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androidlad

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Posts posted by androidlad


  1. 3 hours ago, Sage said:

    HLG is a video *display format; its intended for use by a consumer who might theoretically show it directly on their HLG screen. It has to conform to video levels so that it will have correct contrast (and no range clipping on TVs). For computer *data formats, such as VLog, this isn't a concern, because its destined by design for the color suite (the computer display world is 0-1023). In practice though, because of the greater midtone contrast and upper range use of HLG combined with .mp4 compression, HLG has a bit depth density edge, over GH5 VLog.

    HLG can be either full range or video range per BT.2100 spec. Fujifilm use full range 0 - 1023 for their HLG implementation.


  2. 19 minutes ago, Cliff Totten said:

    If these A7S-III specs are right. Sony seems to be targeting the Lumix S1 but maybe NOT the S1H. I suspect that the S1H is WAY over spec'd for Sony to match in any "consumer" Alpha. XDCAM managers will demand that the future A7S-III will need to be crippled in very distinct ways. Alpha will want it to have everything and XDCAM would rather it not even exist at all. At some point they will agree and compromise with each other. The S1H is overloaded with an extremely high feature set that rivals an FX9 or even possibly Venice. Lumix is using Sony's own EXMOR image sensors against them!

    10bit color is a must but what about Alpha's 29 minute time limit? Will Sony allow it to properly overheat to keep the high dollar pro's away from it? Rumors also say an FX6 is on the way...the cheaper, SD card long-GOP version of the FX9.

    I suspect that the A7S-III is THE most hotly debated camera in Sony headquater meeting rooms in the companies history. 

    The A7S-III's biggest enemy wont be Lumix, Cannon, Nikon or BlackMagic. Its biggest enemy will be Sony's own internal politics!

    There won't be 29min59sec limit on Alpha cameras, it's already gone on a6400, 6600 and a7R IV.


  3. X-mount being 44mm in diameter (vs. 46mm E-mount), it would be cost-prohibitive, if not impossible to put an FF sensor AND design FF lenses for it.

    It would also be unrealistic to adapt 65mm diameter G-mount to X-mount, and a huge waste of optical performance from GFX lenses.

    Just use GFX cameras with its "35mm format mode". I'd rather Fujifilm focus its limited resources on its APS-C and MF line-up.


  4. 3 hours ago, Mindwide said:

    First thanks a lot for answering!

    Do you mean record the cilps without HDR metadata on the Atomos or in premiere?

    If it s premiere how do you change that?

    In Fcpx it s easy but can't find the right way to do it in premiere.

     

    Record on the Ninja V.

    There's no way to change that in Premiere at the moment.

    BTW you're hot.


  5. 20 hours ago, hoodlum said:

    It depends on the effectiveness of the IBIS.  They would need to improve over the X-H1 based on the results from Mirrorlesscomparison (FF equiv).  The X-H1 was more in line with the A7iii for IBIS capability.

    EM1mkII: 6-stops @ 24mm, 9-stops @ 24mm SIS, 7-stops @ 150mm, 8-stops @ 200mm SIS

    Pan G9: 6-stops @ 36mm, 7-stops @ 36mm SIS, 5-stops @ 300mm DIS

    Fuji XH1: 3-stops @ 24mm, 4-stops @ 28mm OIS, 3-stops @50mm, 4+stops @ 150mm OIS

    Not much room for improvement. Fujifilm is limited by the X-mount diameter of 44mm, while MFT having 38mm and significantly smaller sensor, meaning that similar to Sony, Fuji sensor does not have a lot of room to move around.


  6. 12 hours ago, Mindwide said:

    Hi everyone, 

     

    Maybe @Androidlad you ll be able to answer.

    I have the Sony A7III and the Atomos Ninja V.

    I made a test this afternoon and I can't figure out what it's happening.

     I set my Sony in hlg3 picture profile.

    I record first internally, then I record with the Atomos ( Atomos without matching camera and hlg) and get the same result.

    Then I switch the Atomos in HDR input and switch CAMERA OUTPUT to the correct brand Sony the Correct Gamma HLG and correct gamut BT2020.

    I let the monitoring gamma to native and the record was the same as the 2 first record.

    I tried with the monitoring gamma on rec709, HLG and PQ and you can see on screenshot that the highlights are blown out.

    The camera setting never change and the EV was set to 0.0.

    All the screenshots are from my timeline in premiere pro.

    I'd like to know what I'm doing wrong??

    PS: I'm unable to put the screenshoots in the right order. The 3 pictures with blown out highlights are those with monitoring gamma set to rec709, HLG and PQ

    Hope to read you soon

    It's a Premiere Pro issue, in the third clip with blown out highlights, Premiere Pro sees the PQ/HLG metadata and display the HDR clips as is, without tone-mapping, it assumes you working on an HDR monitor.

    The highlights aren't actually blown out, if you check the scope, it can be brought back to SDR range with exposure tools.

    The workaround is record the clips without the HDR metadata.


  7. 21 minutes ago, gt3rs said:

    Yes I think you are right but also at 24fps should be the same as you read then wait then read etc no?

    Sensors have a fixed scan rate for a given readout mode, in the case of 5.5K RAW and 5.5K supersampled 4K, it should be equivalent to the the maximum framerate, 1/60s.

     


  8. 30 minutes ago, majoraxis said:

    I was under the assumption that G2 was supposed to have a marginally improved image quality over the G1, but that does not appear to be the case, if anything it is worse.

    As slow motion is headline feature, it seems that the last thing you would want when shooting slow motion, due to the high shutter speeds and less light getting through to the sensor, is to have issues with your potentially under exposed image.

    Is this issue related to the specific sensor used for each camera?

    Doesn’t the Pocket 4K basically share the same sensor as GH5s?  I have not heard of the GH5s having the green-under issue, so this is a mystery to me why this happening with these specific cameras.

    If it can be fixed in firmware, then the Pocket 4K would be on my buying list, if and when the green-under issues gets fixed.

     

    DR/latitude aren't the only metrics for image quality.

    If there's a risk of underexposure, there's a thing called lighting.

    4.6K uses a custom Fairchild sensor.


  9. 3 hours ago, Sage said:

    Its something to test; even when flagging is settled, NLEs can have their own slightly unique 'color interpretations' of formats (cough, Premiere)

    So it goes up to 120 in HLG? (downscale or crop?)

    The only thing HLG mode changes is forcing the codec to be HEVC/H.265 10bit 4:2:0.

    FHD 120P is pixel-binned and line-skipped from a 4.8K, 1.29x crop.

    4K 60P is super-sampled from a 5.5K 1.18x crop.

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