Jay60p

For anyone doing 3D modeling, animation, rendering, the M3 is a major
Update due to the new ray tracing acceleration.  
I decided against an M2 Studio to wait for next year’s M3 Studio:



PCs with a Nvidia GPU card were always faster than a Mac for rendering 3D animation, for the same reasons PCs are faster in gaming.
But now Neo Chan’s video demonstrates that his M3 laptop is roughly equal to his PC with a RTX4090 for 3D work. Here it was faster in rendering a Blender scene:



The point is, M3 is much faster than M2 for 3D work. For those who want to do 3D in OSX it looks like a game changer.

They are going to Petapixel.

I’ve been waiting years for a good Stereo 3D DSLR or mirrorless.
My grandfather gave me this Zeiss pocket viewer for 35mm transparencies from the 1960’s:


So I started shooting stereo pairs in the 1970’s, static scenes with one camera.
The results with Kodachrome & Ektachrome in this viewer are amazing!
It also works well with slides in plastic pages on a light box:


I often shoot 3D pairs on the Fuji X-T3, static scenes, hand-held or on a slider.
I use StereoPhoto Maker (free, Windows) to automatically align the left & right shots,
and save to a stereo file.
Many video projectors will display 3D MPO stills with glasses,
and my Sony works passably well on a big 10 ft wide screen.
But it’s still not as good as 35mm slides in my Zeiss viewer!
 

Given that (as far as I can see) onsemi's image sensor capability mostly comes from buying the image sensor division of Cypress Semiconductor in 2011 for $31 million (based in Belgium) and US-based Aptina in 2014 for $400 million, I think there is a reasonable chance that the Arri sensor was developed in US.
As a bit of trivia, onsemi's roots as a semiconductor manufacturer go directly back to Motorola in the 1950s, so it's effectively one of the oldest chip companies in the world. (ON Semiconductor was spun out of Motorola as in independent business in 1999).

The 'Fairchild Semiconductor' that onsemi bought in 2015 was a new version created by Nat Semi selling off their 'standard products' division in 1997, a reasonable amount of which derived from Nat Semi buying the original Fairchild Semiconductor 10 years earlier. As far as I can tell, that 1987 sale to Nat Semi (by then owner Schlumberger) didn't include the imaging division. Via a series of other companies Fairchild Imaging eventually became part of BAE Systems - see https://www.baesystems.com/en-uk/productfamily/scmos-sensors
(The myriad start-ups, mergers, takeovers, sell-offs, spin-outs and failures of semiconductor companies over even the 40+ years I've been an electronics engineer would make a pretty complicated 'family tree' I'm sure 🙂)

They bought Fairchild (original BM cameras) and Truesense/Kodak (Digital Bolex) too but the lineage of the Arri stuff is definitely from Cypress as both the D-20 and the Alexa had a Cypress sensor 
https://web.archive.org/web/20101230013456/http://www.businesswire.com/news/home/20101220005251/en/Cypress’s-Industry-Leading-CMOS-Image-Sensor-Portfolio-Designed
Its a bit of stretch for that press release to be claiming those were jointly developed with onsemi as they didn't actually buy the sensor division of Cypress (which was predominantly FillFactory who Cypress themselves had acquired previously) until a year after the Alexa had been released and six years after the D-20 was released.
In that respect, its a bit like BMW claiming they developed the original Mini Cooper because they now own the company that did.
FillFactory were based in Mechelen in Belgium and as onsemi offer CMOS hardware design jobs listed at the same site then I suspect that, as with the previous cameras, the current Arri sensors are still physically being developed in Belgium rather than the US, albeit with funding from the US parent company of course.
https://onsemi.dejobs.org/mechelen-bel/hardware-design-engineer/1025F288A9BF4AC584B993271B8E9BC2/job/
 

https://www.onsemi.com/company/news-media/press-announcements/en/onsemi-imaging-technology-enables-next-era-of-digital-cinematography
"PHOENIX – Sept. 14, 2022 – onsemi (Nasdaq: ON), a leader in intelligent power and sensing technologies, today announced it developed the customized high-end CMOS sensor for ARRI’s ALEXA 35 camera."
“All digital ARRI cameras—starting with the first ARRIFLEX D-20 in 2005, followed by the first ALEXA delivered in June 2010 up to the ALEXA 35 introduced this year—are based on CMOS sensors jointly developed with onsemi,” said Walter Trauninger, managing director and head of business unit Camera Systems at ARRI.
 

