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Cliff Totten

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Cliff Totten last won the day on August 2 2019

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About Cliff Totten

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  1. If these A7S-III specs are right. Sony seems to be targeting the Lumix S1 but maybe NOT the S1H. I suspect that the S1H is WAY over spec'd for Sony to match in any "consumer" Alpha. XDCAM managers will demand that the future A7S-III will need to be crippled in very distinct ways. Alpha will want it to have everything and XDCAM would rather it not even exist at all. At some point they will agree and compromise with each other. The S1H is overloaded with an extremely high feature set that rivals an FX9 or even possibly Venice. Lumix is using Sony's own EXMOR image sensors against them! 10bit color is a must but what about Alpha's 29 minute time limit? Will Sony allow it to properly overheat to keep the high dollar pro's away from it? Rumors also say an FX6 is on the way...the cheaper, SD card long-GOP version of the FX9. I suspect that the A7S-III is THE most hotly debated camera in Sony headquater meeting rooms in the companies history. The A7S-III's biggest enemy wont be Lumix, Cannon, Nikon or BlackMagic. Its biggest enemy will be Sony's own internal politics!
  2. So we know the Z6 uses the Sony IMX410 sensor. (same as Sony A7-III) So, Nikon will be implementing the many readout modes it has, including the famous Sony 6k to 4k full pixel readout options. Now the Sony FX9 (possibly IMX310 sensor) will also have a 6k to 4k full pixel readout mode that delivers 4k "raw". Its unclear how "raw" this 6k to 4k scaling tecnique actually is. 1) The 6k RGGB scaled "separately" and saved in raw Bayered form? 2.) Is the RGGB readout combined (deBayered) and then scaled to 4k and saved that way? Where is the scaling process happening? And is it "really" raw is a scaling process is applied and its it similar to BlackMagic "raw".....that isn't truly "raw" after all?
  3. Are you asking why Sony Alpha is happy that Panasonic has tons focus complaints from its customers?
  4. There wont be a GH6 until Sony is ready to make a new, upgraded IMX270 or IMX272 sensor. Panasonic and Olympus will just need to wait for Sony to make a fully stacked BSI MFT for replace the current FSI ones. Otberwize, why remake a GH5 or G9 using the same IMX272?
  5. Guys,..quit asking for Panasonic to buy phase detect AF sensors. They are tired of customers screaming at them for it. Let's face it...Sony liscenses PDAF sensors to Nikon, Olympus and Fuji....but they will probably NEVER liscence PDAF sensors to Panasonic. Believe me....Sony is VERY happy to see Panasonic customers scream at Panasonic for not having PDAF. Every time a Panny customer says on social media; "Panasonic AF sucks"..a Sony Alpha camera manager says "whew!!...thank you Sony SemiConductor!" CT
  6. The 29 minute recording limit has always been blamed on the Euro VAT tax. Camera companies have never wanted a 29 minute cripple but they were always forced against their will to do it because of Euro laws. Im told that Panasonic agrees with it's customers and would LOVE to remove the cripple but is affraid to. Even though the law is gone today, camera companies fear that it might suddenly return so they feel its best to just keep the 29 minute cripple limit so they wont be cought off gurad. Panasonic, Sony and Cannon DO agree with us about wantimg to remove the limit, its just those pesky taxes could return and they have no choice but to be ready, just in case. There wont be a GH6 until Sony is ready to make a new, upgraded IMX270 or IMX272 sensor. Panasonic and Olympus will just need to wait for Sony to make a fully stacked BSI MFT for replace the current FSI ones. Otberwize, why remake a GH5 or G9 using the same IMX272?
  7. I'm sorry but I never really could understand the "Oh wow,...is that a LEICA?" thing. To me Leica is a "fashion" camera brand. I think the real brains behind Leica is really Panasonic. I dont know this for sure but I have to believe these cameras are 90% engineered by Panasonic in Japan with Leica people telling them how to style the ourside of it. I would not be supprised if these are reshaped S1 motherboards that share 100% of every chip and capacitor on them. It would not shock me if Panasonic software programmers made the menus for Leica. So what. Who cares if its an overpriced S1. As long as it has a red "Leica" logo in it, that's all that matters. Right? I dont get tbe whole "Leica" thing just like I dont get the "Hasselblad/Sony" thing either. CT
  8. Gotcha,...thats what I get for skim reading this on my phone waiting for a train to go by.
