 16:9 to achieve 8.5K/57.7fps 12bit, 2x4.35K/115.5fps 12bit respectively; crop slightly to 7.68K/64fps 12bit, 2x3.84K/128fps 12bit.
 Notably, its 2x3.84K/128fps 12Bit readout truly has double the resolution and achieves IMX301-like oversampling performance (Sony F65RS).
8. The readout speed of any column-parallel ADC design of an image sensor must be scaled by the line readout speed, by the total number of pixels multiplied by the number of columns, and at the same level of precision comparing:
 A 48 megapixel 14bit 24fps sensor reads at a larger scale than a 12 megapixel 14bit 48fps sensor, but we cannot call it a greater total number of pixels read out, but rather a faster readout, measured by miliseconds.
 
 At a given precision, readout time (the time taken to read a frame), readout scale (how many pixels are read in a second), and readout speed (how many rows of pixels can be read in a second by a column of ADCs), are three dintinctly different and important metrics.

It already happened.... ( WTF Lumix ????)
Honestly not sure what's going on with Lumix.

Rumor from Weibo
LUMIX S5R
quad-Bayer 61M BSI
8K FF 16:9 30fps 25ms super-sampled
5K S35 4:3 48fps 20ms super-sampled
5K S35 16:9 60fps 15ms super-sampled
4K S35 16:9 60fps 15ms super-sampled
5K FF OG 3:2 60fps 10ms dot-to-dot
5K FF 16:9 60fps 9ms dot-to-dot
4K FF 16:9 96fps 9ms super-sampled
4K FF 1.25x crop 120fps 7ms dot-to-dot
dynamic range: FF 16EVs (FF4K)
-------
 
If true its slow ass 8k camera. But better than A7r5.

Who needs shallow DOF?

The Atomos stuff can be a bit fussy sometimes over its HDMI input source but this would do the trick to get it into a Ninja for example if you were using composite or s-video sources.

 
Alternatively, if you are using component output gear then this one would do the job.

 

It is fun fun fun times, both my main career (filmmaking) and my backup / previous career (i.e. the CS/IT world) are going through very rough patches right now. 
Want to go back to how it was a couple of years ago when I could be working 100hr weeks if I wished (& I did!). 

Perhaps film is growing faster (from a very low starting point) than digital cameras. Doesn't mean there are more of them being sold though!
This video merely refers to one brand (Fujfilm, who dominate the film niche of new sales with their Instax subbrand). And it's including not just the sales of the cameras, but the film too (which can easily stack up to being even more than the camera itself!). 
So the headline of the video ("😱 Film is BACK and Outselling Mirrorless Cameras!") is totally misleading and false, as this isn't at all true for the wider camera industry once you add in Sony/Nikon/Panasonic/Pentax/Leica/etc sales. 

What stood out for me is that it can do both regular timecode as well as wireless with the Atomos UltraSync Blue system.
If it can convert the incoming timecode from the UltraSync Blue into regular timecode to output to the camera (and vice versa which is more unlikely) then that would be very useful.
To do this otherwise would need an UltraSync One which is roughly 75% of the total price of the FR-AV2.
The bluetooth headphone monitoring can easily be replicated with cheap add ons for other recorders but its good to see it integrated.
The additional $100 over the F3 isn't onerous and if I didn't have an F3 then this would be my choice.
 

Looks promising!
https://tascam.com//us/product/fr-av2
https://www.bhphotovideo.com/c/product/1852610-REG/tascam_fr_av2_32_bit_float_recorder_timecode_generator.html
 

The BBC has made its sound effects archive openly available online: https://sound-effects.bbcrewind.co.uk

Sounds like you did the right thing and that's what matters.
It's a pretty big red flag when mods of a site start to protect the manufacturers at the expense of their own readers and forum users, to act as cover for defects, which is the opposite of what journalism and community are about - to expose the truth.
I could understand if you set out to criticise DPReview from the get-go and not Canon - but you were criticising Canon in a constructive way and campaigning for them to fix a genuine issue, much as I did with the R5 overheating malarky.
So I'm sorry you had this experience with DPReview and yes...
It is a dying site. Gear Patrol at the end of the day are in the business of advertorial not journalism.

We all know about Andrew's problem with the site. A damned shame.
What I never thought I'd see would be censorship in DPR's forums.
I've posted hundreds of times and created almost 50 threads since 2013 (lurked there since 2006, by the way).
And yet, last week my post was taken down in the Canon EOS R forum for petitioning Canon HQ in Tokyo to fix a Canon R8 EVF bug through firmware.
My petition was very respectful. I dotted all my eyes and said thank you at the end of my text.
The problem? The R8 does this weird "micro-juddering" when focusing through the EVF at any apertura other than the brightest aperture of the lens. This happens in the DOF+Exposure option in the EVF only. I'm no expert but it seems the focus planes are moving and that creates image movement in the EVF. It's incredibly distracting and sickening. 
I'm sure Canon can fix this easily. My basic Nikon Z50 works fine when focusing through the EVF and displaying both aperture and exposure changes in real time. Focus is rock- solid.
And yet this subject was deemed too controversial and infringing on the rules of DPR's forums. IMO it's a been a steep decline after the new administration took over (and Amazon was not exactly a gold standard in the editorial industry, btw) 

It is crazy that they'd use a DOF adapter on a high-end production like this.
The ground glass doesn't work very well and introduces all sorts of softness and corner blur.
If that is the look they are going for, why the fuck are they using 50k ARRI primes?
I can only assume it might be a specially modified iPhone from Apple with an interchangeable PL mount for modern Super 16mm lenses.

