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Robert Collins

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Everything posted by Robert Collins

  1. Well the original GoPro was a rebadged Chinese camera!!
  2. I think this is highly unlikely - it is essentially ending up with their most popular drone having no real advantage in its camera over the Mavic Air (apart from 4k 60p). Personally I think we will see 1 inch sensors on both the Mavic Pro 2 and the P5. However the 1 inch on the Mavic Pro 2 will likely be fairly basic - 4k 30p, fixed 26mm lens, fixed aperture, etc. For the P5, I definitely expect a more travel friendly drone in terms of size and packing. And I think we will see all the high end 1 inch sensor capabilities (think RX100) and quite possibly custom prime lenses. My next drone will certainly be with a 1 inch sensor. If the Mavic Pro 2 has one I will probably take even if it is not that advanced. If not, I will wait for the Phantom 5. One thing I feel pretty certain about is that DJI will come up with a product that will empty my wallet.
  3. I dont really want to do a 'my drop is bigger than yours' but I saw this chart yesterday.... Rather remarkably it was 'up 66%' yesterday at US$2.29 but still 99% off its peak of US$177 roughly '3 weeks ago'!!
  4. If you happen to particularly like Adobe Camera Raw, you can make adjustments in ACR, generate a LUT from those adjustments and then use that LUT on your footage in Premiere Pro.
  5. Hmmm... rereading the rumor - it does appear to be in two parts. Part one, is that Samsung has designed/made a very high end (mirrorless) apsc image sensor. A lot of impressive detail in this part of the rumor. Part 2 of the rumor is speculation that this image sensor is going to be utilised in a resurrected NX2 (which sounds pretty unlikely.) But just because NX2 resurrection is a non-starter doesnt mean that they are not developing the sensor. Why should Samsung leave the high end image sensor market up to Sony especially as they know that Nikon and Canon dont particularly like sourcing from one of their competitors (Canon uses Sony's 1 inch sensor.) Canon and Nikon would be bonkers not to put this tech and this sort of sensor into their mirrorless offerings. And quite frankly from Samsung's perspective, these sensors in Canikon bodies will show off their smartphone 'image sensor' tech far more than any fleeting interest in an NX2.
  6. Well there is more 'room' on the existing sensor - it is 18mm wide while the GH5 only uses 17.3mm of width.
  7. We know that TowerJazz didnt make the Nikon D850 sensor because TowerJazz doesnt have BSI tech yet and the Nikon sensor is BSI. From a TowerJazz press release. The partnership will allow TowerJazz to serve its customers with BSI technology in mass production, at competitive prices, starting in the middle of 2018. The new BSI technology is aimed to high-end photography, automotive, AR/VR, and other CIS markets. YCM provides the BSI processing for both 200mm and 300mm CIS wafers. Of the 3 manufacturers with BSI tech we have Sony, Samsung (but they dont seem to make large image sensors any more) and Omnivision which are low end. So to speculate it is a Sony manufactured sensor is perfectly natural. But that is the problem with image sensors they are decidely high tech what with BSI, LSI, stacking and on sensor af. Consider that Canon is the 4th large image sensor manufacturer in the world but their tech is somewhat behind. Pretty much anyone can 'design' an image sensor but depending on the specs, there maybe very few that can 'manufacture' it.
  8. I do have a personal theory. The spec for an MFT sensor measures 18 mm × 13.5 mm (22.5 mm diagonal), with an imaging area of 17.3 mm × 13.0 mm. And if Panasonic is using 17.3mm for 4:3, then based on the 'pixel specs' the GH5s sensor needs to be around 19mm wide. So the consensus is that Panasonic is using a sensor 'wider than MFT spec' in the GH5s. But this doesnt make a lot of sense to me - introducing a marginally wider sensor is an expensive proposition. Furthermore, you cant really have a partnership of many companies based on one sensor spec, that allows any of its companies to produce 'bigger' sensors - it is a road to breaking down that partnership pretty quickly. So what do 'I' think Panasonic has done. I think that Panasonic has given 4:3 a smaller part of the sensor (and therefore slightly greater crop - say 2.2x) in order to fit the wider formats onto the same size sensor. It makes sense on the basis that virtually noone is going to be using 4:3 with the GH5s in any case. Of course the only way to test this is to put the same lens on both the GH5 and GH5s, switch to 4:3 and see if they have the same FOV. I guess that the GH5s might be slightly narrower.
