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Everything posted by androidlad

  1. Graded and matched to Alexa using the above footage, with CineMatch plugin:
  2. Off topic but relevant here, R5 rolling shutter official test results have been published: https://www.slashcam.de/artikel/Kurztest/Die-Rolling-Shutter-Werte-der-Canon-EOS-R5.html 8K30/4K HQ: 16ms (indicating a 8K 60fps readout) 4K normal 24-60fps: 10ms 4K 120fps: 8ms
  3. He shot 15min 8K All-I (no overheating warning showed up). Turned off for 10min, then kept going non-stop till the 512GB card was full. But, when he shot 20min 8K until the camera auto shut off, then cooled the camera to ice cold with an AC, he could only shoot additional 5min of 8K. FLIR camera showed the CMOS at 44C and CPU/main board at 69C when the camera auto shut off.
  4. This thread details the teardown process, modifications made and some important findings: http://c.tieba.baidu.com/p/6848700307?pn=1 He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation. Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.
  5. A7S III colour science is certainly improved and offers a much better starting point for colour grading. Here are some samples matched to ARRI Alexa with minor adjustments, using "CineMatch" sensor matching algorithm, the A7S III sensor profile is still at beta stage.
  6. This really demonstrates how much NR is going on internally:
  7. A combination of observations and insider info.
  8. Mostly a marketing tool so people perceive it as on par with those CineAlta cameras.
  9. You can download a sample, shot at 0EV and see for yourself.
  10. 4K 24-60P and 4K 120P have almost the same level of sharpness and detail. And 1080P is not supersampled, but pixel-binned from 24-60P and line-skipped from 100-240P.
  11. Someone dissembled R5 and found barely any heatsink and shockingly there was no TIM (thermal paste).
  12. Regarding the so-called "16bit linear RAW" 4264 x 2408 60FPS HDMI output, it's actually derived from 12bit ADC sensor readout, then dithered(upscaled) by the DSP to 16bit.
  13. It was shot in 4K normal. R5 8K/4K HQ: 21ms R5 4K normal 24P to 120P: 8ms A7S III 4K 24P to 60P: 15ms A7S III 4K 120P: 8ms
  14. R5 has better rolling shutter than A7S III:
  15. The white dot next to the AF assist lamp is actually an XYZ sensor (visible light + IR sensor) to help improve AWB accuracy.
  16. Context: This was tested in Florida under direct outdoor sunlight with ambient temperature of over 38C. A7S III lasted 23min shooting 4K60 R5 lasted 34min shooting 4K30 HQ.
  17. None of the 1080p modes on A7S III are supersampled from full sensor readout, 24p to 60p are pixel binned, 120p is pixel binned and lineskipped, 240p is futher pixel binned lineskipped (to 1420 x 804)
  18. XAVC R5, not RS. It's not a codec. The camera records XAVC full flavour internally and output X-OCN RAW to the Sony R5 recorder
  19. Shoot HLG, expose conservatively and push the shadow/midtone in grading. HLG has great latitude and BW helps mask the slight chroma noise.
  20. The 2x2 pixel-binning in 4K normal and hfr mode has a softening effect, but it can be sharpened to be almost identical to 4K HQ (Oversampled from 8K).
  21. Yes, with Bayer sensors, 1:1 readout is always softer than oversampled readout. Strong OLPF that combats moire can make it even softer.
  22. Oversampling minimises moire/aliasing, it does not directly correlate to better DR.
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