androidlad

1 hour ago, bytebuster said:

3. Which lens would u guys recommend for low light photography and videography? I am worried the f2s won’t cut it for night time videography 

You can get EF mount f/1.4 primes and Speedbooster them.

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?

https://cinematography.net/CineRant/2018/07/30/personal-comments-on-the-2018-cml-camera-evaluations/

https://www.myairbridge.com/en/#!/folder/XDn2Yx7xLBAaLh0Zbq415jcXW5hOa9SM

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?

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.

1 hour ago, mercer said:

Merry Christmas!!!

I'm thinking about renting an S1H in the New Year and after looking at the specs, I was wondering...

Can DCI 4K 10-Bit VFR be used in in 24hz mode?

And can True 24p be used in 4K anamorphic mode?

If my sources are correct, Olympus will soon announce a 41MP MFT mirrorless camera using a variant of this sensor:

There will be 164MP high-res mode and ultra-low ISO25 mode.

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.

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.

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:

1 hour ago, Julien416 said:

Hi, 

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.

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

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.

53 minutes ago, abehalpert said:

Sonyalpharumors just reiterated that they leaked this sensor in July...

I leaked before them, in the A7S III thread buried somewhere.

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

3 minutes ago, JurijTurnsek said:

Indeed, but why? What good are the extra 3mpx in no-crop mode? I really hope they implement some killer EIS, since Sony has been lagging in that regard.

It has to be 1:1 readout for speed, it can't supersample 4K in 120P.

4 hours ago, JurijTurnsek said:

Paper says Quad Bayer pixels, yet there are only 15mpx of them? Seems weird. Shouldn't it be 4x as many pixels? Also, you claimed that this tech was licensed only to mobile phone chips?

60MP with 2 x 2 binned bayer = 15MP

2 hours ago, JurijTurnsek said:

Also, why increase the mpx count to 15  if you are going to crop to 12mpx area for 120 fps? Hopefully, some kind of incredible EIS is being implemented?

15mp 1:1 4K readout = 1.3x crop.

41 minutes ago, Anaconda_ said:

I know how to get my shutter to 1/50, but is there a way to have 1/50 as default shutter in Video mode, but complete Aperture priority for stills?

I'd like to be able to flick between stills and video, but 1/50 is a little too slow for stills. Can I lock the SS in for certain modes?

Edit:

I realised I can use the T option on the shutter dial to preset shutter speeds.

Turn on "Movie Silent Control".

7 hours ago, Video Hummus said:

Oh shit. Prepare for all the YouTube videos with the word “finally” and “beast” in all caps!

Looks like it does 4K 60p.

Allegedly 4K 120P with 1.3x crop.

We all know what it is.

15 hours ago, Rinad Amir said:

Ohh Takata belts i remember them days getting pulled by gards and asking why in the world id have them instead of ordinary seatbelets on my 9 

You must be based in Dublin

So am I.

Get highlight -2 and DR400 for the best highlight roll-off.

27 minutes ago, IronFilm said:

1" 6K??
4K 120fps??

Wow

1 minute ago, thebrothersthre3 said:

This is what DJI should be offering IMHO, why not with the smaller sensor sizes. 

It's only possible because of this newly released stacked sensor, IMX383.

However, all those relevant readout modes are using 10bit ADC, which would seriously compromise IQ.

This is what the IMX383 sensor is capable of:

https://www.sony-semicon.co.jp/products/common/pdf/IMX383-AAQK_Flyer.pdf

https://dronedj.com/2019/11/26/autel-evo-2-specs-drone-with-8k-6k-with-1-inch-sensor-and-thermal-options/

The three user-changeable gimbal modules for the Autel Evo 2 are:

586 gimbal: provides an 8K video camera that will take still photos of up to 48MP and records 8K video at 25 fps, 6K at 30 fps, or 4K at 30 or 60 fps with a bit rate of up to 120 Mbps.

383 gimbal: features an Ultra-HD camera with a 1-inch sensor for 6K video and still photos of up to 20MP. It will record video up to 5.5K at 60fps or 4K video at 120 fps and has an adjustable lens aperture from f/2.8 to f/11.

Dual-sensor gimbal: provides an infrared camera that takes infrared images of 640 x 512 or 320 x 256 and records video at 720p at 30 fps in dual image mode. It has the same 8K video camera as described above.

I was told that 10bit H.265/HEVC codec will be available at official launch.

But looking at some raw footage, it just looks oversharpened and mushy with aggressive NR. There are some of the most brilliant engineers on the dev team but adding an imaging expert would definitely be able to take them to the next level.

20 minutes ago, Simon Young said:

I have used the XT3 and the Z6 extensively and even though I ended up selling the former I still miss it for the sheer video quality it puts out. I think it definitely has the Z6 beat in that regard, the image is simply more pleasing, especially in 10bit, and the rolling shutter in 4K is less noticeable than on the Nikon.

But then again I kept the Z6, and it’s a much nicer stills camera, better past 3200 iso, feels a lot more robust in the hands, easier to switch between video and stills, has very useable autofocus and a very good IBIS.

I’ve kept some Fuji glass though...

 

Non-crop 4K on X-T3 and Z6 has the same rolling shutter at around 21ms.