  9. You know when Samsung exited the ILC market, I thought it was a precursor to teaming up with either Nikon or Canon. In my view Sony enjoys a competitive advantage in cameras because it is an electronics company in a business where cameras are rapidly turning into electronics products (a bit like telephones). And Samsung has shown (and certainly has the tech) that it is the one company that can easily out Sony, Sony. I still think that say a Samsung/Nikon partnership makes so much sense. Samsung would bring Nikon all the bleeding edge sensor, sensor af, processing and Nikon would bring its optics, camera infrastructure and commitment. The NX1 showed that even with the best tech in the world, Samsung couldnt make a meaningful (and especially meaningful to a company as large as Samsung) dent in the market.
  10. I think you are taking the original post rather out of context (it doesnt say throw away your Sony glass.) A lot of video shooters using Sony are coming from Canon and have a lot of Canon glass including Sigma EF which they are adapting to Sony. The point of the post is that the Sigma adapts better. Others use multiple cameras and like Canon glass because it can be adapted to M43, Sony or used with Canon - Sony lenses cannot be adapted to other formats. Sony lenses are pretty much certain to work better for af than adapted glass because they are designed for both cdaf and pdaf and for Sony. Sigma lenses are considerably cheaper but if I was looking to buy Sigma lenses new for Sony FE, I would certainly wait until they make their announcement of Sigma Sony native art lenses later this month. Sony lenses work great and can be smaller but they are all fbw. On the A7riii image stabilization works better in video if the lens also has OSS (which Sony then uses for 2 out of 5 axis).
  11. Most likely it is just the way that people are calculating the crop factor. The crop factor for M43 is 'considered' to be 2.0. But it is a 4:3 sensor while a 35mm sensor is 3:2. The crop factor is based on the diagonal but there is more of a crop on the width and less of a crop on the height with a 4:3 sensor. As in crop factor width = 36/17.3 = 2.08x And crop factor height = 24/13 = 1.85x
  12. My guess would be that there isnt enough 'extra' in Sony's latest tech to make it worth the hassle and expense of making a new sensor. If you look at DXOmark both the Sony sensor and Nikon (Sony) sensor have the same '100' score, so the benefits of the Nikon sensor are presumably fairly marginal. Sony could probably have eked out an extra point or so but the current sensor is hardly old tech especially as it has had a couple of tweaks. So Sony focused on the myriad of other upgrades (many of which were needed) and upgraded the LCD, EVF, speed, focusing, battery and a host of other features for both video and stills. Anyways as Sony resolved most of things that werent good in the A7rii with the A7riii, I will give them a pass on not improving what they got right in the first place.
  13. Thanks. You do get a choice of 'color modes' when shooting HLG - either BT2020 or 709.
  14. So help me out here. I am really interested in the HDR HLG profile(s) on the A7riii. I am not really looking to make HDR footage for oled TVs - what I am looking to do is a 'picture profile' that lets me get good dynamic range and colors in a format that suits me. I do know of the advantages of s-log2 and s-log3 but I am a still shooter primarily (that is getting into video) and the whole minimum iso800 (+1.5 EV exposure) isnt exactly conducive to switching between stills and video. a big (potential advantage) for me of HDR HLG is that you can shoot at iso100 and expose normally. Now as I understand it Sony's HDR HLG mode shoots a very flat gamma curve and then applies a lut in camera. While this sounds a bit like 'smoke and mirrors' to me - if it actually means that I can get good dynamic range video while shooting at iso100 it does sound very attractive. From what I can determine it does shoot a flat profile. Here is a still shot shot in PP10 (HLG2) that I took in raw + jpeg. The raw shouldnt be affected by the picture profile and looks like this in adobe lightroom at default... Note the histogram.... And this is the jpeg (which includes the affect of the picture profile) And again note the histogram and how flat the profile is.... So, in principle this picture profile sounds attractive. BUT on the internet, there appears very little interest in it which presumably means that most people think it isnt of much use. Some have suggested that 8 bit hdr hlg is a joke or an oxymoron (although I note that Andrew Reid is mildly enthusiastic.) So is it something I should just ignore or is it worth digging deeper into?
