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Fuji GFX 100 loses to Huawei P40 Pro Plus smartphone for dynamic range


Andrew Reid

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On 11/5/2020 at 10:07 PM, Andrew Reid said:

Yes of course it's multiple frames at different exposes fused together. Tap the shutter button and it's done for you, by a neural network no-less, with AI. And certainly more than just 3 frames fused together, due to the speed of the sensor.

The GFX 100 burst isn't fast enough for this to work.

It does show that small, fast smartphone sensors can overcome shortcomings like dynamic range, with computational photography.

They have never been able to beat a medium format camera, massive 44x33mm sensor with 100 megapixel before.

The Huawei is the first to do this.

Had you used DR400 for 2 stops extra of dynamic range? 

I think the DR200 and DR400 are one of the gems of Fuji that almost nobody is talking about. It works in a similar way to DRO on Sony or HTP in Canon, it uses a lower ISO and it increases the shadows electronically (so it does add noise to the shadows) but I think that the processing done by Fuji is pretty good and in daylight and lower ISOs, 640 for DR400 you can get an image with the exact same dynamic range as F-log without using a log profile. And the extra noise in the shadows is pretty much the same noise that you'll get with F-log or HLG. At higher isos the image become too noisy but keeping it low, it's beautiful.

The tonal mapping done by Fuji in DR200 (1 stop extra) and DR400 (2 stops extra) gives you a very organic looking high dynamic range image. And the MOST IMPORTANT PART is that it works with VIDEO. The X-T3, X-T30, X-T4 have it, i guess the GFX 100 must have it. It's not the exact same as exposure bracketing, but using ETERNA profile, shadows -2, highlights -2, DR400 you can get a pretty amazing dynamic range.

Unless necessary, of if someone asks for it for color grading, for a lot of works, I pretty much don't shoot log since using the DR modes.

It would probably still not match the Huawei but you'll get 2 extra stops if dynamic range!

 

This is a feature that I never see people talking about Fuji for video. Here are some stills from video.

dr100.jpg

dr200.jpg

dr400.jpg

2020-11-08_17h49_30.jpg

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"The best results are currently with Huawei’s high-end smartphone range. Yes, the ones Trump banned."

Jezz give it a rest the arse is gone....you could talk about WHY the ban..... even if you are a gear head prioritising the chasing of the latest and umm 'greatest!'

"Perhaps we should try exposing the RAW photo for the brightest part of the image…"

That's what many of us are/have already been doing, there's a nifty thing called neat video (and others) which helps with that black noise.....which is also called 'mood' when you grade properly and darken it rather than trying to chase dynamic-range like a lab technician, the highlights however you can never get back so you obviously don't clip them.

It's not rocket science, I'm glad Alien came out when it did, nowadays some tech-obsessed knob would wanna show the Alien in full low-light camera glory and completely miss the point of all that 'mood' which actually SOO made the film!

 

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You'll probably always see the consumer market chase pleasing consumers with nice looking final imagery while the pro-industry will prioritise that raw and workable-later imagery. They've at least started to add dual iso computational processing to their cameras, I'd imagine the new C70 holds up pretty darn well with for its intended use without the need for the RAW hard-on.

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Computational photography is the future, no matter the sensor size. But one thing smartphones are still struggling to do is to deliver a natural looking image. Skintone look plasticy under certain lighting situations, and the aggressive denoising and sharpening isn't helping thing either. The alexa managed to do dual iso 10 years ago, while delivering the most organic digital image ever created. So when smartphone's are able to deliver that level of natural looking photos and video. I think then it's time for computational photography to be widely adopted across all platforms.

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16 hours ago, Matias Mayolo said:

Had you used DR400 for 2 stops extra of dynamic range? 

I think the DR200 and DR400 are one of the gems of Fuji that almost nobody is talking about. It works in a similar way to DRO on Sony or HTP in Canon, it uses a lower ISO and it increases the shadows electronically (so it does add noise to the shadows) but I think that the processing done by Fuji is pretty good and in daylight and lower ISOs, 640 for DR400 you can get an image with the exact same dynamic range as F-log without using a log profile. And the extra noise in the shadows is pretty much the same noise that you'll get with F-log or HLG. At higher isos the image become too noisy but keeping it low, it's beautiful.

The tonal mapping done by Fuji in DR200 (1 stop extra) and DR400 (2 stops extra) gives you a very organic looking high dynamic range image. And the MOST IMPORTANT PART is that it works with VIDEO. The X-T3, X-T30, X-T4 have it, i guess the GFX 100 must have it. It's not the exact same as exposure bracketing, but using ETERNA profile, shadows -2, highlights -2, DR400 you can get a pretty amazing dynamic range.

Unless necessary, of if someone asks for it for color grading, for a lot of works, I pretty much don't shoot log since using the DR modes.

It would probably still not match the Huawei but you'll get 2 extra stops if dynamic range!

 

This is a feature that I never see people talking about Fuji for video. Here are some stills from video.

dr100.jpg

dr200.jpg

dr400.jpg

2020-11-08_17h49_30.jpg

Fuji's DR modes, even for stills, are probably the most confused / undocumented feature of their cameras. Never read a really good explanation on how it really works and the best methods to use it.

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7 hours ago, Marcio Kabke Pinheiro said:

Fuji's DR modes, even for stills, are probably the most confused / undocumented feature of their cameras. Never read a really good explanation on how it really works and the best methods to use it.

 

According to FUJI: "On FUJIFILM cameras, Dynamic Range works by first deliberately underexposing the image to protect highlight detail, then boosting shadow brightness when the sensor data is converted in a JPEG file by the image processor"

Pretty much all the brands offer a function like this, but in fuji it works way better. And it works very good in video. In photo mode, it DIRECTLY affects the raw files

I've found out testing that at the lower isos, 320 at DR200 and 640 at DR400 the amount of noise that this modes add, in a daylight scenario, is pretty negligible, but the detail you recover in the highlights is very noticeable. So I change it depending on the DR of the scene. If I just need a little bit of DR I use DR200, if I need more I use DR400, but if I don't need any, I just leave it at DR100 (Which is the base) to get the cleanest image possible. But when shooting at high ISOs in dark conditions (above 1600), both modes, specially DR400 add too much noise, purple noise and some weird artifacts start to show up, the image becomes pretty ugly, so I don't recommend at all leaving it always turned on. Use it ONLY when you need it. It does not change the shadows, mids, colors, or anything, so you can use totally match DR100, D200 and DR400 in a scene

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