androidlad

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.

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.