I just took a quick look at the CineD review. Very nice.
But what I found more interesting was the latest user comment
By a Mr. Burkhart, apparently a professional who owns an Alexa.
https://www.cined.com/fujifilm-x-h2s-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

And speaking of Alexa, here is an article which suggests an unknown
3rd party designed the new Alexa 35 sensor:
https://ymcinema.com/2022/07/18/arri-chief-color-scientist-alev-4-wasnt-developed-by-arri/
 

Here is an interesting examination of the Fuji film simulations:
https://www.imaging-resource.com/news/2020/08/18/fujifilm-film-simulations-definitive-guide#eterna
discussing the subtle color shifts in certain hues, and "Why can't I just do this in Photoshop?"
with Imatest Master graphs and photo comparisons.
"Fuji has more than 85 years of color science experience, and a deep understanding of all the complexities of how film works..."
 
 
 
 

I meant the reason for the color loss, which is the chroma smoothing. The reasons for the chroma smoothing at this extent I don't know and as you said, we may never know.
I wouldn't say this is a compression issue. This is not something caused by compression algorithms, this looks like some kind of smoothing, tupp already shared some thoughts about that in this thread:
https://www.eoshd.com/comments/topic/60753-color-detail-issues-in-fujifilm-video-files/?do=findComment&comment=471363
 

In my video there is a section where I create a 100Mbps H.265 file from a 3584 x 1730 5D3 raw source and compare it with the 400Mbps Fujifilm file. While it's slightly less pixels than Fuji's UHD, the 100Mbps one is close to indistinguishable from the raw and the Cr channel is very detailed. And I didn't use some well optimized x265 encoder, I created the 100Mbps file in Resolve with GPU acceleration. When you put this next to Fuji's recording which has 4x the bitrate it becomes clear that there must be some purpose to the chroma smoothing other than preserving bandwidth for the luma channel. And I also mention in the video that I checked many files from other manufacturers (some of them have the same amount of luma detail and less bitrate) and didn't see this kind of chroma processing.

Yeah, you can't draw back the curtain for normal people to read what goes on here 😉
 

Postscript:
My wife tried reading my last post.
She didn’t get very far.
She said we’re all crazy.
No doubt, She’s right.

Months ago I did extensive testing comparing my X-T3 color to my Canon T2i.  I finally came to two
conclusions, different from my last post.
1) I find the Cr channel completely useless for evaluating the chroma resolution or any other color quality of the X-T3. It is quite bizarre and completely misleading. Instead, study the usual RGB channels which appear completely normal and are as detailed as the actual full color photo. There is no red resolution being lost in the Red RGB like there appears to be in the Cr channel. I’m guessing the Cr channel is useless for image manipulation too, which may be why it was so hard to find an App which would display it.
 
2) The Canon had always showed more saturation in the darker reds compared to the X-T3. So I went and studied the shot comparisons between cameras at the Imaging Resource Comparometer:
https://www.imaging-resource.com/IMCOMP/COMPS01.HTM
Select the “Still Life 400” samples for X-T3 and any other camera to compare the same scene.
In the X-T3 samples, The dark reds in the cloth on the left side appear lightened and/or slightly desaturated compared to all the other brands, not just Canon. This happens in solid color fields, not just red spots like foliage.
Why does the X-T3 lighten/desaturate dark reds? I’m guessing the face is the most important image for Fuji’s color science. Perhaps the Fuji engineers discovered that this could downplay skin blemishes, which are often of a darker red color than the rest of the skin.
In any case the good news is this:
I checked Fuji’s online specifications for the X-H2S.  And guess what, there is a provision for a setting
Labeled “Smooth Skin Effect”, listed right after “Color chrome Blue : Strong, Weak, Off”.
The actual settings are blank at the moment for the smooth skin effect. In future firmware there may
be an “off” setting available.  Maybe then those faint red leaves will appear in the foliage.
https://fujifilm-x.com/global/products/cameras/x-h2s/specifications/

It's a Fly by wire lens isn't it?
 