I look at this and get the impression that the only reason to use iPhones instead of "real" cameras is as a marketing gimmick. iPhones are capable of good quality and all that but ergonomically, they're awkward to use. If this film was shooting with an Arri Alexa for example, I wouldn't even know about it, but I do know about it. Doing something different is a way to stand out. It'll be interesting to see the results.
I hope I don't sound negative or anything. I think it's great that there are high quality devices in most people's pockets now. The hippy era dream of video technology democratizing media production has now happened. Most are using it for unimportant things but some are using it to communicate their lives to others and be part of the world of media. In the past many types people weren't allowed in to the world of media. That's over.

Mine overheats in 4k 25 and 50fps 10bit log h265 internal, no attached storage. It is a phone and can do already miracles but quality and usability is still far off a Mirrorless, yet you can use it everywhere and is very convenient. 
Osmo Pocket 3 has imo quite a bit better image quality and dji log can take more post processing.

Announcement given half-heartedly. Almost as if they were ashamed. 
Panasonic's marketing should be fired on the spot.
 
 

Am amused at how your quote was in Russian, even though neither sanveer or your own comment was in Russian 😛 
I too would like a S1Hmk2 with the a7S/FX3 12 megapixel sensor (or heck, I'd love a FX30mk2 with a 12 megapixel sensor!), but I suspect Panasonic wouldn't do that as they want S1H to be more of a hybrid camera that can capture the photographer market too. And 12 megapixels can't do that in 2024, nobody gets excited over a D700/D3 12MP body any longer. 

I am guessing a few things are happening. Panasonic is trying to get rid of the old 25MP FF sensor inventry. Which is why the S9. It's a good camera for the price and sensor size, but it has some issues which Panasonic doesn't want in the next generation of FF sensor. 
Panasonic needs a New Sensor greater than 24MP and Way Less than 60MP (somewhere around 40MP if it wants 8k). That sensor would make it to most of Panasonic's FF Lineup. It has to be excellent for Video, and have Reasonably High Resolution for Photo. Rolling shutter shouldn't be too bad, and it needs a huge variety of frame rates and resolutions for video. My guess is, after Nikon's working with Sony, Panasonic too is trying to ensure it gets a custom sensor, with design and features almost exclusive to Panasonic. Also, it probably doesn’t want to have the exact same or similar models at Leica, so that the market is better spread out between the two.

It depends on the country.
If you are doing it in the UK then this is a good resource.
https://filmlondon.org.uk/resource/filming-people
Germany is a different story though.
https://allaboutberlin.com/guides/photography-laws-germany
 

Well said.

https://www.anandtech.com/show/21542/end-of-the-road-an-anandtech-farewell
Very sad to see the news of Anandtech stopping.
Canary in the coal mine or what? If this can happen to a PC / tech website which is part of a thriving market compared to DPReview, then it can happen to ALL quality journalism on the world wide web.
Anandtech is owned by Future PLC, they are the British company behind some of the earliest mainstream tech journalism in the UK such as the PC and Atari magazines on shelves in the 80s and 90s.
In a nut shell smartphones are killing long form written content completely and the internet is going away as we know it.
It is turning into cable TV or sensationalised clickbait tabloid news.
Just look at the camera rumors sites and YouTube.
A big shame if you ask me and it would be great to know what to do to preserve the written word, written journalism and written knowledge outside of just books, if the internet is no longer the right medium for it.
Time for an internet 1.0... That can only be accessed via a desktop or laptop?
The problem with phones is that you just don't have the large enough screen space to do anything useful, content wise. It lends itself only to scrolling and short captions, or photos and video.

Swiss Rig launched an app today called sr RAW which unlocks 14-bit cDNG raw video recording on the iPhone 15 Pro and Pro Max. Has anyone tried this? I went out earlier today and shot a video (featuring my music :) as soon as I heard about it, here it is below. I had switched from Android to Apple a while back and was kind of missing the Motioncam app on Android which also allows raw video recording, so seeing this app today was great news! Even if it's more convenient than motioncam as it records cDNG directly (no transcoding required), this app is still very much in its infancy. It's really limited at the moment. It can only record up to 1080p and can only do that if you pay a subscription 😞 . Also this being cDNG raw means that it records footage cropped 2x, so everything is zoomed in - kind of reminds me of the earlier days with Magic Lantern on the Canon EOS M where you could only get reasonable results using the crop modes. 
For now you can't control the shutter angle and autofocus doesn't seem to work whilst recording so that's not great. FPS is limited to 24 or 25 only. Can't select ISO although don't know if that's necessary anyway as it's raw video. 
So whilst I think I've gotten some fairly nice results with it so far (though it does look a bit mushy and my grading probably isn't great), I'd say it doesn't make much sense using this for now, given how good the Blackmagic camera app is, but will be interesting to see where this goes especially if they can unlock 4k recording. 
Here's the website for the app: https://swissrig.com/sr-raw
 

Gotta start making horror films @120fps.

Yeah, that makes sense, I get it. 
But really some of the crop modes punch in almost 40%...!!! That's no joke. 
And after cropping in the newly advertised high frame rates like 120p and 240p modes turn to mush and are totally unusable so in the end, just a marketing gimmick. 
Lastly, everyone these days online is being sold on the full frame sensor for video in the consumer space and I constantly hear people laughing at micro 4/3 and APS-C cameras and thinking they have no value. I feel like it would be enlightening to a lot of newbies to see that their ZV-E1 is actually only shooting 10.2 megapixels for video and already cropped in on the full frame sensor to even achieve the measly 3840x2160 UHD. And then when you apply dynamic active stability you have a 30% crop in on that. So it's even more than Super 35 and those specs aren't advertised by Sony.