Lux Shots

On 6/11/2020 at 11:19 AM, ac6000cw said:

Speaking as an experienced FPGA design engineer, if you can implement it in an FPGA you could put into an ASIC (or into software, depending on how fast you need your processing to run).

There is nothing magic or special about FPGAs other than their basic ability to be user programmed/re-programmed, which is their 'Unique Selling Point'. That makes them very attractive for low to medium volume products which need high-throughput data processing - instead of sinking a lot of up-front development capital into an ASIC. It also makes it a lot easier and cheaper to fix bugs and add features after you've launched the product.....

Speaking as an experienced software engineer, you can sometimes implement FPGA logic in software, but you can never duplicate the true parallel nature as efficiently, even doing the implementation in CUDA or OpenCL.  You can make it work, but the power budget will be quite high.  Also, we are talking about FPGA's like there is just this black box of magic 😁, but then the higher up the offerings you go, FPGA fabric is mixed in with fixed function components and (multipliers, memory controllers, etc) which reduce how many LUTs* you have to use for those functions and saves you power, at the cost of flexibility.

What node are they at for mainstream FPGAs now? The last thing I did anything with was the Spartan III. I did sit in on an Intel presentation a few years ago, and those damn things are mind blowing in what they offer, the speed at which they offer it, and the freaking cost! 😬

* This is a slightly different kinda LUT 😄

6 hours ago, salim said:

I also think the Sony A7 IV is probably coming in October/November. It'll probably use the new Sony Bionz XR so I'm guessing it'll offer 6K raw with a very reliable AF at about $2200. Without the fan. So slightly smaller with more lens options. 
Anyways, something to keep in mind. 

I'm knee deep into the L-Mount for at least the next 5 years, so I'm not in the market to switch. But I am always willing to consider a deal on another S1H if my funds are right. 😀

I have been trying to import the ProRes RAW footage that I captured into Premiere Pro CC, and I have discovered a bug. 😢

I have an AMD Ryzen CPU, and I have both an AMD Radeon Frontier Edition 16GB VRAM GPU AND an NVidia Tesla K20 GPU that is for dedicated compute. The requirements for ProRes RAW for Windows are you must have an NVidia card and you must configure the project to run accelerated with CUDA. I have done that, even though I could use OpenCL and Software Rendering, but the ProRes RAW plug-in fails everytime.

The Adobe community forum says that this is a new, known bug, and that they are working on a fix for it.

I really hate that this is happening, as I have a trip set up next week, and I wanted to capture some ProRes stock footage while I was on the island. I will still capture this, but now I have to capture ProRes RAW, ProRes, and H.264/H.265 just in case a trash a ProRes RAW exposure.

On 7/29/2020 at 6:12 PM, Video Hummus said:

Damn, imagine if that had ProRes RAW or BM RAW internal and didn’t need an external recorder.

It would be simply unbeatable. The crazy thing is, that you could grab three used S1H cams last week, as everyone was cashing out to race to Sony and Canon's offerings. Kinda wish I dodn't book that all inclusive vacation to Puerto Rico next week, cause I would certainly love to grab a few more! 😀

With the new data rates that this thing uses, I was surprised that my inexpensive 1 TB Western Digital Blue SSD could handle ProRes RAW HQ in 5.9K and 4.1K 60p. I plan on using this new codec specifically when doing outdoor weddings. As of now, I have been severely underexposing just to make certain that if the sun peeks from behind the clouds that I don't burn a hole straight through the brides dress, never to be recovered ever again.

Canon and Sony have had some interesting releases the last few weeks. The only realization is that the S1H clearly would best both to an extent if it had Canon/Sony level autofocus.

With that said:

• I know how to manual focus.
• Glass f/2.8 or faster and ISO 12,800 looks fantastic. Anything more, I will light it.
• I've run my camera for over 4 hours straight (Hindu Wedding) in 5.9K, and my camera didn't overheat!
• When video work dries up, this thing is a competent stills shooter.

I really don't know what job this dynamic duo of S1H and Ninja V can't do.

8 hours ago, Matt Hollman said:

I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible)

+ Sharpest/most detailed image I've ever filmed on any camera before

+ Easier for me to get a colour grade as a beginner that I'm satisfied with than when shooting V-Log 

+ Edits easily on my mid tier gaming PC (i7-8700k + GTX1060) with Premiere Pro

+ ISO 12800 with enough light looked better than expected. This needs further testing for sure.

- Higher data rate than initially expecting, this means I will still shoot mostly internal probably

- In 5.9K mode only I experience choppy frame rates on the Ninja V sometimes. A quick swap to 4K and back returns this to normal. I imagine this will be fixed in the final released firmware.

