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Cliff Totten

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Everything posted by Cliff Totten

  1. Yeah,....with this "8k" R5, I would almost best my very life that it wont be anywhere close to the doomsday dream camera that we all want it to be. I fully expect that Cannon will cripple it in the grossest and most heart-stabbing ways. By the time we read all the Cannon asterisks and fine print clarifications, 90% of the air will fly out of our balloons. Cannon's DNA will just never allow them actually build the camera we all want. Oh well....it was nice to dream for a couple of months...
  2. I really don't know about this. Cannon's massive, INTENSE and irresistible desire to cripple the HELL out of their cameras....is going to make them shoot themselves in the foot again. I just know it. Cannon pays more attention to their feature limiting tricks than their focus on feature enabling work. Cannon is just like what Yoda told Luke: "Always with you, what CANNOT be done..." Cannon cares more about what they cant or shouldnt do then what they can or should do.
  3. Was looking to see what Sony APS-C sensor does 6k, 60p and I didn't see any. Who's sensor is this?
  4. Panasonic is not stubborn about contrast AF. Many people believe that Panasonic engineers are "stupid" or "unaware" or "uneducated" about how hybrid AF works and how good it is. Hybrid PDAF uses TWO data sources to make focus decisions with, target contrast and waveform phase correlation. Panasonic uses contrast only for its decision making. Many think that Panasonic are "holding on" to the idea that phase correlation is not necessary. Yes, it gives you exact focus direction between a target moving in the forground and background....but that Panasonic is not impressed with this information like the rest of the camera world is....because Panasonic is "ignorant" about the entire process. Panasonic believes that ONE inaccurate data source (contrast) s better than TWO data sources. (With the second being highly accurate and directional phase corelation) Don't believe this. Panasonic is not as stupid as you might think they are! Panasonic knows VERY well that their lack of modern PDAF Sony sensors is the #1 most damaging sales problem that Lumix has! They KNOW this 100%. Believe me, Sony PDAF sensors on future Panasonic cameras would upset Sony Alpha managers TREMENDIOUSLY! Sony sensor sales are NOT hurt by Panasonic ANYWAY! Panasonic can't liscense PDAF sensors...but STILL liscense the non-PDAF versions anyway!...no Sony money lost!. BTW...Sony will not liscence PDAF sensors to BlackMagic either. They are forced to use the IMX294, the sister chip to the GH5-S iMX299. (No PDAF onboard...no, Sony is NOT giving PDAF to BlackMagic either) Again....Sony will NOT help Panasonic fix their thousands of AF complaints that Panasonic gets. Instead....Sony Alpha RELIES and counts on Panasonic AF complaints. Jeremy Young of Atomos said it best. "If you want to get Canon to do something, get Nikon to do it first. If you want Sony to do something, get Panasonic to do it first" Sony Alpha does not fear Nikon, Olympus or Fuji. They DO fear Panasonic. Panasonic competes against Sony on more products than cameras alone and that rivalry is old and very strong. It's not even just a tribal rivalry issue alone. Sony Alpha NEEDs at least one of its major rivals to have focus problems. Especially when it does NOT hurt Sony SemiConductor's bottom line in sensor sales. It's a win for Sony Alpha and a win for Sony SemiConductor. Panasonic is still forced to liscence Sony non-PDAF chips anyway. Panasonic is not "stuborn" with contrast-only AF....they just have their hands tied today and are doing the only thing they actually can with the sensors they can actually liscence. Anybody that thinks that Sony is TRYING to sell PDAF sensors to Panasonic but Panny REFUSES to buy them?...is absolutely wrong. Anybody that thinks that Sony is NOT overjoyed that Panasonic is stuck in contrast AF Hell?....is absolutely wrong.
  5. It's important to know this is just hearsay and not a verified fact. My source is a sensor engineer that does not work for Sony or Panasonic but his company has done busines with and fab'd with Sony. This is just something he told me at NAB and I know him well enough to believe him.