  9. Couple of things....wasn't BlackMagic forced tp drop in-camera CinemaDNG because of the violation of RED's pattent? Did Sigma work out a deal with RED? 8bit raw? I dont think any modern sensor today samples that low. So, my guess is...if this is a Sony sensor with on-board A/D converters...is that they are taking in 12bit readout and dropping out 4 bits to produce 8bit values? Something is fishy here.....has the L Mount Alience forced Sigma to stay at 8bit raw to not compete with Panasonic? Weird....what about 10bit or 12bit raw over HDMI to an Atomos recorder? Really strange.,,,,,
  10. I have neen told that the hardest problem for them to solve with these organic sensors is that the use a massive amount of power and they get extremely hot. So, good like trying to get them into a small battery operated camera body. I asked a Sony technical manager that I know abour this technogy. He literally laughed at me and said "Cliff....it's one thing to BUILD the "Spruce Goose"....but actually FLYING it is a whole 'nuther story". Yeah...huge power and huge heat are the reason why its been in stuck developement like it has.
  11. Yeah,...for me the Lumix S1H, a 10bit camera with great internal CODECs, no overheating and no recording limits and almost 6k raw? For $4,000,....is the most exciting camera I have seen in years. They just need to fix that one glaring problem with their color science and nasty blue channel clipping problem. I already have an S1 and now the S1H is on my radar as a replacement.
  12. The dynamic range is no different. It's just in how the sensor samples and maps it's voltage readings to digital. The Atomos Shogun will take in Sony FS 12bit linear raw and can re-map it to a log curve like SLog-3 for video recording. It's no big deal to map linear to any log curve. Both linear and log mappings will capture the entire image sensor dynamic range. CT Remember, the S1H doesn't output "ProResRAW" itself,...it's just a plain Panasonic raw data stream. It's the Atomos NinjaV that takes that generic raw stream and converts it to compressed ProResRAW specifications and saves it to a file. CT
  13. Here is an interesting question that nobody has ever asked anywhere yet: What "raw" output type will the S1H have? The Sony FS700, F7 and FS5 do 12bit LINEAR raw using floating point math. However, the Panasonic EVA-1 does it's raw using 10bit LOGARITHMIC (log) mapping using integer math. Many people don't know the EVA1 is 10bit raw,.,..which is totally fine. So what about the S1H? Will that raw be the same as EVA1? Complicated question: If (big "if") the S1H is using a Sony IMX410 variant, then that sensor will have it's own A/D converters that encode whatever Sony made them to do. Sony commonly does 12bit sampling and offloads those raw values. Is it possible that it will be 12bit raw? Is it possible that it will be a higher bit depth than the EVA-1's 10bit raw? I have to believe that Lumix would want to access 10bit sampling off those ADC's if they could, if that sensor would give that to them. OR,...maybe they would take in the 12bit raw and drop the extra two bits before that raw goes out to HDMI. I have a hard time believing that Panasonic would want the S1H to be 12bit raw and the EVA-1 to be 10bit raw. I hope somebody asks Jeremy Young of Atomos at IBC today. CT
  14. I dont understand this blue clipping problem at all. On the S1 and S1H, while in VLog, the green and red channel have the very mild, saturation they are supposed to have. Those two have a perfectly normal response. However, blue is completely different than red and green, it just floods in with this crazy saturation that is 10 times more than red and green have. I dont get it...blue, why does THAT color respond soooo much more differently then red and green? I did some more blue light tests last night: S1 - Vlog = Blue 100% destroyed S1 - HLG = Blue 100% destroyed GH5 - VLog-l = Blue = Excellent! GH5- HLG = Blue = Excellent! Sony Z150 - HLG = Blue is very bad but not completely destroyed Sony NX80 - SLOG-2 = Blue is somewhat "OK" but responds weird. Sony NX80 - HLG = Blue is excellent! Sony RX10-III - SLOG-2 = Blue is 100% destroyed. Sony RX100 VII SLOG-2 (uses new Sony "Venice" color science) = Blue is excellent!! Sony RX100 VII HLG (uses new Sony "Venice" color science) = Blue is excellent!! All these cameras got the EXACT same blue light scene test. I dont know what to think but the GH5 is great and Sony's new color science seems to beat the problem too. This really blows my mind. CT
  15. Excellent news! I was contacted by a Panasonic operations manager about this S1 and S1H blue channel clipping problem! He wanted me to be very aware that Panasonic has seen my video and they are very interested in this issue! I wont post my emails here but I will take one quote for you guys to see: "Rest assured that this issue has a lot of attention right now"....[from Panasonic] engineers. During this time, be very carefull about shooting in VLog. Outdoors should be fine. Indoors and night shooting are very prone to deep blue channel saturation, even on blue light that is not very strong. HLG will be the much safer bet for the moment. Lets cross our fingers that Panny will figure this out with a firmware fix.
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