If so, then no matter if it's in AF or MF motors 'could' make the adjustment even if it's in MF. 
 
Either way, this looks like a great lens for video. Well done Fuji.

Saw the lens today at CineGear:

Didn't ask if it's parfocal or completely focus-by-wire, but the rocker-controlled motorized zoom and focus is cool.
On the other hand, It's doubtful that anyone will be hitting focus marks with the focus rocker switch.
 
 

Yes, need more footage from people who know what they are doing.
For example, only one demonstration of the new 18-120 zoom specifically seems to show
parfocal zooming when in manual focus:
It needs to stay in focus with AF off, otherwise any AF camera with an AF zoom could be called "parfocal", (until the
AF jumps, and then it isn't.)
All the other Youtube demos I've seen obviously have the autofocus on, which shows occasional small vibrations in the image as the focus-by-wire motors are activated.
Same with the old exposure stepping. It is in all the other youtube demos except this one.
Need more reliable demos.
 

Yes!
If the descriptions turn out true in September, I’m getting the lens this fall.
“…minimal focus breathing, stepless aperture control, and constant F4 aperture. Pull focus, make precise adjustments to iris, or change focal length without causing any noticeable distractions to the recorded footage.”
All depends on what is “noticeable” to you.  But no doubt will be a huge improvement over the present
exposure-stepping zooms. Twice the zoom range and 1/3rd the cost of the Fuji cinema zooms, with auto focus.
https://fujifilm-x.com/en-us/products/lenses/xf18-120mmf4-lm-pz-wr/
Works with X-T3. X-T4, X-S10 with firmware coming in Sept.
“…the first lens to be designed in ‘collaboration between FUJINON Optics and FUJIFILM X Series engineers”
https://www.dpreview.com/news/3492623346/fujifilm-xf-18-120mm-f4-lm-pz-wr-lens-is-parfocal-weather-sealed-and-will-cost-just-899
 

Yes!
If the descriptions turn out true in September, I’m getting the lens this fall.
“…minimal focus breathing, stepless aperture control, and constant F4 aperture. Pull focus, make precise adjustments to iris, or change focal length without causing any noticeable distractions to the recorded footage.”
All depends on what is “noticeable” to you.  But no doubt will be a huge improvement over the present
exposure-stepping zooms. Twice the zoom range and 1/3rd the cost of the Fuji cinema zooms, with auto focus.
https://fujifilm-x.com/en-us/products/lenses/xf18-120mmf4-lm-pz-wr/
Works with X-T3. X-T4, X-S10 with firmware coming in Sept.
“…the first lens to be designed in ‘collaboration between FUJINON Optics and FUJIFILM X Series engineers”
https://www.dpreview.com/news/3492623346/fujifilm-xf-18-120mm-f4-lm-pz-wr-lens-is-parfocal-weather-sealed-and-will-cost-just-899
 

More impressive than the camera (which looks great) is that XF18-120mm. Parfocal, minimal breathing, weather-sealed, and a power zoom built into the lens! Fantastic. Lenses make or break a system and Fuji just laid down the gauntlet to other manufacturers. Sony and Canon have some impressive cine options, but no lenses that are equally at home in photo and video mode. This XF18-120mm is a new breed. Panasonic have some incredible lenses in both m43 and L mount, but I sure do wish the Lumix division would work with their video division and turn some of their beautiful stills glass into cine versions. 