Yeah, it stutters in 5.9K. I still have to install my NVidia Tesla K20 card before I can edit in Premiere Pro.
 

19 hours ago, ajay said:

This very well explains why the GH5S never had in-body IS. The data rate off the sensor is too high to prevent overheating with an in-body IS sensor. It doesn't overheat because the sensor is heat-sinked. All these manufacturers are doing juggling acts to keep their camera sensors from overheating due to high data rates.

Black Magic and Z Cam use the same sensor and also no in-body IS.

 

Wrong.

No IBIS because the sensor was oversized. You couldn't use IBIS because the sensor already is at the limits of the image circle, and there is no where for the image to move.

8 hours ago, Sid said:

Apologies if the test footage was already posted:-

 

I have been fully in Panasonic's camp since my journey began. Never in my life have a seen a Mike Drop from a corporation  so damn brutal in all of my years.

But I have one more question. Where do they get these black people with all the gorgeous chocolaty skin from? My skin has never looked that damn good, and I've been black all of my life! LOL If this is BMD putting their best foot forward for inclusion, they certainly did it with class.

18 hours ago, PaulUsher said:

Yeah, I do. Is that ok? 😉

And not every camera ‘looks good on an overcast day...’ - you know there’s more to a picture than DR. There’s one thing being sassy, which I dig, but there’s no need to be silly.

Me enjoying this image doesn’t make your GH5S any worse. Does it make you feel better to know I’m not buying the R5? Doesn’t mean I can’t appreciate this footage.

You can buy whatever you please. It's your money.

And in evaluating a subjective medium, there is bound to be differences of opinions. Stunning isn't a word that would come to my mind, but as you state that DR isn't the only thing to a picture, you fail to list things about this image that make you feel the way you do.

That's not sassy or silly. That's a discussion.

The cameras that I own don't contribute to my statement, and demonstrates how this has devolved into something I wish to no longer take part in.

6 hours ago, PaulUsher said:

He’s the Canon Vietnam ambassador.

The footage looks stunning.

Stunning? You really think this is stunning? Every camera looks good on an overcast day with limited dynamic range.

11 hours ago, Blancblue said:

+ S1H + Sigma FP don´t have a stabilised sensor. I think thats one of the biggest reasons - IBIS requires the sensor to be able to "float" in the body. This means the sensor cannot be mounted to a heatsink.

Where did you hear that from? My S1H has a stabilized sensor, and the IBIS is like a virtual tripod!
 

On 3/19/2020 at 9:41 PM, Jimmy G said:

Looks like the ghosting artifacts (temporal noise reduction) that plagued the S1 (and were fixed in firmware) are still plaguing the S1H (posted yesterday by Gerald Undone)...

Panasonic S1 vs S1H: Cheaper Is Better?! - YouTube:

https://www.youtube.com/watch?v=xDjLHiiatUA

...feeling glad I didn't upgrade from my S1's quite yet.

 

They are fixed now.

16 minutes ago, PannySVHS said:

@deezidzero sharpening look is looking good! Was it shot at 1080p or 4K? Image looks creamy. What lens did you use? How is the S1 holding up to the S1H with the FW 2.0?

In my opinion, unless Panasonic adds the -1 NR setting and all that it brings to the S1, no narrative creator should even consider the S1 to work alongside the S1H as a B cam. Pony up and get another S1H!

On 5/27/2020 at 2:56 PM, FranciscoB said:

Does it manage to downscale the 6k to 4k prores externally? 

It doesn't down scale to ProRes, it's that the HDMI output is down scaled to 4K so it will be able to be displayed on the Ninja V, and then it can be recorded to ProRes or DNxHR.

38 minutes ago, Mike Mgee said:

@Lux Shots To be honest I would love to see a  basic skin tone / motion test. I had a S1H on rental  last week but sadly it has been sent back.

Now I have to go trolling for models again! I always feel like I'm cheating on my wife when I do that. Its even worse when the girls are interested in more than just modeling.

You can turn down a meal or a drink, but turning down advances from women can get you killed or at the least, incorrectly thought of as gay, (with all due respect to the LGBTQ community 🌈 😃).

5 hours ago, Mike Mgee said:

Thank you. I anxiously wait your footage.

I'll try and grab a little today. Maybe a few sky shots. I'm kinda anxious to see how the HDMI down scaling works. Would be nice to see the 4K ProRes against the 5.9K H265.

14 hours ago, MeanRevert said:

It would be cool if Panasonic followed BM and ZCam and reduced their pricing.

First full frame camera that's Netflix Approved, with 6K and ProRes RAW on deck? Don't hold your breath buddy!

