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Everything posted by androidlad

  1. It depends on what picture profile/gamma curve you use. For example, F-log maps 18% grey to 46IRE. Also at times you may want to deviate from the guidelines, especially in high contrast scenes, typically you'd underexpose a bit for better highlight detail retention.
  2. Yeah there's a 61MP 3.76um FF in the works. 100MP will be the cap for Sony FF sensor as Sony claims that their FF lenses "are designed to resolve 100MP".
  3. It's a sensor designed for stills camera with video capability, and the key video spec is 4K RGB 444 with 3x3 colour-aware binning, nothing is thrown away.
  4. What's the obsession with per-pixel FWC? Don't forget the pixels sit on a 36x24mm sensor, smaller pixels don't collect any less light, it's just there are more of them doing the same thing. this 100MP 2.91um pixel has a FWC of 32800e-, if we do a 2x2 binning and use it as a 25MP sensor, the FWC increases to 131200e-, which is significantly higher than 24MP A7 III 95764e-. Regarding diffraction, f/5.6 is a theoretical value yes, but in reality it's not clear cut like that https://fstoppers.com/education/5ds-f11-and-confusing-circles-68177
  5. Yep, IMX410 has 2-parallel ADC, this one has many many times more than that.
  6. 12288/4096 = 3. 3 x 3 colour-ware binning with the above mentioned CFA-based ADC, producing 4096x2160 RGB 4:4:4 stream directly on-chip.
  7. It's interesting that people simply assume high resolution sensors have less dynamic range and worse rolling shutter. I'll post more info when I'm allowed to, but for now I can say when normalised to 4K, this 100MP sensor performs better than A7 III in terms of dynamic range, sensitivity (QE) and readout speed.
  8. Sony has some of the most talented sensor architects, how much do you know? 😉 The diagram above is exactly one of many innovative designs to improve sensitivity and dynamic range.
  9. Calibrate using direct connection between mac and the monitor.
  10. This 12288 x 8192 100MP sensor employs a unique, CFA-based column-parallel ADC design:
  11. The presets are not accurately calibrated.
  12. Hardware calibration result is applied to all inputs on the monitor.
  13. It should be calibrated with BenQ's own tool Palette Master so you can access the hardware 3D LUT.
  14. Because there are colour space standards. And for BT.709, it's 100nit. For BT.2100 HDR, it's 1000nit. PV270 can be calibrated by i1 Display Pro via 3D LUT.
  15. Set whatever value you find pleasing in Resolve. But you need to make sure you monitor is calibrated and maintained at 100nit.
  16. BT.709 stipulates a standard peak white of 100nit.
  17. Just 2.2 for BT.709, 100nit peak white. Theatrical DCI-P3 uses gamma 2.6 with 48nit peak white, but it's meant for reflected view projection screens. NEVER EVER grade any theatrical projects on a direct view display.
  18. Just got word from Light Illusion that only PV270 has true 3D LUT hardware calibration (17x17x17 3D LUT), other models with hardware calibration only do 1D LUT + 3x3 matrix.
  19. Cool, I use Alexa X2 because there's a nice saturation roll-off. But it's all quite customisable in LUTCalc.
  20. Nice. I think you got the shutter speed mixed up though?
  21. androidlad

    Penis camera

    https://www.thecockcamera.com/ Absolutely DISGUSTING that it only shoots 720/30p and 1080/15p!
  22. Because you locked the WB, magenta was added to HLG. The camera applies the same WB setting to all picture profiles. If you don't use auto WB and make sure WB shift is 0, there's no magenta at all. Please do another more controlled test with everything manual, then make your conclusions.
  23. It changes everything. In auto WB, the camera adds more magenta to HLG. In manual WB, with WB shift at 0, F-log still has some magenta while HLG truely has 0. By the way, the opposite of magenta is green, not blue.
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