androidlad

Yes it will have 8K because it will use the 50MP sensor on A1.

It won't have A1 level AF but it will shoot 8K UHD 60P with 1:1 readout (slight crop).

Here comes the king:

https://www.lindy.co.uk/cables-adapters-c1/audio-video-c107/0-3m-cromo-slim-high-speed-hdmi-cable-with-ethernet-p9140

8 hours ago, Llaasseerr said:

Possibly dumb question, but does this camera do true 24P with ProRes Raw? If you check the official Sony page, all the frame rates for the internal codecs list 23.98. But under the raw specs, it says 24P and also emphasises that you can crop to DCI from 4.2K. I don't think they would say that unless they could fully support the DCI spec with true 24P.

https://www.sony.com/electronics/interchangeable-lens-cameras/ilme-fx3/specifications#features

 

It's all 23.98P, for internal, external, compressed and ProRes RAW

There will be several major firmware updates for FX3 to differentiate it from A7S III. They are not made available at launch partly because Sony do not intend to cut into A7S III sales too much.

1 hour ago, kye said:

Go read the thread again.  You missed some things.

Read what's in the the link, you missed everything.

1 hour ago, Mr. Freeze said:

I wasn´t satisfied with the diffusion I tried to add in resolve, compared to the pro mist. Sure, the diffusion effect can be emulated, but the way the light on set/location interacted with the lens and the filter was different.

1 hour ago, kye said:

Not quite, for many reasons which we've gone through already.  This thread has more info than you ever wanted to know about emulating a Tiffen BPM filter in post.

 

That thread was from 2018. Technology has progressed far enough that we can now accurately replicate (not even "emulate") diffusion effects digitally that are indistinguishable from optical filters:

https://videovillage.co/scatter/ 

Other than polarisation filter, all filter effects can be precisely emulated digitally in post. This allows for much greater and finessed control and guarantees glare-free.

Sony has just published a paper at ISSCC 2021 detailing the groundbreaking new 50.1MP sensor used in A1:

http://image-sensors-world.blogspot.com/2021/02/isscc-2021-sony-501mp-full-frame-sensor.html

1 hour ago, padam said:

I hope to see them side-by-side, but it looks just like R5 standard 4K to me.

https://www.dpreview.com/reviews/image-comparison/fullscreen?attr29_0=sony_a1&attr29_1=canon_eosr5&attr29_2=panasonic_dcs1h&attr29_3=sony_a7siii&attr72_0=4k&attr72_1=4k_hfr&attr72_2=c4k&attr72_3=4k&normalization=full&widget=627&x=0.003428804151418646&y=-0.002851399253529687

4 minutes ago, padam said:

So basically almost exacty the same as the R5 in all modes (except no 4K HQ).

Yeah but R5 has inferior sub-sampling method - it line-skips for 4K normal mode.

6 hours ago, Llaasseerr said:

Tbh from my experience working with a lot of handheld Alexa footage, the CineD estimate for the XT in I assume 2880 seems more credible (around 3ms). I've worked with a lot of open gate XT footage and it did not look like 13ms either. But I didn't measure it, so ?

The only time I've noticed artifacts is with strobe lights. With the 65, I've seen whip pans def have more of a diagonal though. But still only ~10ms in my estimation.

Alexa's rolling shutter values have been scientifically and comprehensively measured by 3DEqualizer so that it can be accurately compensated for VFX use.

They call it "Framewise Time Shift", the time it takes for the sensor to scan from top to bottom.

3 hours ago, Llaasseerr said:

Thanks, I should download some footage from this cam and take a look. And I definitely like the highlight recovery tool, I've used it on DNG frames back in the day.

What you seem to be suggesting is pushing the DR by +1 stop to protect highlights, ie. push native 400 to 800, which I definitely do with an ND quite often. Noisier, but manageable shadows ("texture"). But then if you were fair and did that with an Alexa, which is totally doable, it would be back to the same margin of difference between the cameras. 