12 hours ago, MeanRevert said:

Thanks so much!  I see a slight difference btw the 8-bit 60p and 10-bit 24p although I didn't see much difference between the H264 and H265.  This does help me making a decision so I'm starting to lean towards that S1 now.

I'd like to hear more about that firmware upgrade people are talking about now..

The internal 4K 60p of the S1H is in 10-bit, not 8-bit. This is a big deal with a harder grade.

8 hours ago, TheBoogieKnight said:

One thing I don't get (and I've seen it on a few videos recently) is how the S1/S1H render some reds as a vivid orange, but only certain shades (other reds don't get affected at all). It doesn't look like it's sensor related as a recent test with RAW showed the effect vanished! One's the Pocket 6k, the other the S1H.

I AM ALSO HAVING ISSUES WITH REDS FROM THE S1H!!!!
The damn thing almost looks like its super neon when doing stills with the slightest bump in saturation.

On 5/20/2020 at 9:28 AM, MeanRevert said:

Oh so you don’t want to use h265?

Not particularly. It looks fine at first until you see it side by side with 4k H264. It looks like you may have missed focus the image goes so soft.

Here is the link, again nothing special, but I did get 4K FF H.264 24p, 4K S35 H.265 60p and 5.9K FF H.265 24p, and ProRes variants for eveything but the 5.9K obviously. I'll be out and about getting some ProRes RAW stuff when the firmware drops on Monday. 😀

There should be 5 files, but one of the ProRes files is still uploading.

https://drive.google.com/open?id=1FeBzE69sL0SsmGgi8TuuIGPFdYaZY-R7

18 hours ago, MeanRevert said:

Great! Looking forward to it. Is this internal or are you using the Ninja?

I'll try and get some Ninja V footage, but this is a "photo shoot", so the opportunity for adding the Ninja may not present itself. 

11 hours ago, MeanRevert said:

Thanks much. It looks good so I'm looking forward to seeing if the 4:2:0 downgrade when using 60p matters much.

I'm used to Blackmagic now so also would like to know, how have you guys been exposing without False Color?

It matters a whole bunch. Maybe not the 4:2:0 color reduction, but the H265 encoding really rubs the shine off of the image.

On 5/18/2020 at 9:33 AM, PannySVHS said:

Is it possible to record with the Shogun Flame? I connect my camera to it, but recording doesn´t work with it, neither by triggering with camera nor directly.

This is currently missing. It's also kinda a pain in the ass to get this working with my S1H, as you have to enable Timecode over HDMI for the triggering to work.

Go figure!

2 hours ago, MeanRevert said:

Where can I find some sample S1 footage with skin tones and some 60P to download and grade?  I'd like to test some LUTs with them. 

I'll have some tomorrow with a model I have scheduled for a photo shoot. I'll do some video in a mix of 5.9K, 4K FF and 4K 60p.

On 5/17/2020 at 12:41 PM, thebrothersthre3 said:

Cinema 5d measured the S1H having more dynamic range in 6k. Overall they seem to be the same sensor and same performance. The S1 is limited to 150mbps Long gop while the S1H can do 400mbps all-i. I personally never noticed a difference between 150 and 400 on the GH5 but can’t comment on the S1 vs S1H. If you want to get the S1H for the 6k keep in mind you can’t monitor externally when shooting 6k.

This has been addressed in the upcoming ProRes RAW firmware to be released on May 25th.

1 hour ago, KnightsFan said:

You're right about what bits are and what dynamic range is, but virtually every modern sensor has linear ADC's, so bits equate to dynamic range stops because of the linear relationship. I don't know of any sensors that don't behave this way and suspect that none exist. (That's strictly dealing with the sensor ADC, not any encoding afterwards, which is hardly ever strictly linear.)

I can put an 18-bit ADC on a sensor that has 9 stops of dynamic range. The only thing that will change is the delta between steps will be almost indiscernible numerically. Dynamic range is based on the physics of the pixel well, and how many photos it can accept before saturation.  

On 5/8/2020 at 3:39 AM, TheBoogieKnight said:

No it's not, as I've already said in a 12-bit system you can't get more than 12-bits of dynamic range, period. In audio it's the same: a 16-bit CD gives you around 96dB of dynamic range, nothing will give you more than that and adding dither isn't increasing the dynamic range.

But, one thing to consider is that noise below the floor will modulate the last bit/bits (this is what dither does anyway) so as others have said you can see see something under this simply due to the fluctuating noise which will have some statistical relevance to the original signal.

 

Bits ain't stops buddy. Why is everyone interchanging bits with stops like they are the same thing, they clearly are not the same thing! Bits allow more graditions between a minimum and maximum luminance. The delta between minimum and maximum luminance is the amount of stops of dynamic range.