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Robert Collins

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Everything posted by Robert Collins

  1. The flash shoe is designed for Sigma flashes too.
  2. The 'mini medium format' of Fuji GFX is a bit of a dead end or very niche (it is mostly attractive to photographers who like to shoot a 1:1 aspect ratio.) The reason is fairly simple - the sensor size is simply too 'small' to make a meaningful difference relative to full frame. mini medium format = 44 x 33mm FF = 36 x 24mm For people who shoot landscape the horizantal, the difference between the two sensors is a little over 20% (44 v 36). So the light gathering difference is less than half a stop and the resolution difference 20%. This is much less than FF v APSC and APSC v M43. (And is virtually a rounding error in the greater scheme of things.)
  3. Same here. Although if you think about it, you dont have much of a choice. Fuji is the ONLY company that is fully committed to APSC. Every other company is trying to flog FF, while virtually ignoring their APSC system. Seems strange as APSC is by far the most popular format (and arguably the most practical for most people.)
  4. Imagine this in an LX100
  5. I do agree with you here. Essentially @wolf33d has shot a high dynamic range photo in jpeg (and I think raised the shadows in post.) This reflects a bit more what the sensor is capable of in stills - taken about 30 minutes ago - and certainly not as pretty as your guys photos. The full sized file (2 shot panorama) can be downloaded here.... https://1drv.ms/u/s!Arx347dcSG470WQBMzybeJo_3Yp0 (The full sized image might look a little oversharpened at 1:1 but I did that in post.)
  6. I think that camera brands (apart from Fuji and Olympus) are really trying to 'push' FF onto consumers - 'FF is where serious photographers should be'. APSC seems to be somewhat orphaned (Sony E - one new lens in 5 years) (EF-M what future?) even though that is where the majority of the demand is. Even Panasonic is getting in on the act. I love this back-handed compliment to M43 from Panasonic reported by DPR ' Panasonic stressed that it will continue to sell and develop the Micro Four Thirds system in parallel with its L-mount system, which will be targeted at high-end users.'
  7. The Laowa 10-18 FE lens looks very interesting and supposedly they have production copies at Photokina. The Zeiss full frame compact gets announced tomorrow. Definitely worth a hands on if you get the chance. I am interested in Tamron's future mirrorless plans
  8. As I recall, the newest technology between pdaf sensor arrays, cdaf and on-sensor pdaf is on-sensor pdaf (starting with Nikon 1?) which is where most of the progress has been made over the last 5 years. The problem is that Panasonic has refused to adopt this technology and has disappeared down a long dark rabbit hole of DFD which is essentially marrying cdaf with 'proprietary' lens profiles....
  9. This lens rather neatly shows why Panasonic is heading into FF. It is a big heavy, expensive fast zoom designed to appeal to those users that see the need to make up for the lack of light and DOF inherent in a smaller sensor. At some point you inevitably conclude that a larger sensor makes more sense.
  10. Well apart from the fact that EF lenses have motors designed for pdaf focusing and the L mount doesnt have pdaf.
  11. Arent you confusing sensor sizes here when you say ' It appears to have the amazing Sony 100MP CMOS sensor we last saw in the Hasselblad H6D 100C'? The Fuji GFX series has 44 x 33mm sensor size which is sort of 'mini medium format' with about half a stop and 20% extra resolution than FF while the Hasselblad H6D uses a 54 x 40mm sensor which is well over a stop larger than FF.
  12. Well sort of. But we do now have 20 different live mounts selling a total of just 10m ILCs. As Thom Hogan says 'I see dead mounts....' http://www.dslrbodies.com/newsviews/i-see-dead-mounts.html
  13. A Panasonic camera for photographers?! Well that is a novel concept.
  14. I watched a bit of it but I missed all the video specs. What were they?
  15. I am not sure this will really work. Sigma tried to create FE mount versions of its lenses by essentially swapping the EF mount with an MC-11 adaptor rather than actually redesigning the lenses and including step motors that are fairly essential to the efficient use of CDAF. The result is that they dont focus particularly well on the FE mount. It is likely that the SL mount wont have PDAF at all which would make them less suited without a redesign.
