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About paulinventome

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  1. You can't really downsample RAW, the reconstruction method don't work as well as you'd get aliasing in your downsampled channels and loose the ability to interpolate the missing pixels surely? 6K -> 4K Binning, not sure how that would work without introducing issues. Keep all the greens and dump some other colours? Seems like a lot of work when that processing work could be better spent dumping the data out. During the design they knew the sensor size so why not ensure the rest of the camera can handle the datarates, even if it was a little bigger? Sigma have no video camera line to eat into, they're perfectly positioned to disrupt. I can't believe that a few weeks away from supposed delivery the most basic question of whether all the movie modes are crop isn't answered! cheers Paul
  2. I see nothing to suggest that this is recording movies off anything other than a centre crop. I don't see pixel binning working on a 3:2 6K sensor in any way that would make sense. I'm 99.9% that the movies are all centre crop. I didn't read that about stills, i'd have assumed they were full RAW, 14bit. Also there's no mention of whether the data in the RAW is linear or log based - 8bit linear would be utterly useless and others have pointed out banding in the movies which originally would have thought it was compression based but maybe not. So 8bit linear is pointless, in fact only 12bit linear starts getting into the realm of normal. Some clarification from Sigma would be useful, but i guess we don't have to wait that long. I really want to like this! cheers Paul
  3. I've not seen any real confirmation but it appears that all the movie modes are 1.5 crop looking at the specs. Certainly UHD RAW has to be a crop, otherwise it isn't RAW and the impression i get from all the specs, for all the movies, is that they are all crops and the HD i presume would be a crop of the centre. You can't get RAW after the camera has processed it, so there's no way it's full frame RAW. Also the UHD RAW is 24p, yet the data rate for 30p 10bit is a bit higher so i think it would be possible to do 12bit 25p RAW. It's a shame it cannot dump the whole RAW sensor out at 6K though. A full frame RAW movie from that at that price would be super attractive. The nice thing about RAW is that it shouldn't be processor intensive - you're just dumping data out. I wonder if it's feasible for a firmware to allow a dump the whole sensor mode... cheers Paul
  4. My 2 pence. Andrew that is a good post and comment after the others. Reading previous threads it's like watching an internet lyching mob. The key here is innovation *at that time* because it's obvious now but it wasn't then. There were numerous projects flying around and mods to cameras like andromeda and it was muddy back then too. I used to mess with industrial camera, like the SI2K and it's history, taking GigE data off them and debayering. But what i think the article highlights is that Graeme was innovative and he is a person, not a faceless legal entity and he's also a really nice guy as well from any kind of interaction, who cares about what they're doing. Jim and Red assembled a team of out of the box thinkers to do something tangental to where the industry was back then. I know how obvious it all seems now, but we wouldn't be where we are today without ther work and contribution. And humanising the work that went into it is fair. And a company that is heavily invested in those people has no choice to protect their work. Apple is being sued right now for allegedly ripping off the company that did the camera systems in the iPhone. Apple is no white knight either. No company in corporate america is because of the need to protect, test and do deals on patents behind the scenes. IMHO I think Red should license RedCode to anyone that wants to use it now. cheers Paul
  5. Hi Andrew, On the vimeo clip with the blue sky banding could you confirm your workflow. I ask because that piece of video doesn't look like the video i get off my A7sII (in terms of pixel formats), i use NukeX to go through these files and the formats are different - because i've never seen banding like that i'm wondering whether there was some transcoding going on in your workflow that has caused these problems? Is it possible to see the file straight from the camera, untouched? It's certainly true that Slog3 is not needed for this camera, this camera will never fill the Slog3 bucket and so you will never make good use of the limited 8 bits. Slog2 was tweaked for the A7s and so it fills the entire curve and is by far and away the best choice, combined with SGamut3.cine which is a smaller colorspace than SGamut and therefore less wasteful of the limited bits. It's also worth pointing out that it's 8 bit YUV, not RGB and so when converting to RGB the end result is a greater depth that what you may first assume, especially if the conversion is done properly. Again, i've seen the black spot occasionally (PAL 25fps) but not as crazy as you seem to have it! The A7sII certainly manages noise better than the A7s but it looses the ability to output a 2.7k APS-C upscale to 4K over the HDMI too cheers Paul
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