androidlad
-
Posts
1,213 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by androidlad
-
-
Short answer: no it will not, or shall we say, it does not ?
Long answer: Quad Bayer is a cost-effective compromise to boost low light performance by dropping resolution by 4 times. What if I tell you there are more sophisticated technologies to achieve unparalleled low light performance while still maintaining high resolution? We can have designs such as Deep Trench Isolation (DTI), Pyramid Surface Diffractor (PSD) and colour-aware ADC, they address crosstalk, QE and read noise which are key metrics for low light performance.
-
No.
I've confirmed with industry sources that the so-called 8K video is "AI upscaled" from regular 4K capture. Also the so-called "1920fps" slow-motion mode is also "AI interpolated" from 960fps.
-
36 minutes ago, giorgos said:
There is a fix if anyone else installed the "latest" firmware and notices errors.
I contacted Swit and, after asking me where did I find the latest firmware, they sent me a file to downgrade the firmware which is the second file @androidlad had attached in his post
No errors so far. Did you follow the instructions?
The new firmware has been released on Swit website: http://www.swit.cc/CM-55C-firmware.aspx
-
1 minute ago, BrunoCH said:
@webrunner5 thanks for these explanations.
It seems like
DR400 is a soft kneeDR100 a hard knee
and DR200, between both.I don’t know if it's true, but seems like with the quick tests I did. I have to do other tests.
DR400 is a 2 stop push from ISO160, that's why it starts with ISO640.
DR200 1 stop push from ISO160.
-
Mystery Box offers LUTs that correct BT.2020 matrix decoded as BT.709
-
56 minutes ago, BrunoCH said:
I think it's not a good idea to use Pro-Neg standart. The actual sensitivity is 640 ISO. All the values below are a software negative gain (decrease highlights). In LOG you get 2 more stops in dynamic range than all the other film simulation profiles.
It's not like that.
DR100 film simulations let you use base ISO160, this is the native ISO with a video gamma that limits dynamic range, but ProNeg Std is the flattest of all film simulations.
DR400 film simulations start at ISO640 and behave similarly to F-log, which actually expose at ISO160 and push shadow 2 stops. DR400 film simulations have similar DR with F-log (minor difference in roll-off), especially with highlights/shadow set to -2.
-
1000nit is barely enough and can still be difficult to see when the sun is hitting the screen directly, use a high quality deep sunhood.
Swit will release a 3000nit 7inch model CM-S75C that's about $450.
-
3 minutes ago, Attila Bakos said:
There is a matrix in the ITU-R BT.2020 specification that's different from BT.709 and BT.601. If that doesn't matter, then this whole topic is meaningless
Yes, doesn't matter for post-production. We use HLG as an alternative log profile.
BT.2020 matrix coefficients tag is required for HDR playback, or on-the-fly conversion for SDR playback.
This is why in Scratch, X-T3 HLG files are default blown-out (on an SDR display) because Scratch respects the tags. If we change the decoding parameter to BT.709 SDR, the images return to the flat look as seen on camera.
Premiere ignores the tags and decodes everything in BT.709, so HLG files have that flat look ready for grading.
-
4 minutes ago, Llaasseerr said:
The issue is that all of a sudden full levels on an internal clip is the same as video levels on an external clip (for F-log).
I just took another look at it and the issue is that if I set both the internal and external clips to full range, then I need to add the extra LUT twice to get it to match the full range luma levels of the ProRes clip.
These issues you are describing are hard to grasp without any visuals or actual samples.
-
1 hour ago, Llaasseerr said:
I've done some HLG tests with the caveat that I seem to be seeing this "video levels" interpretation issue with full range h.265s now in Resolve 16 (see my post above). So right now, my test is inconclusive even after rolling back to Resolve 15 to do a sanity check. However as a workaround I'm using the "full to legal" lut for now.
