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Posts posted by androidlad

  1. 11 hours ago, IronFilm said:

    Tariffs ended yes, but the product categorisation still exists, changing digital stills camera to video camera requires assigning new serial numbers to every unit sold, it's not possible to do this.

  2. 2 hours ago, Caleb Genheimer said:

    Bummer that there’s no full sensor height Anamorphic mode. Looks like even the “full” frame mode isn’t FULL frame.


    Would be nice to have full sensor height anamorphic mode, but the vast majority of anamorphic lenses are designed for S35 coverage.

    7 minutes ago, RobertoSF said:

    Does anyone know the mm height of the sensor being used in S35 Anamorphic mode?
    If it's 18mm with the firmware update I'd be happy.


  3. 59 minutes ago, Patrick B. said:

    yeah I wondered this too..  but usually in their tests the compressed codecs win out for DR because they already have pretty optimized NR happening.  and I’m not sure if Canon’s CRL has the same kind of highlight recovery feature as BRAW.. but would have been interesting to at least see the raw results to compare.  I guess he said they were rushed so maybe that’s why they didn’t.

    Since the Alexa was tested using ProRes codec for 14 stops of DR, it's only fair to test compressed codec for all other cameras as a standardised metric.

  4. 20 hours ago, Patrick B. said:

    I’m really curious to see if Canon’s new DGO (Dual Gain Output) technology in the C300 mark III will finally crack the DR monopoly that Arri’s ALEV III dual gain architecture has had.

    C300 MK III DGO only scored 12.8 stops using ARRI standard.

    https://***URL not allowed***/canon-c300-mark-iii-lab-test-pre-production-dynamic-range-rolling-shutter-and-latitude/

    For reference:

    C300 MK II: 12.3 stops

    C500 MK II: 13.1 stops

  5. 2 minutes ago, Video Hummus said:

    Maybe conceding sensor design and manufacture to a competitor with a competing camera line wasn’t very smart? What other companies do CMOS?

    Fairchild Imaging (BAE Systems)



    Maybe it’s time for them to go shopping somewhere else less they keeping sucking the toes of Sony.

    Sony Semicon is years ahead of the others, and the only one capable of providing enough volume Fujifilm requires.

  6. Corporate BS.

    They wanted to put a new sensor in X-H2 but Sony Semicon, which is their "boss", is dragging them down.

    Regarding X-T3 firmware, the code is easily transferable from X-T4 due to the same hardware (apart from IBIS). What they are really considering is how they should do it/which features to drop so they don't hurt X-T4 sale.

  7. Wide angle lens + IBIS are known to cause those corner warping wobble, it's from perspective change caused by sensor movement (the wider the more amplified),  It happens with GH5 as well.

  8. 4 hours ago, Fernando Monge Ganuzas said:

    Unfortunately NLE rec709 monitoring thru dedicated video card is totally off in firmware 10.3 vs firmware 10.2. I had to downgrade in order to be able to monitor the output signal. Values on waveform monitor and other meters are correct but image on screen is off with reduced dynamic range and very dim.

    When output is recorded and viewed in NLE values return to normal and legalize switch activated recording shows  correct signal values is the on screen image that is off. Unusable for monitoring NLE output.

    Check the Ninja V monitoring setting, some default settings were moved around/changed, I didn't notice any difference in NLE output monitoring.


    46 minutes ago, Geoff CB said:

    It's actually a backwards terrible solution. Instead of properly displaying and recording the Full Range it converts it into legal range, throwing out data.

    Haha no. It's just a flag in ProRes metadata, no data is ever thrown out, not before or after this update.

  9. Looks like you're getting the triple exposure feature you want:



    World’s First Multi-Exposure HDR video

    The Dimensity 1000 is the only smartphone SoC that can record 4K HDR video by capturing every three frames at different exposures and intelligently fuses them into a single video stream, all in real-time. The results are unprecedented, allowing users to accurately capture the full spectacle even in environments with extremes of bright or darkness, regardless of whether it’s a single moments photo or a video of the whole event.


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