androidlad

72Mbps in HEVC is the same as 72Mbps in H.264. That 50% bitrate saving marketing BS only applies to extremely compressed materials for streaming.

We'll find out on Feb 7.

The 4K 1.18x crop only happens when you use those two modes with different output (F-log & Film sim).

Dynamic range is similar. F-log allocates more bits below middle grey compared to Slog2, it behaves similar to Slog3. Due to some unknown issues, F-log can get magenta banding when shooting sky even with 10bit. I recommend HLG for better tonal range and clean colorimetry.

A6500's only strength compared to X-T3 is IBIS. With F-Log, due to its placement of middle grey at much higher 46IRE, you don't need to and should not overexpose at all.

V2.10 is literally just the removal of 4GB file size limit and fix of slight defects. V3 is planned for Q2 2019.

10bit 4:2:2 will likely still be H.264, because ARM processors that support HEVC Version 2 Main 422 10 profile were only introduced recently. That should be why the EVA1 V3 firmware update limits HEVC codec to 10bit 4:2:0, same for X-T3.

4GB file size limit firmware for X-T3 will be released on Feb 7. http://www.fujifilm.com/support/digital_cameras/software/firmware/x/xt3/index.html

Primer LUT for Sony works quite well, I'd say very close to Alexa. http://omeneo.com/primers/sony/#

One ADC per pixel is called Electronic Global Shutter.

It's 4 to 1 binned, not oversampled.

I'm beginning to think this issue could be linked to the magenta banding issue as well. X-T3 F-log and film sim files (both H.264/H.265) still have BT.709/601/601 tags. HLG mode however has full BT.2020/HLG/BT.2020 tags. This could affect how the files are decoded.

But you got an X-T3?

What was your solution in the end?

@Attila Bakos This video seems to highlight the colour shift issue you mentioned on liftgammagain forum.

Global shutter sensors for digital stills cameras are not planned before 2020, it'll be Gen 6/7 architecture. FYI currently it's mostly Gen 3/4 (IMX310, IMX410 etc).

The real use of handheld hi-res mode is for ultra clean images. With its 16-frame averaging, you gain around 4 stops of SNR. So for that palm tree shot, the noise level would be equivalent of shooting at ISO13. And I'm sure the averaging algorithm can be improved for better detail retention.

A6400 has a base ISO of 500 in Slog2/3, this points to a refresh in conversion gain design. A CMOS sensor can be considered as having two layers - analog (photosites) and digital (ADC and readout circuitry). In this case A6400 kept the analog layer unchanged, but refreshed it with 20nm lithography and redesigned the digital layer.

It's the best non-high brightness monitor out there. Period.

So explain to me how 6K full pixels are readout? It's literally one ADC scanning line by line. IMX293 info has not been made public yet, Google can't tell you anything.

E2's other party tricks: internal ProRes, anamorphic mode, Zlog2 with 14bit readout for even lower noise floor.

Sony never use multiple column parallel ADCs for video, only for stills. It's always single ADC for video mode readout, hence the rolling shutter. A9 is a prime example.

They upgraded the sensor to IMX293 with 20nm lithography and new readout circuitry, only the analog photosites remain unchanged.

You can use LUTCalc to generate 17^3 LUT sets with exposure compensation directly. Or Photoshop CC can downconvert LUTs to various resolution.