Overall, as I stated I'm most hopeful about the current Sony sensor. Where it beats the P6K is rolling shutter performance, by a fair amount. But it's still about 4x slower than the Alexa.

Alexa's rolling shutter performance isn't that impressive.

Alexa XT: 8ms in 16:9/4:3 2880 sensor mode, 13ms in open gate sensor mode.

Alexa LF:  14ms open gate mode.

Alexa 65: 15.6ms open gate mode.

Sony's IBIS has very little room for the sensor to shift due to the restricted E-mount diameter (designed for both APS-C and FF!), smaller movements make it less likely to have perspective distortion.

A1 readout modes:

8K up to 30P: Over-sampled from 8640 x 4860 full width readout. 17ms rolling shutter. 1/57s readout speed.

FF 4K up to 60P: 2 x 2 pixel-binned from full width to 4320 x 2430, then over-sampled to 3840 x 2160. 9ms rolling shutter. 1/114s readout speed.

4K 120P: 2 x 2 pixel-binned from 7680 x 4320 window (1.12x crop) to 3840 x 2160. 8ms rolling shutter. 1/124s readout speed.

S35 crop 4K up to 60P: Over-sampled from 5760 x 3240 window (1.5x crop) to 3840 x 2160. 11ms rolling shutter. 1/90s readout speed.

Best A1 review IMO:

On 1/27/2021 at 5:24 PM, independent said:

Via Phil Holland: difference in sensor area between the R5 and Sony A1 for 8K UHD. R5 is a bit larger, 33.75x18.98 (38.72mm image circle) vs. Sony's 31.91mm x 17.95mm (36.61mm). So the Sony has a 1.06 crop compared to the R5. 

That might not seem like a lot, but I've shot in tight spaces like cars, bathrooms, closets, etc. and every mm counts that's what she said

That's BS.

Both R5 and A1 shoot 8K using full width of the sensor.

On R5 it has to be 8K DCI mode (8192 pixel wide). 8K UHD has a 1.06x crop.

A1 oversamples from 8.6K and it only shoots 8K UHD so no crop at all.

A1 seems to have insane rolling shutter performance for video. Only 2ms for 8K 30P, thanks to DRAM being made available for video read-out modes for the first time ever.

In stills mode, this increases to 5ms @14bit readout.

https://videovillage.co/filmbox/

Still can't disable edge enhancement and noise reduction on iPhones.

In Premiere Pro, you don't have to drag to resize. Simply right click the clip and choose "Scale to frame size" and it will match timeline resolution.

Make sure "Maximum render quality" is checked so it uses a good quality up-scaling algorithm (bicubic).

The guy @Matt Perks is actually a member of this forum.

DELL UP2720Q

Hardware calibration with internal colorimeter, decent results.

Supports Calman and can interface with external spectrometer/colorimeter for even higher accuracy.

1 hour ago, stefanocps said:

hello need some help with autofocus in videomode. With all change made form firmware, and also because i have never used that much my xt3 i don't have still so clear how to use it

Mainly, for now, i want to be able to control focus either by pressing with my finger on the screen , to have that part in focus. Or, once i have set my focus box somewhere in the screen the focus should be always automatically in that box, wheter i move the camera or what is in front of my camera change or move

I have notice that if the camera autofocus on a part on its own, is slower than if i tap on the screen t focus. And sometimes that slowness is better.but i don t exactly know how it works

The use of that function on the screen, the hand with finger on upper right corner, yet it is no very clear. AF,area,off,shot..If i set it to AF, when i tap the screen goes to off,,,

 

well i have some  confusion, for start i woul like to know how to focus in the 2 ways above, while mantaining face detection. Btw, can detect 2 faces?

thank you

Use AF-C and position your focus box to where you want.

Turn off Face detection as well, it can detect more than 5 faces and you can assign a button to change faces.

2 hours ago, Amazeballs said:

So why nobody else is doing it? 

All modern main stream smartphones are doing it, OnePlus, Xiaomi etc.