androidlad

40 minutes ago, Otago said:

I agree, it's present in both of them when it's in focus. 

I think the solution is to shoot 4K, which is downsampled from the 6K and won't show any of those artefacts ( if it's been done well and there seems to be no evidence it's not ) and then downsample again to 1080 when you are editing. You could also try a softening filter as a form of OLPF if 1080 in camera is necessary. 

Can you tell from it being inconsistent between the horizontal and vertical what they are doing with line skipping vs binning ? Do they have to use what the sensor provides or can customers make their own version by changing the microcode on the chip ? Do you know if the sensor control unit is addressable in anyway ? 

You can run a Fast Fourier Transform using Matlab with a high detail test scene to determine the actual sampled resolution.

On IMX410, it's usually horizontal binning and vertical line-skipping. IMX5XX added pixel-weighted binning which improved quality a little bit.

To save R&D effort and cost, they usually use preset readout drive modes.

20 minutes ago, andrew_dotdot said:

Zooming = uneven exposure. Is this a thing with the X-T3?  --> So, I'm filming with my Fuji 18-55mm f2.8-4.0 lens, with the aperture locked at 4.0, ISO locked down, shutter speed 1/50th...

 

What I expect: Since f4 should be available through the whole zoom range, I'd expect the exposure to stay the same through the whole zoom.

What I see: Zooming in, it slowly gets darker, then snaps back to lighter three times on the way in. And vice-versa on the way out.  

 

Anybody know a way to avoid this or a workaround?

If you search this forum, this questions has been answered a few times.

The abrupt exposure shifts are due to aperture changes designed to facilitate movement of lens elements during zooming.

You left out a key piece of info - they were shot in 1080p60.

Non-crop 1080p on all DSLR/mirrorless cameras is derived from pixel-binning, or line-skipping or a combination of both.

The artifacts you are seeing is moire and aliasing as a result from pixel-binning and line-skipping, this is very common and completely normal, it's particularly severe on S1 due to the lack of an OLPF.

There's 100Mbps with HEVC for 4K and 2.7K on the Hero 8.

More of an incremental update, some interesting accessories though.

4 hours ago, sanveer said:

I saw this too, yesterday or the day before.  But, Curiously, there is very little or insufficient  information regarding the drone, except the press release. The only footage seems to be the timelapse, and that too provides no indication of anything. Also, how large is this drone. Is it even pocketable. Does it fold quickly and small? 

There's a review here with some sample footage:

1 hour ago, Snowbro said:

They still havent updated their shit app to support the S10, a major flagship phone. It's going to be a year soon, I couldn't even fly the drone without it restarting my phone mid-flight.. now they increased their price $230 ?. They expect a raise after getting extremely lazy, so many threads of people complaining since March (they saw and replied they are working on it..). It used to only be a very short period of time until they supported new devices. Then when you fix the barrel distortion, it actually decreases image quality quite a bit in testing. 

They really need some competition.

Competition is already here: https://***URL removed***/news/6887022560/yuneec-announces-typhoon-h3-drone-co-engineered-with-leica

A more "mellow" 8K m43 sensor, GH5R?

30 minutes ago, Attila Bakos said:

Do we know anything about the firmware updates? Will the X-T3 get this new film simulation?

Edit: nevermind, just saw this picture:
 

There will be a separate announcement for the firmware updates in more detail.

Fujifilm X Summit live streaming now:

Lots of good news.

2 minutes ago, keessie65 said:

If I google, than I find more about this. also here at this forum. Never had problems before ... I think. Solution is not there at this moment as far as I 'google'. Unfortunatelly.

Solution is to dump Premiere CC.

It's been discussed a few times before.

The HLG flag in ProRes file automatically triggers Premiere Pro CC to apply an HDR to SDR conversion.

DJI has released a control cable for Ronin SC that allows the gimbal to trigger video record and autofocus on compatible Fujifilm cameras:

https://store.dji.com/product/ronin-sc-rss-control-cable-for-fujifilm

Good DR and highlight roll off, but the saturation roll off is the biggest giveaway of the video look (grass/leaves outside the window in sunlight remains intense green).

New firmware announcement on 20th September during Fujifilm X Summit in Shibuya, Tokyo.

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.

1 hour ago, thephoenix said:

new fw 3.01 https://www.fujifilm.com/support/digital_cameras/software/firmware/x/xt3/index.html

doesn't change much, only fixes "The phenomenon is fixed that in rare cases, the message of “TURN OFF THE CAMERA AND TURN ON AGAIN” can appear in the drive mode of “S” when you repeatedly and rapidly take photos in a short time"

 

There will be a major feature update to follow, be patient ?

From this Irish based distributor website: https://www.ebdn-partners.eu/

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.

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.

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.

If you visit this link:

https://www.sony.com/electronics/interchangeable-lens-cameras/ilce-7sm2

and change the last bit of the URL "ilce-7sm2" to "ilce-7sm3", it redirects to a specific page. But it you change it to anything else, including "ilce-7sm4", it just displays a generic 404 page. Suggesting that "ilce-7sm3" URL is already reserved.