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androidlad

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Posts posted by androidlad

  1. 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.

  2. 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.

     

  3. 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.

  4. 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.

  5. 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.

  6. 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.

  7. 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 ?

  8. Expect these to be officially announced next week:

    Canon 1D X Mark III

    715462219_1DXIII(7).thumb.jpg.ded3ff89b9d2118a1a14f099dce9e435.jpg


    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

    EMxAmnQUUAAJMYO.thumb.jpg.fd8a1c6a40fdc5f0b66990dee703ba54.jpg

  9. 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:

    http://colorizer.net/index.php?op=technical

  10. 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.

  11. 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.

  12. 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.

  13. 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.

     

     

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