  6. Panasonic is NOT being "stubborn" with PDAF. In order to have phase detect AF, you need to buy a sensor that has dual PDAF photosites. Sony sells them to Fuji, Olympus and Nikon. I'm told by somebody I know in the sensor industry that Sony REFUSES to liscense PDAF sensors to Panasonic "specifically"....by request from Alpha. Panasonic has no choice but to go the contrast AF road. This is a harsh marketing tactic by Sony and everytime Sony reads complaints about Panny AF....Sony Alpha is VERY ...VERY.....V E R Y....happy. Panasonic is going to have to fix their AF complaints...on their own. Sony is NOT going to help Panny fix it! Sony can live with Nikon and Olympus as competitor's but they will NOT help their long time rival, Panasonic. Believe me,....Panasonic is TIRED of hearing their AF complaints. They KNOW....believe me,...the know! They are doing the best they can with what they have.
  7. 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!
  8. 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?
  9. Are you asking why Sony Alpha is happy that Panasonic has tons focus complaints from its customers?
  10. 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?
  11. 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
  12. 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?
  13. 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
  14. Gotcha,...thats what I get for skim reading this on my phone waiting for a train to go by.
  15. 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.,,,,,
  16. 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.
  17. 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.
  18. 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
  19. 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
  20. 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
  21. 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.
  22. The big question is: What other camera is out there that is like the S1H? I own the S1 myself and it's dynamic range, sharpness and cleanliness is better than any other Sony camera I have ever used. VLog in daylight is stunning. HLG is fantastic in day and night. VLog in low light with blue lights involved?....Uggg!!!....OK, you got me on that one. I can always switch to HLG and get mostly around that problem. But, overall, in my opinion, they only things that compete with these cameras are MUCH more expensive models. For video, no Sony Alpha camera can touch the S1 and S1H. If Panasonic could just nail down this smashed VLog blue channel issue with a firmware fix, then BANG!...they have a giant home run on their hands.
  23. Fascinating! In my tests, the exact LED and test scene would NOT clip in HLG. Not even a little bit. In fact, I was at Disneyland two weeks ago. I shot a water, laser and LED light show called "World of Color". This show is LOADED with INTENSE multicolor LED lights and projections 100 yards wide. On my S1 in HLG, not one single clipped blue!!!. I got plenty of white clipping as normal for all cameras but blue looked perfect. None of that blue "smothering" effect that VLog is doing. HLG is the safest gamma the S1 and S1H has.
  24. I'd almost bet my life that Sony will NOT try and challenge the S1H. It's simply WAY over spec'd for Sony to ever want in an Alpha camera. Instead, I think they will attack the S1 and "try" to match 10bit 4k and 60p and "maybe" unlimited record times in a smaller body with the new A7S-III. (I think XDCAM will give in and allow Alpha to match the S1) Sony will say; "We can match the S1 future for feature but we give you Sony phase detect AF for the same S1 price" Lumix S1H? Yeah,....right...XDCAM will NEVER,.....EVER,....allow ANY Alpha model to be THAT extreme!!! I suspect that Sony's XDCAM division has more to lose than Panasonic's Varircam division. CT
  25. Exactly,...so for the blue channel clipping, yes we have seen this for decades on many camera models. Some camera's are more resistant that others. However, with the S1 and S1H, we are seeing these cameras having an EXTREME sensitivity to blue lights. More than any camera I have ever seen. Oddly enough, the same blue light test scene is 100% FINE when switching to HLG. And, going further, the exact same blue light does NOT hurt the GH5 VLog-L or HLG. Even B&H's S1H promo sales video is riddled with severe blu channel clipping. That was a terrible way to highlight the S1H. Those guys spread blu light all over their shots! If I was Panasonic, I would BEG B&H to take their promo video down! I "think" Panny can fix this, but of they can't, people MUST know that if you have blue light in your shot, like a stage show or wedding reception...DO NOT USE VLOG....you need to switch to HLG. Once that blu channel gets smashed, it cannot be repaired in post. We need to raise public awareness about this. If you are doing a paid project, VLog could totally ruin you footage before you are able to switch to HLG. BE CAREFUL NOT TO GET BURNED BY VLOG!
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