androidlad

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.

X-T3/X-T30 already readout and supersample the sensor at 6K 50P.

Seriously for this kind of shoots, X-T3 would be a B-cam, the size and weight of a rig are just unrealistic for dynamic follow shots.

A-cam would be a GoPro and a drone.

2 hours ago, Attila Bakos said:

I was hoping for Classic Neg

It'll come with V4 firmware at a later date.

New firmware announcement for X-T3:

■ Firmware update for the X-T3, due to be released in December 2019
Firmware version: FUJIFILM X-T3（Ver. 3.10）

Gimbal / Drone support***

This firmware adds the following function to complement the current support for still image shooting via USB communications:

Starting and ending video recording

Adjusting exposure settings (exposure mode, shutter speed, aperture, ISO sensitivity, exposure compensation) for video recording

Making manual focus adjustments

■ Firmware update for the X-T3, due to be released in January 2020
Firmware version: FUJIFILM X-T3（Ver. 3.20）

1. Enhanced autofocus

Improving the tracking performance of the eye AF frame, making it easier to attain accurate autofocus on the eyes

Improving face-detection performance when there are faces of different sizes within the same frame, making it easier to attain accurate autofocus

Improving autofocus capability on a foreground subject even when there is a mixture of foreground and background subjects within a frame, causing the foreground subject to go out of focus, e.g. when shooting flowers against a busy background

2. Capability to save up to 9,999 pictures in each folder

Until now, the number of pictures that can be saved in a folder on an SD card was limited to 999. This update will raise the limit by ten times to 9,999 pictures.

You can use Interframe Noise Reduction, since you're not going to film crazy action shots, it'll be very effective in controlling noise.

18 minutes ago, cpc said:

Focal lengths have no "perspective". There is no such thing as "50mm perspective", so you can't maintain this with a 50mm lens on a bigger sensor. Relative sizes of objects depend entirely on the position of the camera. Closer viewpoints will exaggerate perspective and more distant viewpoints will flatten perspective. Hence, some people may say that wider lenses have stronger perspective, which is incorrect. What they actually mean is that with a wide lens you move forward for a similar similar object size in the frame (compared to a longer lens), and this movement forward decreases the camera-subject distance and exaggerates perspective distortion.

Surely everyone has seen one of these:

Correct.

But if that’s relevant to what we are discussing here, all films should be shot with just one super wide focal length and just crop in post for different shot sizes.

From a pure technical point of view, 50% of the 65mm mojo is the shift in relationship between FOV and perspective - a 50mm lens mounted on Alexa 65 has a wider 35mm FOV but maintains a 50mm perspective - often described as some kind of grandness or panoramic quality: capturing more without the wide angle look.

The other 50% is of course the shallower DOF.

CMOS sensors generally perform the best in daylight balanced source.

There are quite a few high quality high CRI LED lights available, like this:

https://store.yujiintl.com/collections/high-cri-led-lights/products/led-corn-bulb-for-photography-and-studio-lighting

Classic Neg please

You're clearly using the wrong LUT.

The latest official Canon Log LUT pack from Canon website is "canon-lut-201902.zip" and most of them are tagged version 1.1 or 1.2.

And if you use "CanonLog-to-BT.709_BT.709", yes it'll clip like that, this one does not have any tone-mapping.

Use the one with "BT.709_WideDR".

Based on my analysis, 4K DNG RAW is oversampled from full 6K readout, this is possible because this so-called "RAW" is already in-camera debayered RGB format.

Sigma fp vs Panasonic S1 eye AF comparison:

4 hours ago, Eric Calabros said:

CFL had actually broader spectrum, but the spike was in green region.

You see the filtered light, not the light of backlit itself.

What kye means is that if camera sensor doesn't see the gaps/low intensities in monitor white light spectrum, so it doesn't matter. What really matters is the regions it can see. And thats kind of right, our pixel sensitivity is also a combination of three relatively sharp spikes. 

BS.

In terms of colour spectrum, the LCD panel has no effect on the backlight, the panel is literally millions of tiny windows that open or close to modulate the backlight.

CFL produces some IR and UV, yes it's broader but they are not in the visible spectrum, and the spikes are all over its SPD.

Because our eyes can interpolate colours in between sharp RGB spikes and camera sensor can't, that's a big problem and it does matter.

2 hours ago, no_connection said:

I'm confused, you quote me with a Nah then say exactly what I said.

I don't think anyone used RGB backlight, at least I don't think I saw one. R G and B components comes from the filtered array of pixels, you are going to have that no matter what. But old LCD ( as in old) had more washed out colors so therefore have larger humps instead of spikes, so "better" CRI but are still limited by the CCT driving it.

For the very reason that you need very saturated primaries to produce a wide gamut it will not have a full spectrum once it comes out the front end so I doubt they would waste power to produce it. That is why Quantom dot exist to create very controlled spikes that fit together with the RGB filters. Or rather R G and B Quantum dot cells.

"Camera sees RGB so it might be fine" - Nah it's not fine.

HP, TVLogic and Sony all used RGB LED backlight for their high end products at some point. This is the backlight module with individual RGB LED modules, not RGB pixels in the panel!

Old LCD typically have CCFL backlight, it's even more spikey and discontinuous than LED.

Quantum dot produces even sharper RGB spikes so non of these are suitable as high quality lighting sources.

25 minutes ago, no_connection said:

No it would have very bad CRI since it's literally a R G and B source fit together in a very tight space. Granted a camera sees R G and B so it might be fine.
Light from a LCD is also polarized which can be useful.

Don't be afraid to use low CRI lights if they give what you are after. And work around the times when they are not.

*edit*

I would theorize that older LCD might have better CRI since they are more washed out and probably covers more of the spectrum when white, on the flipside quantum dot probably is worse due to more saturated and narrow R G and B components.

Nah.

RGB LED backlight was once a very high-end technology reserved only for reference monitors, characterised by three distinct spike in its spectral power distribution. It doesn't have a good CRI due to its discontinuous spectrum, as it's intended to "trick" the human eye which is a tristimulus system (only respond to R, G, B and interpolate everything in between).

High CRI/TLCI requires full spectrum light source and some high end white LED backlight can indeed provide.

38 minutes ago, Django said:

To each their own, I recently bought a C200 not expecting to use RAW that much but with the very simple workflow, USB-C speed & storage space coming way down, I'm finding myself shooting RAW as much as possible. It's kind of hard to go back to 8-bit after 10-bit but even harder once you start messing with 12-bit RAW. 

HEIC is also very interesting for stills giving basically 10-bit 4:2:2 vs 8-bit 4:2:0 for JPGs. 

Most cameras produce 8bit 4:2:2 jpeg files.

The sensor is FF yes, but they never said 4K is FF, and is unlikely.

Source says internal RAW video is 6K 12bit up to 30P.

Classic Neg will be added to X-T3/X-T30/GFX100.

Guess you all forgot these two threads:

HLG shifts 2/3 stop DR to the highlight compared to F-log due to the difference in ISO rating (1000 vs 640, it's NOT actual gain). Their underlying analog amplification are all ISO640.

7 minutes ago, chadandreo said:

Is there a noticeable difference in Dynamic Range and highlight roll-off between F-Log and HLG?

Also, is their a noticeable difference in noise since they use a different base ISO?

I have not seen a post that covers the first question.

There are a couple threads about your questions, easily searchable here.

A7 IV:

30 minutes ago, David Bowgett said:

Bear in mind though that a full-frame sensor has a 3:2 aspect ratio, so some of those vertical pixels will go unused when capturing 16:9 video. There probably is some slight oversampling going on, as the sensor's horizontal resolution is 4,240 pixels, but it'd only be in the region of a 10% oversample rather than 31%.

A7S/A7S II record 4K with 1:1 readout, therefore there's a 1.1x crop.

2 hours ago, KnightsFan said:

I don't know if I agree with that. The A7S and A7SII at 12MP had ~30ms rolling shutter, and the Fuji XT3 at 26MP has ~20ms. 5 years ago you'd be right, but now we really should expect lower RS and oversampling without heat issues. Maybe 26MP is more than necessary, but I think 8MP is much less than optimal. I don't know if it was strictly the lack of oversampling or what, but to be honest the false color on A7S looked pretty ugly to me. And I'm talking about the 4k downsample real world ones.

I think it's a question of how big many photons hit the photosensitive part. Every sensor has some amount of electronics and stuff on the front, blocking light from hitting the photosensitive part (BSI sensors have less, but some), and every sensor has color filters which absorb some light. So it depends on the sensor design. If you can increase the number of pixels without increasing the photosensitive area blocked, then noise performance should be very similar.

Modern BSI designs (Sony Semicon) virtually do not block any incident photons (100% fill factor), a 12MP FF sensor and 60MP FF sensor both receive the same amount of photons, it's just that the 60MP sensor has more readout noise.

On-chip colour-aware binning is more efficient and higher quality than oversampling when deriving 4K/2K from higher resolution sensors.

Again, don't use lights directly to fill shadow, it creates even more shadows!

Just use any high quality daylight balanced LEDs (panels or spot lights) to bounce off ceiling and walls for a wrap around soft light.