What I did notice is that the metadata tags for the internally recorded HLG are:
Color primaries : BT.2020
Transfer characteristics : HLG
Matrix coefficients : BT.2020 non-constantFor the externally recorded ProRes it's all BT.709 for those tags which is clearly incorrect. We weren't paying much attention to the Atomos setup so maybe there was a "HLG" switch on it that tells it to embed the correct metadata.
I had also used Editready to convert F-log clips, and it fixed the problem I'm reporting about the incorrect video levels interpretation of h.265. Something interesting though is that if I convert the HLG h.265 to ProRes using EditReady, it preserves the metadata tags. It means the converted HLG doesn't match the Atomos recorded HLG. However I feel the recorded HLG is interpreted incorrectly by Resolve because of its incorrect metadata. So the EditReady converted HLG is probably correct, and it matches the h.265 once I add the "full to legal" lut to the h.265.
In Resolve, data/video level is arbitrary really, it's easily selectable in "Levels" clip setting. There's no need to use a LUT for that.
Also it's not really a problem for external ProRes for HLG to contain all BT.709 tags. HLG/BT.2020 tags are required for instant HDR playback on end user devices, or for automatic HDR to SDR conversion. Doesn't matter for post-production. Alexa Log-C ProRes carry all BT.709 tags as well, ARRI has to put additional metadata field to say it's Log C.
-
3 hours ago, MrSMW said:
Cool, I think I will upgrade to one of those @androidlad as it's a more elegant solution.
The Swit, that's powered directly from the camera then? That would also cut down on a bit of weight (if the Swit with I presume internal battery is lighter than the Feelworld with external) and make for zero battery swaps on a full day shoot. Which would be great as one less thing to consider etc.
OK, external battery or direct charge from external battery pack. Research + coffee ?
Not sure it's worth a +200 upgrade at this time but a potential option there. Just bought a pair of Rode Wireless GO's and another OSMO Pocket so funds tight right now...
The Swit can be powered directly from a compatible power bank via micro USB (minimum 2A current, 5V voltage). There's no internal battery.
-
40 minutes ago, MrSMW said:
The following may be of use to some and is as follows...
I purchased an Anker PowerCore+ 26800 PD which I have attached to the XT3 via a smallrig clamp and cage plus using a Rode mini and a Feelworld monitor all sitting on a Sirui frestanding monopod.
Sigma 18-35mm f1.8 or Canon 50mm f1.8 via Fringer Pro for lenses.
The Rode mini will be replaced for the new Rode Wireless Go as soon as in stock as that seems like a no-brainer to me, but I digress...
Anyway, ran a power consumption test today ahead of my up and coming wedding season and after 4.5 hours continual running time (but not actually recording), can report the internal battery was indicating it still had 80% charge and the battery pack also 80% charge.
I'd expect this to be higher if actually recording and the body possibly slightly warmer than it's slightly warm state, but bodes well.
Pity I can't also charge the monitor, but it's actually fairly low consumption and I have 5 batteries for it anyway.
Smallrig is making a purpose-built holder for power banks: https://www.smallrig.com/smallrig-holder-for-portable-power-banks-bub2336.html
If you replace your monitor with Swit CM-55C, you can power it via micro USB.
-
4 hours ago, andrew_dotdot said:
I can see a/the use case. When filming in F-Log, the minimum ISO is 640 - that's a lot of light going in. So my X-T3 was even overexposing at f2.8 when I was shooting an interview indoors using a pretty basic soft box with a giant single compact fluorescent bulb. In that setting the X-T3 was the B camera to my 5D3 shooting at ISO 200. I couldn't turn down that particular light even if I wanted to, and I didn't want to stop down the X-T3 and lose the blur of my background. I could see getting an internal ND filter that makes the two cameras "match" in terms of light-gathering ability at f2.8 ISO 640 vs ISO 200 on the Canon, especially if it's optically superior to using on-the-front filters.
What would you do in a case like the picture below?
1) Use less light?
2) Switch the X-T3 out of F-Log and use another profile?
3) Use an internal (or external) ND filter?
4) Stop down from f2.8?