Seems to do quite a lot doesn't it ?
Good to see ProRes internal.
Fuјіfіlm Х-Н2Ѕ Dіgіtаl Саmеrа Воdу Кеу Fеаturеѕ: А bасk-іllumіnаtеd 26.1МР Х-Тrаnѕ 5 ѕtасkеd іmаgіng ѕеnѕоr Nехt-lеvеl реrfоrmаnсе frоm Lіghtnіng-fаѕt Х-Рrосеѕѕоr 5 Ехраndеd lоw lіght сараbіlіtіеѕ аnd uр tо 14-ѕtорѕ оf dуnаmіс rаngе 3.0-іnсh, 1.62 mіllіоn dоt vаrі-аnglе tоuсh Ѕсrееn LСD mоnіtоr 5.76 mіllіоn dоt rеѕоlutіоn еlесtrоnіс vіеwfіndеr Uр tо 40 frаmеѕ реr ѕесоnd uѕіng thе еlесtrоnіс ѕhuttеr Uр tо 15 frаmеѕ реr ѕесоnd uѕіng thе mесhаnісаl ѕhuttеr 4К/120Р, 6.2К/30Р аnd НD/240Р vіdео rесоrdіng fоrmаtѕ Rесоrdѕ Аррlе РrоRеѕНQ іntеrnаllу іn 10-bіt аt 4:2:2 Nеwlу dеvеlореd Flоg2 еnсоdіng fоr grеаtеr dуnаmіс rаngе Uр tо 7 ѕtорѕ оf Іntеrnаl Воdу Іmаgе Ѕtаbіlіѕаtіоn (ІВІЅ) Оffеrѕ ехtеrnаl rесоrdіng оf РrоRеѕ Rаw аnd Вlасkmаgіс Rаw Ѕubјесt dеtесtіоn wіth dеер lеаrnіng АІ аdарtіvе аutоfосuѕ Іdеntіfіеѕ аnd trасkѕ саrѕ, рlаnеѕ, trаіnѕ, bіrdѕ, hоrѕеѕ аnd mоrе Соnѕіѕtеnt АF реrfоrmаnсе thаt wоrkѕ іn lіght lеvеlѕ аѕ lоw аѕ -7ЕV  
 

Here is another free GUI app to view Y Cb Cr:
https://www.gimp.org/
Use the drop down menu COLORS / COMPONENT / EXTRACT COMPONENT,
and then there is another drop down menu to select the type of component to view,
including Y, Cb, Cr.
Alternately there is also COLORS / COMPONENT / DECOMPOSE.
Must admit I am finding it difficult to see any loss of red details or color blurring comparing
my X-T3 to my Canon T2i.  But so far I've shot indoor subjects only.
No wonder it took 4 years to notice!
 

I had nearly the same reaction with the newer Canon T2i and Fuji X-T3
compared to my older Fuji S1 Pro, concerning skin tones.
 
In every other way the new cameras blow it away,
but of all the cameras I’ve used the S1 Pro still has the most amazing skin tones.
I still look at 8X10’s framed on the wall and marvel at the color in my kid’s portraits,
shot with only 3MP resolution that look perfectly sharp.
The S1 Pro always had a slight green cast to the image,
and we know that that is also common in Arri cameras.
But just adding green in the X-T3 does not match it.
Some people say it is due to the unique CCD chip that Fuji had developed. I have no idea.
I would rate the Canon and X-T3 skin tones as excellent, the S1 Pro as excellent+.
https://www.dpreview.com/products/fujifilm/slrs/fuji_s1/specifications
 
 

For highly detailed & inexpensive virtual sets, check out DAZ 3D.
I rendered these with a DAZ model by Jack Tomalin (with two different texture sets),
imported to Maxon Cinema 4D. Its a great way to experiment with lighting setups:


Stonemason is another great DAZ modeler for virtual interiors/exteriors:
https://www.daz3d.com/the-streets-of-venice
These models are generally less than $50 and are getting more detailed every year.

Lately I’ve been looking at low cost motion capture systems.
Anyone tried the Perception Neuron 3 system? - $2,400
https://www.neuronmocap.com/perception-neuron-3-motion-capture-system
 

For highly detailed & inexpensive virtual sets, check out DAZ 3D.
I rendered these with a DAZ model by Jack Tomalin (with two different texture sets),
imported to Maxon Cinema 4D. Its a great way to experiment with lighting setups:


Stonemason is another great DAZ modeler for virtual interiors/exteriors:
https://www.daz3d.com/the-streets-of-venice
These models are generally less than $50 and are getting more detailed every year.

Lately I’ve been looking at low cost motion capture systems.
Anyone tried the Perception Neuron 3 system? - $2,400
https://www.neuronmocap.com/perception-neuron-3-motion-capture-system