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androidlad

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Posts posted by androidlad

  1. pic_01.jpg

    https://www.fujifilm.com/news/n190912_01.html

    Notable features:

    New 24MP Bayer sensor, IMX271: https://www.sony-semicon.co.jp/products_en/IS/sensor2/img/products/IMX271AQR_Flyer.pdf

    4K 30P supersampled from 6K.

    3.5" 1280 x 720 1000nit fully articulated touch screen.

    Full sensor high speed phase-detection AF, faster and more precise than X-T3/X-T30!

    There will be firmware updates for X-T3/X-T30 to further refine their AF algorithm, among other features and fixes.

  2. 5 minutes ago, tupp said:

    Ha, ha!  Likewise, I've explained many times that dynamic range and bit depth are two different and independent properties.  I have also given practical, existing examples of cameras that offer variable bit depth while maintaining the same dynamic range -- the bit depth varies independently from the dynamic range.

    In addition, there exist cameras in which one can change the effective dynamic range while maintaining the same bit depth.

    It is a misguided notion that CMOS sensors (or any other types of digital sensors) have some sort of absolute linear relationship between dynamic range and bit depth.  12 bit ≠12 EV ≠ 12 stops DR.

    The mapping of bit depth increments is independent from the bit depth and also independent from the DR.  You can map 8-bit logarithmically, linearly or any other way -- regardless of the DR

    Me too!

    You are talking about encoding bitdepth, 8bit H.264, 10bit ProRes etc.

    Sensor ADC readout precision dictates the upper limit of the total DR the sensor can output. Do you know what ADC is? It's absolutely linear.

    12bit ADC theoretically offers 12 stops maximum DR, and BMPC6K does 11.8 in lab test.

    10bit ADC = max 10 stops, as demonstrated by the noisy shadows in ZCAM E2 4K 120p footage.

    Alexa uses dual 14bit ADCs, it's one of the reasons why it's capable of 14 stops of DR (then stored logarithmically in 10bit ProRes)

    Most stills cameras use 14bit ADC for stills and that's why A7 III achieves 13.9 stops DR in stills mode.

    Of course the raw stream can be denoised to extend the DR below neutral grey, but in its raw state, ADC precision dictates the max DR a sensor is capable of.

     

  3. 11 minutes ago, tupp said:

    Dynamic range and bit depth are two different and independent properties.

     

    You can have a 30-stop dynamic range mapped to 8-bit.  Likewise, you can have a 3-stop dynamic range mapped to 32-bit.

    Ha, I've explained many times, current commercial CMOS sensors behave linearly, and linear 12bit = 12EV = 12 stops of DR.

    Yes you can store unlimited DR in 8bit, that's called logarithmic encoding.

  4. 38 minutes ago, DBounce said:

    This is interesting, indeed. I'm starting to feel like it's time for a refresh and "Large Format" would definite be an interesting addition. I hope they go the Sigma route to allow for cooling, and ditch the SD cards for CFExpress. Give us a bigger monitor. Three inches simply doesn't cut it. How about 4" or 5"? Make it tilty flip like Panasonic's S1H. And give it 15 stops of usable DR. Lastly, enough with the dual ISO... can we include real HDR? where two exposures are captured at once. The way Sony originally designed the sensor to work?

    15 stops DR? With current Sony sensors, 12bit ADC readout maxes out at 12 stops of DR.

    With the Dual Gain HDR, it's a Digital Overlap Drive with double rolling shutter and half the framerates. Not very practical for cinematic work. But Fujifilm has already kind of implemented this DOL drive in X-T3/30 and GFX100, with the shutter speed slower than frame rate feature.

  5. On 8/29/2019 at 5:18 PM, androidlad said:

    As you may be aware, Fujifilm has registered three new cameras:

    FF190001

    FF190002 – X-Pro3

    FF190003

    One of them is a 44 x 33 large format video centric camera with 4K x 3K RGB output.

     

    Fujifilm4.jpg

    Expect a relevant announcement at IBC later this month.

    Readout speed is believed to be ultra fast at < 12ms.

  6. 13 minutes ago, Andrew Reid said:

    What sort of anamorphic lenses would cover 44x33 sensor? Answer: None of them.

    They are nearly all S35. Very few medium format anamorphic lenses out there... maybe for VistaVision somewhere in Hollywood?

    That's why the S1H anamorphic mode is only S35

    How do we know the slides are from that of a new cam, and not just the GFX 100 (as it's the same sensor)?

    There are quite a few large format anamorphic lenses for Alexa 65 that fit GFX.

    It’s a new cam because it’s a GFX with X-Trans IV CFA.

  7. 7 minutes ago, keessie65 said:

    Finally also Fuji in Anamorphic mode. I am using mostly anamorphic lenses on my X-T3. Any idea if this will be in APS-c as well?

     

    Would be great to implement a 3 x 3 colour aware binning on X-T3 for 2080 x 1386 RGB, but I think it’s unlikely because colour aware ADC is introduced in 3.76um gen 2 sensors (IMX461XTK)

  8. 8 hours ago, BrunoCH said:

    A $ 10,000 GFX100V?

    3882 is enough for 4KUHD not for 4KDCI.

    What’s this solution? A binning picture with moiré and aliasing at 444 color resolution? 

     

    It’s an anamorphic mode.

    And due to a 3x3 colour aware binning, it’s completely free of moire/aliasing, also with drastically increased sensitivity. Kinda similar to those 48mp > 12mp smartphone sensors but much much more advanced.

  9. 1 hour ago, Andrew Reid said:

    What was to stop Sony using their own Fuji X-T3 sensor in the A6600 and at least make it compete?

    Or was the sensor a Samsung part after all?

    Is Sony really telling APS-C users in 2019 that they don't quite have the technology to do 4K/60p or reduced rolling shutter on a crop sensor? No 10bit?

    Honestly buying a 2016 cam in 2019 just seems a bit of a waste of time.

    Sony Professional Video division negotiated with Sony Alpha to reserve IMX571 for its future pro camcorder products.

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