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Posts posted by androidlad

  1. 17 minutes ago, sanveer said:

    Actually there is a theoretical limit of bit depth with dynamic range. Meaning that a camera with 12 bit will have 12 stops (which isn't true for the GH5 with its 13 approx stops). Maybe if Panasonic pushes it to 14-bit, highlight and shadow recovery could improve. 

    GH5 has pixel level DR of 12.3EV according to DXOmark, it’s 12bit ADC plus a bit of NR, similar to how S1H achieves 12.7EV DR in video mode.

    GH5S is the only MFT sensor with 14bit ADC for stills.

    higher ADC bitdepth improves SNR below 18% grey, it does not affect highlight latitude.

  2. 4 minutes ago, Sage said:

    The slightly different ways NLEs can interpret footage keeps me up at night. If the rendition is different, I'll have to do Pres, with the goal of supporting default timeline rendition in each NLE. Thankfully the P4K was simple in this regard.

    Given its a 10bit only format - is there any limitation on framerate?

    Are you referring to the flagging of color matrix? With the LUT fix I believe it resolves the issue consistently across all NLEs that misinterpret the flag.

    No limitation on framerate, it goes up to 4K/DCI 60P and FHD/2K 120P.

  3. 5 minutes ago, Sage said:

    In that case, HLG will likely be the primary format. The idea of variant NLE flagging is a concern though

    Yea that's good idea, HLG on X-T3 is a 10bit only format. You could include the NLE flagging fix LUTs in the pack.

    Let me know if you need any help with testing during your R&D ?

  4. Expect these to be officially announced next week:

    Canon 1D X Mark III


    Nikon D780
    AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR
    NIKKOR Z 70-200mm f/2.8 VR S, AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR
    Nikon COOLPIX P950
    Panasonic professional style 4K camcorders “HC-X1500” “HC-X2000”
    Insta360 ONE-R modular action cam & 360 degree system


  5. 12 minutes ago, Sage said:

    The XT-3 likely has better; DR and gamut are interrelated (i.e. where r, g, and b clip). Sensor determines how much of both one can have. At ISO 400, the Alexa has more than the GH5 (more saturated, higher brightness clip point). The GH5 and P4K have rougher blue clipping (like Alexa red clipping under tungsten WB)

    The P4K has slightly less than the Alexa at 400, or including HR range, slightly more artifacted range. If image quality is primary, the P4K takes the cake (completely smooth codecs). The GH5 is best for its IBIS, or little things, like the viewfinder in sun. I intend to support the XT-3 directly this year, sooner rather than later.

    That's great to know.

    Not sure if you're aware but from my testing, HLG behaves a lot better than F-log on X-T3

    X-T3 also has some known issues:


  6. 3 minutes ago, Django said:

    Don't forget it's 5.6K RAW so downscaling to 4K should give better signal to noise ratio (hence increased DR).

    Anyways I guess we'll have to wait for real-world tests to find out..

    DR testing for video looks at pixel-level, it's resolution agnostic.

    Otherwise we can downscale to 0.4K and have 20+ stops of DR.

  7. 5 minutes ago, Django said:

    all that test shows is that the 2016 1DX II sensor has similar DR to the 2013 1DC sensor using CLog1. 

    not sure how you make the jump to the 2020 1DX3 having similar DR even though it's a new sensor and camera that can shoot Clog2 & RAW, none of which the aforementioned cameras could do.

    1. It's the same sensor with a refreshed logic layer for faster readout, it has little if any impact on DR, do you fall for that marketing BS?

    2. The spec sheet is already out, it shoots original Canon Log and RAW is 12bit ADC, and RAW always has lower DR due to almost complete absence of NR.

    3. Based on all available evidence and common sense, it's very unlikely for the DR to exceed 1DX II, which is 11 stops.

  8. 35 minutes ago, Django said:

    1DX II didn’t have Log so I think we can expect better DR in this model.

    Overall pretty great specs imo. Looks like we’ll finally get FF 4K no crop on a Canon hybrid.

    6K RAW internal is a pretty big surprise and if FF no crop a class leading feature on a hybrid system.

    No AF on 6K RAW & 4K60p seems like reasonable compromises for everything else you’re getting.

    Canon Log is just a tone curve, it doesn't increase DR, as demonstrated by the comparison between 1DC and 1DX II, their DR is exactly the same.

