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Patrick B.

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  1. Patrick B.

    RED Komodo

    Ah ok right. I had heard Alexa’s was a log raw and also the Ursa. So I guess it’s Pockets, Canons, lower end Sonys, and ProRes RAW that are 12-bit linear. I was surprised to hear the FX9 will shoot 16-bit, but I guess you need that bulky add-on module? But the Komodo won’t do internal ProRes will it? So it’s raw or nothing I guess. I kind of like how the Pockets will let you shoot ProRes and bake in a LUT if you want avoid grading.
  2. Patrick B.

    RED Komodo

    That article I linked seems to bear that out as well as the Red Monstro did look cleaner in the shadows despite having less highlight range. Seems like the new C300 mark iii is the same way with its DGO. That’s very interesting.. I always wondered how they’d rate using that same test spec. Surprised to see it rate higher than the Alexa! I guess in my mind I’ve felt like Alexa is a world apart from most cameras, but I suppose that isn’t really the case any more as the gap has narrowed considerably with the latest generation of cameras. Another thing with Red is their Redcode raw is always 16-bit I believe (as opposed to most camera’s 12-bit raw), so I wonder if that allows you to dig a little deeper into the shadows. In the audio world there is enough of a difference in the noise floor between 16-bit and 24-bit that it helps me to get cleaner recordings when I have a very quiet source. I guess that same principle must carry over in the digital video to some degree: very quiet source = very low exposure.
  3. Patrick B.

    RED Komodo

    Good question, and I would think it’s higher than 12 considering how high Helium scored on DxO’s test and that Red’s are very close to Alexa: https://www.dxomark.com/red-helium-8k-dxomark-sensor-score-108-a-new-all-time-high-score2/ But if Alexa is rated at 14 then maybe it is 13... hmmm https://nofilmschool.com/2017/02/shootout-arri-alexa-mini-vs-red-epic-w-helium
  4. Patrick B.

    RED Komodo

    Interesting... I noticed if you search for Red DR tests similar looking images come back on Google for all their cameras. So you might be right that they’re using their own chart.
  5. Patrick B.

    RED Komodo

    DR looks very impressive next to Helium https://www.facebook.com/625665414/posts/10157378019065415/?d=n&substory_index=0
  6. Patrick B.

    RED Komodo

    Yeah, I was thinking about this. Part of me thinks that even if they internally recognize the opportunity of marketing this camera to a new segment of the market, they’d never pitch it as a more affordable, lower tier option because they don’t want to erode their high end brand image. Marketing it solely as a crash-cam/drone camera for high end work makes sense in that way. On the other hand they were also known as disruptors in the past so I could see where they could also market the camera as such.
  7. Patrick B.

    RED Komodo

    Yeah, I’ve been wondering about this partnership as well. My first guess was Canon wanted to have compressed raw, but then again if that’s true they aren’t implementing a very high compression ratio that would make sense in a prosumer camera. As far as competition on the camera body front goes, I had heard once that companies made most of their money on their lenses and wondered if that’s what they are most interested in selling. Any truth to that? Maybe they see the Komodo as a way to sell more RF lenses and better establish it.
  8. Interesting. So there is still a penalty for this increased range. I wonder if the ALEV III uses 2 ADC. The description makes it seem like both readouts are fed through one ADC, but not sure. I guess frame rate constraints and increased readout times could be more desirable than the motion changes that result from the alternating frames approach in HDR/WDR modes of cameras like Red and Z Cam.
  9. @cardinalallen good information to consider. I overlooked the comment about the C300 seeing more into the shadows. So even though the SNR1 rating was lower than the C500, it may be that you can actually eke out more in post. Interesting point about the color channels in highlights. I’ll be interested in seeing how it handles this. Also, I noticed the Mavic Air 2 does some kind of HDR processing where different pixels are mapped to different exposures, similar to what DGO is doing. Are other cameras doing this with Sony sensors? That sounds like a useful feature for high resolution sensors that I didn’t consider before. I’ve heard talk about quad Bayer sensors where blocks of pixels can become pseudo bigger pixels and record better low light at lower resolutions like we see in new camera phones. But I never considered that high resolution sensors could actually record two exposures in lower resolution and essentially turn what is usually a negative sensor attribute for video into a positive.
  10. Interesting. I thought ProRes RAW was variable rate based on the white paper and how the size can vary. But if it always stays 5:1 or greater then that makes sense that’s how they avoid infringement. If that’s true then no reason Z Cam, Canon, Sony, and Panasonic couldn’t all just add it internally. 🤔
  11. ah, ok yeah I think you’re right there about the first built-in. ha, well maybe they don’t care. although News Shooter asked them and they said Apple gave them the license. I was wondering before if Apple somehow has a blanket license from Red and then sub-licenses to manufacturers or something.
  12. Z Cam released one a month or so ago for their flagship line. It’s not built into the body, but there is a built in slot on the EF mount where it slides in similar to the Canon ND mount except, electronic. https://www.bhphotovideo.com/c/product/1539456-REG/z_cam_nd101_end_module_for_z.html So now we have the first non-drone based camera with internal ProRes RAW. Makes me wonder if they had to have a separate license with Red.
  13. Patrick B.

    RED Komodo

    That’s very interesting and explains the whole RF mount and PDAF even more.
  14. yeah I also read or heard somewhere that even though you don’t get a raw panel in FCPX any adjustments are still happening in linear space prior to debayer.
  15. That’s true. I can’t help but wonder if Apple has some bigger plan in mind. Red had referenced some partnership things happening right around the time the patent was being contested. I wonder if Apple will have some broader licensing deal that could eventually cover in-camera recording. Maybe eventually after Atomos’ exclusive period passes then we’ll see. Or maybe not. BRAW for S1H would be very cool though.
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