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  1. It would be good to see if merely converting the signal into a superior codec, ProRes, accounts for the increased detail (after all the 1080 HD signal is downsized from 4K even when fed to the internal codec) or if it is superior downscaling. Please someone run a test with XVAC-S vs ProRes at HD resolution.
  2. Most MTF lenses are designed to use in camera correction of distortion and chromatic aberateration. If you look at them without in camera correction they are not so good, and then they are not well rated. Use them in a MFT system withbin cmera correction then they are great. the Blackmagic MFT cameras do not have in camera correction.
  3. Well, this weekend Samys had the GH3 for only $700 US and I decided the RX10 was a better deal for my needs. I have a big rig setup with C100 and want a small stealth portable that will match the C100s resolution from entire 4K sensor readout, and the RX10 does that. BTW I have MFT lenses so total cost was not the issue, total usability was.
  4. Slashcam reports that the electronic IS introduces moire and aliasing, but that when it is turned off the RX10 rivals C300 for resolution. Electroic IS not only crops image but causes the system to constantly rescale image and that introduces moire and aliasing. http://translate.google.com/translate?hl=en&sl=de&tl=en&u=http%3A%2F%2Fwww.slashcam.de%2Fartikel%2FTest%2FSony-DSC-RX10---Der-Camcorder-Killer.html&sandbox=1 Go to page with measured tests. Also look at their C300 test charts. They call the RX10 a camcorder killer. And say that with electronic IS off resolution rivals high end camcorders.
  5. It appears that Sony shifted the neutral gray point within the useable DR range so that there was more room in highlights, and slightly less in shadow. This is not that good for still but for film it is wonderful as highlight roll off is key to making films seem fix as opposed to video like with blown highlights. This is because when a image goes by quickly we can seen blown highlights more than we see shadow detail. The is opposed to still pictures where we have the time to examine shadow detail, Therefore still cameras are tuned so that there is more DR below neutral gray, and true cinema cameras have more above neutral gray. This is why DSLRs are tuned to blow out highlights in order to preserve shadow, and why DSLR videos suffer. And videos from video cameras tuned the same way, as a video camera. While it seems that the DR of the RX10 has been tuned to make it more cinema like. Strong move SONY. I am shocked and thrilled.
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