    RAW is 5.4K.

  9. RAW 5472×2886 (59.94p/50.00p)         approx. 2,600 Mbps

    RAW 5472×2886 (29.97p/25.00p/24.00p/23.98p)         approx. 1,800 Mbps

    4K DCI (59.94p/50.00p)/ALL-I         approx. 940 Mbps

    4K DCI (59.94p/50.00p)/IPB         approx. 230 Mbps

    4K DCI (29.97p/25.00p/24.00p/23.98p)/ALL-I         approx. 470 Mbps

    4K DCI (29.97p/25.00p/24.00p/23.98p)/IPB         approx. 120 Mbps

    4K DCI Crop (59.94p/50.00p)/ALL-I         approx. 940 Mbps

    4K DCI Crop (59.94p/50.00p)/IPB         approx. 230 Mbps

    4K DCI Crop (29.97p/25.00p/24.00p/23.98p)/ALL-I         approx. 470 Mbps

    4K DCI Crop (29.97p/25.00p/24.00p/23.98p)/IPB         approx. 120 Mbps

    4K UHD (59.94p/50.00p)/ALL-I         approx. 940 Mbps

    4K UHD (59.94p/50.00p)/IPB         approx. 230 Mbps

    4K UHD (29.97p/25.00p)/ALL-I         approx. 470 Mbps

    4K UHD (29.97p/25.00p)/IPB         approx. 120 Mbps

    Full HD (119.9p/100.0p)/ALL-I         approx. 360 Mbps

    Full HD (59.94p/50.00p)/ALL-I         approx. 180 Mbps

    Full HD (59.94p/50.00p)/IPB         approx. 60 Mbps

    Full HD (29.97p/25.00p)/ALL-I         approx. 90 Mbps

    Full HD (29.97p/25.00p)/IPB         approx. 30 Mbps

    Full HD (29.97p/25.00p)/IPB (light)         approx. 12 Mbps


    *Canon Log is available for all recording modes.

    *AF is not available when recording RAW or 4K 59.94p/50.00p (NTSC/PAL) movies.

    *RAW is encoded using 12bit A/D conversion.

    *10bit Canon Log is encoded with H.265/HEVC in YCbCr 4:2:2 and selectable ITU-R BT.709/BT.2020 color matrix.



  10. 1 hour ago, Sage said:

    Working on it as we speak :)

    Its really neat; now I think several new cameras are achievable (in 2020). Days have been compressed to minutes

    Would this test and the accompanying RAW files help with your project?



    It seems that only Alexa can render pure red colour accurately, while others all skew towards orange, is this something that's specifically addressed in your colour engine?

  11. On 12/25/2019 at 8:13 PM, Danylo said:

    Hi. I have a problem with Ninja V. The colors look different than on pc or in camera monitor. They are too warm. When turning on the monochrome mode on ninja V it looks like sepia. Did anyone else have the same issue?

    What makes you think you PC monitor and camera monitor have accurate color? ?

    Ninja V does have a slighter warmer factory calibration, around 6000K instead of standard D65. If it really bothers you, you can calibrate the screen with i1 Display Pro.

  12. 1 minute ago, Video Hummus said:

    So, I can infer the GH5S is capable approaching 14 stops of dynamic range in a FHD 1:1 pixel recording mode? I guess because they chose to oversample in FHD and so are limited to the 12-bit output. Ol, makes sense. Thanks!

    No. GH5S has a pixel level DR of around 13EV in 14bit stills mode.

    The listed 2048 x 1080 readout modes are subsampled from the full sensor, with heavy moire/aliasing. And GH5S does not oversample in FHD, it's pixel binned.

  13. 5 minutes ago, Video Hummus said:

    Ok, so what does the following actually (hi lighted in red) mean in the spec sheet. Thanks for the help in understanding these tech sheets. What do you look at that specifically on these PDFs to get an idea. With my limited knowledge it appears like it does offer 14-bit output in video modes at useable FPS.

    Also, for the eagle eyed, I didn’t realize I captured my last minute Christmas purchase from B&H. Lol. Peak design capture clip V3, yay!


    It means what it says, 14bit readout for 2048 x 1080. Zcam used the 10bit readout mode for 240fps.

