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androidlad

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Everything posted by androidlad

  1. 2.91um pixel architecture, 100MP @ 10fps, 6K video using 12bit ADC with on-chip binning/line-skipping. 4K RGB 4:4:4 video with on-chip colour-aware binning.
  2. Looks like the sensor is IMX271. They could have gone the more feature-rich IMX571 in X-T3, but I suspect they couldn't meet the higher MOQ.
  3. See my F-Log/HLG comparison post, HLG already looks visibly darker with matching exposure, it's impossible for your HLG shot to be 2 stops underexposed. I suspect that you got it mixed up, f/4 for HLG and f/8 for F-log. FCPX and QT only apply a BT.2020 > BT.709 gamut mapping to HLG material, the gamma curve is untouched. I was able to recreate your FCPX look by applying a BT.2020 gamut to Alexa LUT (gamma passthrough): Since HLG is an HDR curve, exposing it as if it's SDR won't make full use of it's optimised distribution of DR. You are also looking at the images on SDR displays with no real tone-mapping (as mentioned above, FCPX/QT just make it more saturated). I shoot HLG strict with external monitor/recorder and load the BT.2100 to Alexa LUT to preview and assist in exposing correctly. See the difference between the gamma curves and the push in shadow/midtone range for better highlight DR and roll-off:
  4. Thanks for the link. I noticed that WB was set to auto for both shots, so we don't really know what kelvin and tint the camera decided to use. Are you sure F-log was f/4 and HLG was f/8? Because when applying F-log/BT.2100 to Alexa LUT, HLG shot still looks very overexposed. It's really important to expose HLG correctly because it maps 18% grey at a low 22IRE. F-Log to Alexa: BT.2100 to Alexa:
  5. What bitrate did you use? And LUTs? If you used Premiere/Resolve, did you apply the colour shift correction on F-log footage? If you shot at base ISO 640/1000, the difference should be 2/3 stop, not 2 full stop. HLG does have a cooler WB across the board.
  6. I suspect that he didn't check "Use Maximum Render Quality" and "Render at Maximum Depth" in Premiere/Media Encoder.
  7. http://www.fujifilm.com/contact/ Either your own country, or Tokyo HQ at the bottom.
  8. No there's no 48fps option, 50fps is just 50fps. But Fuji offers 1/96s shutter speed. I've requested Fuji to add 48fps option, if you want it too, contact them and request it.
  9. I meant altering the tags to all BT.709 as well as removing the full range tag (or deliberately changing it to limited), because I heard Premiere Pro handles full range tagged files as yuvj420p format and decode using the wrong matrix regardless of resolution. Could you experiment with that if you have time? Thanks.
  10. Interesting. In Premiere Pro, that LUT gives a perfect visual match. Do you think altering the tags on H.264/H.265 files could be achieved without transcoding? And in batch?
  11. E-mount flange distance is 18mm while X-mount is 17.7mm. A 0.3mm thin speedbooster would require alien technology.
  12. Check your laptop GPU driver if it's the latest.
  13. Not quite. For storytelling purposes, you'd want the highlights to hold as much detail as possible while rolling off smoothly into clipped white. In your shot the roll-off is indeed nice, well done. But with a higher DR camera, you'd be able to see what's outside the window, so there'd be some context for this scene.
  14. Because X-T2 had NR at 0 and can't be changed to -4, while X-T3 was tested at -4. I'm pretty sure if we crank up the NR to +4 and also turn on Interframe NR, the DR would easily reach 13.
  15. Exactly, CMOS sensors respond linearly to light, so doubling light intensity does mean doubling the bit value. The linear factor between scene intensity and bit value is 1. Because in a photodiode, incident photons free up the same amount of electrons. This is why extending DR is best achieved by employing multiple ADCs with multiple amplifications, so there's an artificial "non-linearity".
  16. It will definitely be higher than A7S II due to significantly lower conversion noise and better quantum efficiency.
  17. Most likely it's because the UHS-1 95M card couldn't sustain 400Mbps writes for long duration. X-T3 has huge buffer so for slower cards, short takes are fine, but it'd get unpredictable with longer takes.
  18. I like your choice of word "SEEMS". Most of his video has little to no reference video, I watch them for entertainment. In this particular video, his testing method (NOT methodology) was flawed from the outset, how do you know the dynamic range "chart" he put up on a screen was exactly 1EV apart between the steps? There's a reason for Xyla 20-stop Dynamic Range Chart to cost $4K. Next, for the deep shadow stops, how much noise is acceptable? There's no way for him to quantify without using professional tools such as IMATEST. This is why I only reference Cinema5D's DR testing results: https://www.cinema5d.com/the-cinema5d-camera-lab-is-back-dynamic-range-tests/ They haven't done A7 III, but I can say it won't be higher than 12.
  19. For stills, hell yeah. At 13.85EV pixel-level DR it even beats "medium format" X1D.
  20. If you would like dual recording feature, request it through Fuji global website http://www.fujifilm.com/contact/
  21. androidlad

    Leica Q2 (DCI4K)

    Yes it's called S1R.
  22. Do you have X-T3 with Ninja V? Would be interesting to see a comparison between internal H.265 HLG and external ProRes HLG. HLG metadata seems to be precise and complete.
  23. Yeah X-T2/T3 and X-H1 do provide mic plug-in power.
  24. Sensors work in linear, even if the analog components (photosites) are capable of 10000000 stops, a single 12bit ADC would only be able to produce max 12 stops in digital signal. Sony's IMX490 is capable of 120dB DR, that's achieved by three 10bit ADC working simultaneously. https://www.dpreview.com/articles/4653441881/bit-depth-is-about-dynamic-range-not-the-number-of-colors-you-get-to-capture Have a read and educate yourselves gentlemen.
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