  15. Here's some sales data (from BCN) showing top 20 camera sales in Japan last July. Canon has 4 mirrorless in the top 20 (mirrorless + DSLR) while say Sony has 2. And it is very easy to see why. Canon sells an M10 with 2 lenses for as little as 50,000 yen while Sony's entry level offering - a6000 (a 4 year old camera) + 2 lenses is 50% more expensive at 75,000 yen. Hardly surprising then that Canon had a higher market share than Sony in mirrorless in 2017 in Japan. Canon simply offers a much better value offering (and value beats out bells and whistles every time.) And its not just Sony - all the traditional mirrorless companies Fuji, Panasonic and Olympus - have been moving relentlessly upmarket over the past couple of years and that leaves the door open for Canon and Nikon. I am something of a Sony fanboy but I find them hard to recommend to people because their kit (especially their lenses) are ridiculously expensive.
  16. Actually the display all info page on the A7riii doesnt show the video settings when in PASM unlike the A7rii which does. See pic.
  17. No he didnt test the sensor readout for video. But we know (for the A9) it is much lower than for stills - in fact by the rolling shutter tests I have seen, the readout is the same as the A7riii. So did Sony intentionally cripple the A9 for video (quite probably) and was the reason they didnt include picture profiles because they deliberately didnt want people buying the A9 for video expecting that the fast electronic shutter would lead to less rolling shutter (again quite possible but just guessing.) Still if a 24mp A7siii or a 12mp A7siii takes advantage of the incredibly fast readout from a chip like this, it would virtually eliminate rolling shutter on a FF sensor....??!!
  18. http://blog.kasson.com/ This engineer has done extensive testing of the readout speed of Sony sensors. A7r2 1/15 second A7r3 1/30 second A9 1/160 second but only in stills (not in video) (which could be very interesting in terms of the A7siii) In terms of your above comment, he tests full sensor readout for stills. So the readout for a proportion of the sensor could be faster (I guess.)
  19. You could well be right. I wasnt speaking from experience but from what I had read in Gary Friedman's 708 page epic on the A7riii. 'The maximum bitrate you can choose for SD-stored 4K is 100 Mbps, whereas for external recorders you can record your video at about 147 Mbps.' He does occasionally get things wrong.
  20. BTW I thought I would throw in the A7riii and A7rii comparison here because the difference is so striking (in FF video). I am not sure I see or understand where Sony found 3 extra stops of lowlight performance out of the same sensor,
  21. I could be wrong but I think the maximum external recording for the A7riii is 147Mbit (compared to 100Mbit internal.)
  22. My feeling is that 'intellectual' works better in a subscription model like Netflix than in the Cinema. We see that 'intellectual' like some TV series or documentaries dont attract high audience figures but they do tend to inspire loyalty to the channel brand and anchor subscriptions. So on that note, we dont know 'how much' Netflix is paying Paramount 'NOT' to release it in the Cinema. Afterall Netflix spent over US$50m making 'Okja' last year (which I thought was excellent.) Anyways, it is useless blaming 'bean counters' and 'studio executive' or 'youtube' when they are simply catering to audience demands. Considering that 'Fast and Furious 8' generated US$1bn faster than any movie in history, it is just heroically optimistic to expect a next Godfather movie.
  23. The footage shows the 'A7rii' or the 'A7sii'? It is marked 'A7rii' in the video (apart from the Vimeo headline that mentions A7sii). But the commentary talks about A7sii v A7riii and the others.
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