  14. 7 minutes ago, Video Hummus said:

    So, I’ve always kinda wondered in the back of my mind...based on the spec sheet for the IMX299CJK (GH5S sensor). It says it offers 10/12/14-bit ADC output and of course I take 14-bit raw photos with it. It lists 14-bit video outputs.

    Why does the GH5S seem to have the same dynamic range as a GH5? Purely ISP limited?

    I’m still hoping maybe we get ProRes RAW on the GH5S. 

    None of the current Sony sensors are capable of 14bit ADC readout for 4K at video framerates. Plus, higher ADC bitdepth comes with higher power consumption.

    GH5S has full one stop DR advantage over GH5:


  15. 1 hour ago, Julien416 said:


    A question to s1h owners. Disclaimer : it's going to be a tedious one.

    I havent' been able to find what is the anamorphic crop factor. 

    I believe you can shoot anamorphic in either s35 and FF modes. But what are the windows size? I guess in FF it justs removes the sides to create a 31,7x23,8 window. That is pretty good and unheard of. 

    Now the tricky part. It's not that clear for S35. Is it a 4/3 window cropped into the 16/9 S35 modes (24.89x14mm) ? In that case it would make a 18,66x14mm s35 anamorphic mode. 

    For instance academy anamorphic mode window is 24.89x18.66mm. If that's the case we'd have two modes that do not correspond to the legacy anamorphic size. That would be a bummer. I like a 50mm to be used a 50mm.

    Or I am completely wrong and the s35 anamorphic mode is more of less the academy size window and in that case Panasonic deserves to be worshipped until the end of times ?

    I'd be delighted to know. If someone can clear this for me, he'd be the real winner here. Thanks. 

    It's really easy to find out using the published specs.

    In FF 6K 3:2 mode there's almost no crop, at 5952 x 3968.

    In S35 mode it's all 1:1 readout, including the 4:3 mode, which is 3328 x 2496,  or 19.67 x 14.79mm window.

  16. 21 hours ago, Mark Romero 2 said:

    I ain't no engineer, but...

    Doesn't the Analog to Digital Converter (ADC) have the "final say" in the amount of Dynamic Range?

    That's kind of been the knock against mirrorless cameras is that the codec / output will always be constrained by the ADC. 

    Or am I just confused again??? (Happens quite often.)

    Anyway, do any of the non-cinema cameras read both a high-gain and a low-gain signal from each pixel and then run through two different ADCs the way an Alexa does?

    Because if it doesn't, I am not sure how much (theoretical) dynamic range boost there will be shooting with RAW on the Z6.

    Maybe in the real world it will allow people to overexpose one more stop over what they could expose with N-Log and still pull back highlights, so maybe there is an advantage there (I am just pulling this one stop over figure from out of my hat just to make a point that there might be a real world benefit that isn't readily apparent from looking at the math - I have no idea if RAW will allow people to pull back the highlights better or not than N-Log).

    Did I mention I am not an engineer???

    Other than ADC bitdepth, ISP can affect DR as well - by applying noise reduction.

    Only ARRI cameras and BMD URSA 4.6K have dual ADC readout.

    Some recent Sony Semicon sensors (571, 461, 455) do have dual ADC readout mode, called DOL-HDR, but it comes at the expense of twice the amount of rolling shutter, it's not implemented yet in any consumer cameras

  17. 19 hours ago, Django said:

    Actually the kings of DR is D850/A7RIV with 14.8 DR (DxO rating) followed by Z7 with 14.6 stops.

    I know the Z6 has better low-light and no line-skipping but any idea how Z7 will fare with the RAW upgrade? I think I read it will only output it in DX/APS-C mode?

    I still need a high-res OLPF-less hybrid in my arsenal, wondering if Z7 might be a worthy choice.

    You have to look at “screen” DR, which reflects pixel level DR, instead of “print” that takes into account downscaling using DxO’s proprietary algorithm. 

    So it’s actually 13.55EV for D850 and 13.45EV for Z6.


  18. 39 minutes ago, JurijTurnsek said:

    You misunderstand me. What is keeping Sony from making a 48mpx (12mpx output) sensor that does 120p with no crop. Who even cares about the additional 3mpx, unless there is some important reason behind this choice.

    Sony Semicon already has a 10MP sensor that does 4K 120p with no crop 

    33 minutes ago, toxotis70 said:

    maybe its because of EIS...it needs more room to do good electronic stabilization.

    There’s no EIS

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