Such trade-offs! Wow.
Replace the fluorescent bulb with either Halogen or high CRI LED ones that are dimmable. Even the highest quality fluorescent lights have spiky and discontinuous spectrum. And most importantly they are not dimmable.
When illuminating faces, light quality in terms of smooth and continuous spectrum is the key.
-
Just now, Andrew Reid said:
Uh oh.
Nothing of concern here.
Premiere does that to Alexa Log C footage as well, it automatically applies a BT.709 LUT.
It's just now started doing it to HLG footage. Can be easily disabled with two clicks.
-
It's the automatic HLG to SDR conversion triggered by metadata.
Right click the clip(s), "Disable Masterclip Effect"
-
Controlling camera parameters and most importantly, pulling focus on Fuji native lenses via USB, require some complicated "reverse engineering".
Interestingly, a Timelapse tool VIEW did it a few months ago:
It allows full control over most Fuji X cameras.
-
DJI "officially announced" in a forum post by staff account that Ronin S will support X-T3 via a future firmware update.
Regarding X-T2 and X-H1, they are "not sure".
-
@Attila Bakos Fujifilm Tokyo has responded to the use of BT.601 tag in internally recorded files:
QuoteMatrix coefficient is BT.601 for compatibility with existing third party decoders.
¯\_(ツ)_/¯
-
17 hours ago, Attila Bakos said:
Is there a changelog somewhere?
1. Signal format displays 59.94 instead of 60.
2. Default color temperature changed to “Native”
3. Signal format display and battery info display can be individually turned on/off.
4. User LUT supports 33x33x33 format upload
5. Add “Saturation” adjustment in calibration menu.
6. Fixed other bugs. Tool: SD card, FAT32 -
48 minutes ago, Towd said:
4K 90P
I dunno. This isn't what I was hoping for in a next generation sensor. Even with triple the read out speed, I think I'm more interested in a lower megapixel version. For me it's less about the frame rates, and more to do with managing rolling shutter though, so maybe Sony will surprise there.
In the end though this will be great for stills while also recording good video, so I'm sure it'll make a lot of people happy.
If you find the specs for the lower resolution version, I'd be interested in seeing that.
It has many lower resolution versions - within itself, by binning (2x2, 3x3, 4x4, 6x6)
-
On 4/14/2019 at 11:43 AM, androidlad said:
All readout drive modes detailed here:
Let's all marvel at this particular piece of cutting edge engineering. It's the one sensor to rule them all.
There's 8K 30P, 6K 60P, 4K 90P, 3K 120P, 2K 240P.
Ultra high sensitivity RGB binning mode is available for 4K up to 60P and 2K up to 180P.
16bit ADC readout is available for video framerates for the first time.
-
@BrunoCH New firmware for CM-55C released.
Copy these two files to the root directory in a FAT32 formatted SD card, turn on unit and follow instructions.
-
1 hour ago, sanveer said:
Not really earth shattering Dynamic Range for a Full Frame Sensor, especially considering that the ISO performance is also rather mediocre.
Is this sensor like 2 generations behind Sony?
-
26 minutes ago, Danyyyel said:
I think the difference is that most of the electronics can be much smaller, thus leaving more space to the actual photo sensitive cells.
23 minutes ago, webrunner5 said:Yeah you can only cram so much stuff on a sensor. The smaller the stuff the more you can do.
No, the lithography node (300nm, 90nm) refers to ADC circuitry, it has nothing to do with the photodiode and does not affect photosensitive area no matter how big or small the number is.
It's the reason why Sony has achieved 16bit ADC on recent generation sensors.
12 minutes ago, Snowbro said:I am betting it will have around 13 stops of DR
The datasheet actually tells you how much DR it has.
Using the formula 20/6 x Log10(FWC/RMS)
We can calculate that at ISO100 it has a pixel-level EDR of 12EV.
Fuji X-T3 and X-T4 discussion
In: Cameras
Posted
Recent correspondence from Metabones: