Django

actually @herein2020 is correct: a speed booster as its name indicates .. boosts the aperture speed. you gain a stop of light. but DoF remains the same. that's where sometimes the confusion comes in. it is until it hits the speed booster. a speed booster adds an extra glass element changing the optical design of the original lens. It demagnifies and hence concentrates light adding a stop when it hits the sensor. this article explains it better using the same 50mm example too: I've already explained above that the entrance pupil does not change. However, given that we've now reduced the focal length (from 50 to 35), the formula for calculating f-number has changed. The entrance pupil is still 25mm in diameter, so it now gives us 35/25=1.4. So a 50mm f/2 lens, speedboosted, becomes (not effectively, but actually) a 35mm f/1.4. That's how Speedboosters 'magically' create an extra stop of light. To clarify, our 35mm f/1.4 will give you an exposure one stop brighter than the original 50mm f/2, whether that 50mm is used on full frame or S35. https://www.alex-stone.com/2020/10/29/busting-speedbooster-myths/

woops was comparing to another chart they posted in the test. the jpg file name on the iso250 one still says 800 though.

@hyalinejim if you check the captions that ISO250 DR Boost Off chart is using ProRes, while the ISO2000 DR Boost On is using h265. and as they noted themselves: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”. so the noise reduction you're seeing there has lot more to do with codec image processing not DGO DR boost. I saw another test that clearly corroborated that, can't remember where though.

They screwed-up their test with DR boost off set to ISO800 instead of 250 native value.

All DGO sensors don't work alike: from the test I've seen the DGO on GH6 increases the highlight range but doesn't do much to shadows. It's the opposite of the C70/C300III that emphasises clean shadows but doesn't really boost highlights.

Really? I aways thought GH series had that sharpened / NR look. BMD cams in contrast have very little image processing especially if you shoot RAW. As for GH6's "DGO" sensor, it does seem a little underwhelming when compared to the P4K. Also pretty annoying DR boost mode turns base ISO to 2000. I'd rather it be at a low value like 400. At 2000 you're going to need ND's or close the iris during daylight which is when you want that DR boost.. odd choice.

basically budget, workflow & shooting scenario but that's where the cameras and what they offer is important to look at. on Alexa's shooting RAW is 3 to 6 times the bitrate over Prores. That transforms into cost when you know how expensive the media is on Alexa's. But if you wanna shoot the highest res in open-gate mode then it's RAW only. RAW also requires additional steps in post and time = money. If you've got very fast turnover project you may simply not afford to go RAW. In some scenarios you may want to even bake-in a LUT. Prores makes sense for that. But on RED/BMD you may still wanna go RAW over ProRes because the RAW compression options are so good, ProRes doesn't go up to 4444 and media isn't proprietary. and even then when you've selected RAW, there are a bunch of compression ratio options you may select depending on requirements. for example RED gives out these suggestions: RED qualifies HQ for VFX work where you need extreme detail or when you need to pull stills from motion. Next is MQ — or medium quality. Non-VFX cinema and high-end TV productions typically use MQ. In MQ, a 512GB card can capture up to 48 minutes. Last up is LQ — or low quality. In LQ, it records 77 minutes on a 512GB card. RED says its intended use is for TV, online content, documentary, interviews, and long takes. In the end, I guess my point to you was that it depends on an ensemble of factors.

lol you were the one asking those questions

..what i said was correct: ARRI/RED/BMD offer internal RAW & Prores. Canons/Sigma FP do RAW & H26x. Digital Bolex is RAW only. Z9 does RAW, ProRes, h26x. Prores (4444) & h26x: Varicam line, Venice line etc.

my point precisely..

you're missing the point. I'm talking about price increase within same class/category models (i.e GH / A7S etc series).

FYI, over cranking above 100fps has been around since pre-digital age..

Different sensor tech DGO vs Dual ISO. S5 should do better high ISO, C70 less noise at base ISO. Speedbooster on C70 should help mitigate the need to crank ISO if you've got fast glass. That's what I figured. Not a fan of 30fps, but yeah it gives more fluid motion and is popular on social.

Depends. Very few cams actually offer both ProRes & Raw options. Basically ARRI, RED & BMD. RED & BMD have very efficient compressed RAW which incites to shoot with it. ARRI has ProRes 4444 XQ which may tip the balance the other way. RAW is always going to require a few extra steps so also depends on amount of footage and time/post constraints. For the fastest workflow shooting Prores with a baked-in LUT is preferred. So really, YMMV.

Also ProRes on GH6 seems to be much less image processing heavy so more organic image. No RAW tho. Overall a great looking camera, the main "issue" I have with it is price.. M43 was initially affordable (GH2 retailed at $900!). Obviously the features are night & day.. but this general camera trend of each new model costing more is kind of annoying.

Cined measures 12.8 stops of DR on C70 vs 12.1 for the S5. So it's pretty close. Latitude is where the C70 seems to really shine with low noise floor. also keep in mind when shooting 4K120p the DGO sensor disengages and the DR drops and the image gets noisier. By the way out of curiosity what frame rate was the video shot/exported, it looks 30p in some shots?

Canon have great image processing imo. Among the best h26x compression. The image always remains organic, not over sharpened or denoised. The 10-bit h26x files from R3/R5/R6 are really nice and the chunky 410mbps XF-AVC on R5C/C70 even better. Of course they also do internal RAW which is fantastic. ProRes is really that intermediate codec between RAW & h26x. Other than being a pro standard with consistent flavours, its true that historical benefit was always the low-compression intraframe encoding allowing excellent scrubbing for editing. 10-bit h265 for example is a complete no-go on intel Macs. Not really an issue with +M1 silicon anymore. But still, it's nice to know that ProRes will run perfectly smooth on any editing machine, even quite dated ones. But on pure IQ level, nothing beats RAW and now with internal 12-bit compressed RAW like BRAW or Canon Raw Light, which have very efficient bitrates it's the way to go in-cam if you want max flexibility and IQ. Getting back to GH6, Cined best describes the difference: So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”.

Why would Canon make a m43 sensor? And if it did, you'd think Pan would license DPAF. As for R3: At the heart of the EOS R3 is a back-illuminated, stacked sensor – developed exclusively by Canon. Maybe @androidlad knows something about GH6 sensor manufacturer?

I'm currently on Canon/Sony/Leica systems. I've been on Nikon/Fuji as well. GH6 is the first Panasonic camera I'd consider. That's kinda saying a lot. From the footage I'm seeing, it looks like the colour science has been greatly improved. Add a very detailed 5.7K ProRes IQ and enhanced dynamic range, and that's a winning combo imo. Lack of dual or why not even quad pixel AF is baffling though as Andrew's hilarious intro decries. I mean if OM Systems did it on their first MFT attempt. Why can't Panasonic get it right on their 6th iteration? The other image quirks are also of concern. Especially after all the release postponing. Did the new sensor manufacturer mess something up they need to fix in firmware? Whole thing is a bit curious. This camera needs more testing as everyone has been rushing to deliver their hands-on review. 99% ?! 5.7K / 4K120p / ProRes / DR boost are extra video capabilities well worth their weight in gold. Apple & oranges though really. FF vs MFT.

Just checked the CineD labtest and it says a bit more than that: About 12 stops can be identified above the noise floor, plus a faint 13th and a hint of a 14th stop. What's most interesting is DR increases in H265 to 11.5-12.8! They conclude: So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But the DR latitude test is really where this DGA/DGO tech usually shines and sure enough: All in all, that leads to 7 stops of exposure latitude (3 over to 4 under)! Wow, that is really good for an MFT camera – it is actually on the same level like the full-frame Sony a7S III which is using a 4 times larger (full-frame) sensor. The best (consumer) full-frame cameras like the Panasonic S1H or the Sony A1 manage 8 stops of exposure latitude. For reference, the ARRI Alexa Mini LF that we tested here showed 10 stops of exposure latitude (5 over to 5 under). So all in all pretty damn impressive results from this little sensor!!!

@Eric Calabros "Isoless" is more of a photography camera term isn't it? In any case for video, Panasonic introduced Dual Native ISO on VariCam and Sony Followed suit on Venice and that particular tech trickled-down to their mirrorless video oriented cams: A7S3, GH5S etc. This ARRI inspired DGA/DGO tech works different and its purpose is indeed to "boost DR" not high-ISO performance like Dual Native ISO sensors. By the way, dpreview gives this interesting tidbit of info: Panasonic is being distinctly tight-lipped about the fabrication process, which strongly suggests the camera isn't using the Stacked CMOS technology that's underpinned the latest generation of high-end cameras. Although we don't have absolute confirmation, we think it's extremely likely to be a BSI design. The GH6's sensor, which we're told is 'not made by the company everyone always assumes we use,' features a dual output gain design. This is not to be confused with the switchabledual gain sensors we've seen in an increasing majority of modern cameras, but instead is closer to the design used in Arri and some Canon cinema cameras. The sensor has two, parallel output paths and at high ISO settings, the output from both paths is combined to give both highlight and shadow detail.

BRAW, ProResRAW, CanonRAW etc all do 16-bit linear to 12-bit LOG. None of them can compress RAW in-cam due to the RED patent, including ARRI. Gotcha. I figured Miami because it's also a fashion capital, didn't realise there was a scene in other parts of FL, my bad. Paris of course is the number one fashion capital. Being that, there are multiple "leagues" here that cover pretty wide range of venue & budgets. Never done/seen an outdoor show at night with no lighting though, that's gotta be rough! I recently got the Rode Go 2 that records a safety track on the transmitter at 32bit float. Haven't had the need to test it yet but it's nice having that safety net on wireless. Still this is one field that is moving kinda slowly. I do think 32-bit float should be making its way into cameras.. Yep that's what I've heard as well, if anything shoot to the left as there is more latitude on underexpose than overexpose. Agreed, which is why I'd avoid cranking ISO on C70. On dual ISO cameras it's different.

Fashion shows at night with no lighting? I'm here in Paris, FR so maybe we do it different out here.. you're in Miami right? This nocturnal footage is shot at 800 with the speed booster on the 35mm F1.4L (so effectively F0.9L equivalent) and looks so clean: Obviously not how you'd wanna expose a fashion show but still I'd try and keep closest to base ISO (800) for maximum DR & latitude. Heat definitely seems to affect data rates. On the R6 at least. C70 has a fan so maybe different. Test, test, test! Seen that test, but keep in mind the A7S3's dual high ISO only kicks in at 12,800ISO. Your S5 does so at 4000ISO. ..of course dual gain will help the c70 but it's not a super high-ISO camera like a lot of dual native ISO cams. You should be fine though under 6400. But like you say, tests on YT are all over the place. Only way to know is for yourself!

While S5's DR is solid, the tests I've seen show about a stop under. The latitude tests were good but showed strange iris artefacts. Also dual ISO and DGO work completely different. C70 only has a base ISO of 800 so it will surely not be as clean as S5 at 4000ISO. From what I hear it's better to underexpose on C70 to keep closer to base ISO and lift mids/shadows in post. You'll have to experiment and let us know what works best. Is there any proof Canon have fixed the problem? I kind of doubt that. Your screen hinge is probably same as others. I'd definitely get it replaced by Canon for the more robust solution but would probably wait for it to loosen up like in that video. If not you definitely risk getting the repair turned down.. What does the warning say? I've had too many issues using V30 cards on my R6. Sometimes it works perfect all day, but then all of a sudden I might get the warning card is too slow and the recording stops. Way too risky on a paid shoot. I'm using Sony TOUGH cards and what stresses it most is 4K60p 10-bit Log. I'd really to some extensive tests before ordering the 1TB V30 cards.