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Everything posted by androidlad

  1. Sounds like the issue reported in the description of this video:
  2. What about "4K HDMI STANDBY QUALITY"?
  3. Check your HDMI output resolution setting and standby resolution is 4K not HD.
  4. XS Max has the best colour accuracy of all phones to date, period. The white point is dead on at 6500K. Colour/greyscale DeltaE are all below 3. The reason you think there's a slight yellow tint is because you're so used to seeing higher white point at around 7500K. Is your Samsung Galaxy display setting on "Adaptive" or any of the "AMOLED" mode? Only "Basic" gives you standard sRGB colours and most importantly D65 white point. I'm sure the S10+ demo unit also had display settings with maxed out saturation.
  5. No, HDR10+ added dynamic metadata. HDR10 can only do static metadata for tone mapping.
  6. Great! I’ve sent many feature requests and bug reports, using many names and email addresses 😝 But it’s better to contact your Fuji regional websites, Tokyo headquarter seems to only respond to messages written in Japanese.
  7. Try play both files with VLC and/or MPV.
  8. The files themselves are the same. The difference you are seeing is because of the Mac QuickTime gamma/colour shift. Put them in Premiere Pro and compare.
  9. WIth X-T3, the app records in 1080p. And there's an upcoming update for the app, maybe things could change. Fuji only has Eterna LUT, BT.709 LUT and a pure gamut transform LUT. The rest of the film sims, you'll have to use non-official ones. They aren't bad, they are standard transforms. The BT.709 WDR one is useful when a neutral image is required. Resolve's CST does not offer any roll-off so sometimes it may look harsh.
  10. Fuji 2.5mm remote release pin out-
  11. Yeah. There's no actual 16bit RAW stills cameras though, some of the medium format cameras output "16bit" but only using 14bit ADC, like all other cameras. Only recent Sony gen 4 gen 5 sensors (IMX461, IMX571) offer 16bit option, Fujifilm did not use it and are not going to use it for GFX100 mostly because the picture quality improvement is negligible.
  12. S1 uses IMX410, S1R uses a new TowerJazz sensor with evolved "Smart FSI". In video mode, sensor readout drive is 12bit ADC. There's no intentional capping, it's just current technological limits.
  13. 10bit log can efficiently store up to 16 stops of dynamic range. Panasonic is totally a codec expert, they developed AVC codec family based on H.264 (AVC-Intra, AVC-Ultra) for broadcast use.
  14. https://www.newsshooter.com/2019/02/18/polarpro-monitor-mount-for-the-dji-ronin-s/
  15. X-T2/X-H1 120fps is derived from line-skipping the full sensor, moire/aliasing/noise are severe, the video above (and a few similar ones) use heavy grain and aged film effect to cleverly mask those image artifacts. It's a nice workaround but has limited use. X-T3/X-T30 120fps improved considerably by incorporating weighted pixel-binning and reduced line-skipping (at the expense of 1.29x crop).
  16. Report this issue to Nikon and see if their engineer can replicate this https://www.nikonusa.com/en/about-nikon/contact-us.page
  17. It's Nikon proprietary, non-standard DC connector
  18. Your vintage lens is too soft to trigger edge detection algorithm. Try setting "sharpness" to +4, stopping down and shoot something with fine texture.
  19. GH5s outputs maximum 60fps in FHD and 4K.
  20. It's unlikely to go beyond 12 stops in V-log, this is a stills-oriented camera that operate using 12bit ADC in video mode. Heavy NR also tricks the image analysis software for cleaner shadows (more absolute DR in shadow but not very usable).
  21. To get beyond 12 stops DR the sensor ADC has to be at least 14bit or dual ADC readout. The power consumption and heat management are simply not feasible in a mirrorless stills camera form factor.
  22. Portkeys/IKAN has one, brighter at 1500nit, similar feature set and quite a bit cheaper at $279 https://suikui.myshopify.com/products/lh5-hdr-5-1500nit-4k-signal-support-touch-screen-1920-x-1080-hdmi-on-camera-monitor-with-hdr
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