  16. A little harsh. I actually think that both Max's and Phillip Bloom's video reviews are pretty good. I think it is important to take Max's review in context. He already owns a P4P with a one inch sensor (capable of 4k 60) and the M2Pro probably doesnt offer any significant IQ advantage over that. He also owns a Mavic Air which is more portable than a M2Pro and offers better image quality than the original Mavic Pro (due to less in camera sharpening/NR and better codec.) So coming from that context, I can see why he concludes that a M2Pro doesnt have enough value added for him to keep it. Now, if like me, you only own a single drone and are upgrading from an original Mavic Pro, then M2Pro is a HUGE upgrade. Better image quality, better codec, better compression (h.265 v h.264), better bit depth (10 bit v 8), better bit rate (100 v 60), better stills (20 v 12mp), better battery life, more sensors, variable aperture, better build quality etc... Of course, it would have been nice to have 4k 60p and a 4k full sensor readout but there you go. And anyone who really expected something special out of the camera simply because it has Hasselblad on the front was simply being heroically optimistic. We are sort of in the 'hangover' phase after the initial release where all the relatively small problems with a camera are highlighted (remember pdaf stripe gate, and line of dead pixel gate with the A7iii.)
  17. I would assume it is a Sony sensor (custom built for Fuji) but I guess we will eventually find out. Most of the rumors about the A7000 (or whatever its name is going to be) suggest that it will be a sensor using Sony's stacked cmos technology only previously seen on the Sony A9 (which is why the camera is sometimes referred to as a 'mini A9'). This will enable very fast sensor readout which should result in very high frame rates and virtually zero 'rolling shutter' (even with a fully electronic shutter.) So, when it is released, the specs of the A7000 should upstage the XT-3.
  18. Great stuff. Makes me want to go there - never been....
  19. It is a little more complicated than that and there is a little bit of magic going on. Here is a video about how Lightroom maps tonal values for stills but it demonstrates the principle. https://topdownvideos.com/training/tone-mapping/
  20. If you think about it - a camera (as in say the A7iii) which has a base iso of 100, why would it really choose to shoot SLOG at an iso of 800 (lets forget about the dual iso bit for the moment)? If it did so, it would effectively reduce dynamic range by close to 3 stops and increase noise by close to 3 stops. The answer is it doesnt record slog at iso 800 but at iso 100 and therefore you have to 'overexpose' to 'expose' correctly by +2EV+. (I think the situation is pretty similar with the Panasonic GH5. Its native iso is 200 but it records log showing iso at 400. Something like that.) Why Sony does this I really dont have a clue - someone suggested it was something to do with maintaining compatibility with cinema cameras which have a higher inherent base iso.
  21. Actually SLog on Sony cameras is something of a special case. While the camera says it is recording at 'iso800' it is in fact recording at base iso 'iso100' so footage is bound to be underexposed irrespective of the underlying log curve.. You can see this by analysing the underlying metadata. Supposedly Panasonic cameras do something fairly similar but with only a one stop difference.
  22. That must be Leica's contribution to the joint venture....
  23. Personally, I dont think there is an underlying problem here. The drone is pointed almost directly into the sun - the brightest possible light source and the bottom left (especially) is shielded from the sun and receiving very little light. There could easily be 30 stops of dynamic range in this screenshot - which might look good to our own eyes but wont look good to a 1 inch sensor (especially with video.) If you look around you will see plenty of sunset/sunrise videos taken with something like a Mavic and they tend to look pretty terrible because in order to get decent detail in your shadows you have to blow out your highlights. As an example here is a screenshot of a photo taken with the A7riii in raw (which obviously has a lot more DR than a Mavic sensor.) The red areas show the clipped highlights and the blue shows the shadows with no detail - the shot is obviously unusable. Typically you cant get decent video from a Mavic shooting directly into the sun.
  24. Yes, you are absolutely right there. If you have no intention of editing your footage there is absolutely no point in either 10 bit or DLog - just shoot normal mode 8 bit. The point that I found 'interesting' was that 'you could shoot 10 bit DLog with h.264' as opposed to 'h.265'. Why would you want to do that when h.265 should theoretically give you more 'info' - well purely for 'ease of editing'. I thought you needed to shoot h.265 for 10 bit and DLog.
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