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Joachim Heden

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  1. Here is what they forgot to add to the camera: 12v Power OUT I would say this is really a shame... with power out it would be close to the perfect camera for small footprint shoots with minimal rigging. As it stands, you still have to rig on an extra battery to drive FF and Wireless video...
  2. Using error diffusion dithering, it is mathematically true that a 8bit image oversampled by a factor of 2 (4K) can contain the same information as when downscaled to the intended resolution (2K/1080) as a 10bit image originated at 2k/1080. http://en.wikipedia....Error_diffusion But, the codec must do just that, employ error diffusion dithering and do it correcty. Somebody needs to dig up a whitpaper on the codec. Summa summarum, if handled correctly at the encoding stage using error diffusion/dithering, increased spatial resolution can absolutely compensate for lack of bit-depth. It's the fundamental principle behind most (if not all) printing techniques - substitute the word "encoding" above for "rasterizing" and you are in the print world. If you want to, you could describe offset printing a 1-bit process - there is ink, or there is not ink. That's why photos that go to print need much higher resolution than what you would watch on a screen. Joachim
  3. I simplified a little - and in your example, probably the accumulated error would drop in on the 3:rd value, making the sequence (1) (1) (2) (1) - but that would still give you the (1) (1,5) end result. If you want more, start here: http://en.wikipedia....Error_diffusion Again, this all hinges on the codec employing error diffusion / dithering - since this discussion seems to be centered around the GH4, somebody needs to dig up a white paper on the codec used in that camera. Joachim
  4. Yes HurtinMinorKey, But if Error diffusion is employed in the 8 bit codec - the accumulated error ( 0.1 + 0.2 + 0.3 + 0.4 = 1.0 ) will be applied to the last 8 bit encoded value, resulting in an encoded sequence of (1) (1) (1) (2) - in which case results in a down sampled (averaging each pair) sequence of (1) (1.5) the same result you got from the 10 bit example. Of course, I'm assuming the the down sampled data is stored at 10 bits, but that's the whole point... J
  5. Using error diffusion dithering, it is mathematically true that 8bits oversampled by a factor of 2 (4K) can contain the same information as 10bits downscaled to the intended resolution (2K/1080). http://en.wikipedia.org/wiki/Error_diffusion But, the codec must do just that, employ error diffusion dithering and do it correcty. Somebody needs to dig up a whitpaper on the codec. Joachim
  6. Seems the thread has kind'a left the 1D C, but while I'm all for good stuff cross-pollinating any and all cameras, preferably at a lower and lower price - the 1D C is and will be a niche product, and it seems Canon has clearly made it's mind up about targeting it for the "cinema market" which means the following in my humble opinion: a) No need for XLR's - Who records "cinema" sync sound to camera? This market is and will be dual system sound, always. B) 30 fps would be nice to have as an option. It's quite a useful subtle degree of overcrank that seems doable given the specs. c) 25fps should be added, more as pointed out above because of shooting conditions in 50Hz electrical land, than because of the very small amount of "cinema" being shot at 25 fps. d) True 24 is a must, as opposed to the "telecine for interlaced NTSC" rate of 23.98. I don't see how they can do without it if they are really going for the "cinema market". e) It needs some way to jam sync the TC. I could be wrong, but my understanding is that their intended implementation of TC is a rec run or free run of whatever you set the cameras internal clock to using the menu buttons. The best thing would be if the camera's internal clock would be accurate enough to only have to jam sync as a slave every 4 or 5 hours. I have a feeling this will not happen. If so, I would say this would be THE ONE MAJOR shortcoming - possibly paired with the omission of a true 24pfs framerate - that is if they are targeting the "pro cinema market". My 2 euro cents, J
  7. Given it's 4K capability, this camera has two things going for it, setting it apart from the competition - Low light capabilities and form factor. When I say form factor I'm not talking about the ergonomics, but rather the small/stealthy footprint for 4K. This may be enough to make it a successful niche product even at $12.999. However, in their announcement they have stated that their 24fps is really 23.98fps - this seems strange if they want to position it for the "Cinema" market. True 24 is a must. Believe it or not, but I have one on preorder...
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