Leaderboard

That would be brilliant!! The vast majority of people wouldn't pay to watch 4K content, YT would take their 4K-preference out of the algorithm, without 4K watching ability most people would stop insisting on 4K content, creators wouldn't be ruthlessly pummelled for not shooting 4K, and the entire platform could switch focus from irrelevant pedantry to actual real content.

Well, the first thing that's worth mentioning is that I got USB power bank that I can hang from my tripod in its little bag. Now I can shoot all day (from a tripod!) without changing battery or getting into rigging. So that's cool. The other thing is that I had been shooting a bit in DR Boost in order to get extra highlight range and to help with shooting indoors in natural light. BUT! I noticed the midtones were quite noisy so I did a little investigation. I shot a step wedge (from +1 to -8 in whole stops) at various ISO levels, slapped on the VLog to V709 conversion and looked at where the noise is, in a bid to figure out whether I should be aiming to shoot at 250 or 2000DRB in general Here is ISO 250 and it's a familiar noise pattern. Midtones are clean, shadows are a bit noisy: Compare this to ISO 2000 with Dynamic Range Boost on: The extreme shadows are cleaner up to around stop -4, where noise is similar to ISO 250. But from stop-3 all the way up to stop +1 this is clearly much noisier than ISO 250! It's noisy in the midtones and clean in the shadows. Weird! And it looks a bit weird when you see it in a real world clip. For comparison's sake, here's ISO 2000 without DR Boost: Right around the midtones, from stop -1 to +1 the regular old ISO 2000 is cleaner than with DR Boost. Below that point the shadows get noisier in a way we are used to seeing. So what's the conclusion? Well, I use some colour treatments that really push visible noise a bit, especially chroma noise. If I'm going to shoot with DR Boost on I get some distracting looking midtone noise. It depends on the shot but sometimes it's really quite shitty looking. NeatVideo's temporal settings do a good job of cleaning it up, though. So my conclusion is that I'm going to start using a bit of noise reduction again, when I need it. DR Boost is not simply "one stop extra in the highlights" and that's that. It comes at the cost of noise in the midtones. PS: all shots were long GOP

maybe you need to put reading glasses on. he explained his work is mainly on FX6 & FX9 which are both FF cameras. he'd use FX30 as a b-cam so a speed booster makes sense to keep the same FoV and use the same FF lenses. plenty of FF cine lenses out now as well as large sensor cine cams from RED/ARRI. Sony's entire cine line from Venice down to FX3 is FF. SMH. You must be new to lenses, my FF Leica M & Nikkor AIS glass are more compact than any modern APS-C lenses. The extra glass from the speed booster can actually help reduce over sharpening from cameras like XH2S that have no OLPF. And the stop of light that you gain helps with S35 sensors poor lowlight performances. He said he also plans to use S35 glass and so FX30 allows him to use both FF & S35 lenses, unlike the FX3. I love shooting wide open at f1.4 or even f1.2. obviously for specific shots requiring isolation or a dreamy feel but you have entire films like Army of the Dead that were shot FF on a Red Monstro wide open at 0.95 on Canon Dream lens rehoused in Leica M mount: Rules are meant to be broken. And just to prove this isn't just a one off Hollywood phenomenon, here is 6.2K open gate footage from XH2S using a speedbooster with some shots done at f0.95 (lowlight footage from scene 4): I think the image looks fantastic personally, FF aesthetic/bokeh yet still very detailed but without the over sharpness usually associated with Fujis.

I often watch YT in various resolutions, from 4K to 480p, and I've noticed that the 1080p quality can be hugely variable. Some content looks great and other stuff looks absolutely atrocious. The only thing that seems to predict it is the quality of the camera, however we all know that better cameras are typically used by people who pay more attention to things like uploading at an increased bitrate etc, so it may not be the camera but something else from the image pipeline. If they went 1080p-limited it would be great to see a bump in the associated bitrate, although I suspect that wouldn't happen. For some reason everyone seems to allocate constant bitrate per pixel, completely ignoring the fact that screen size is a completely independent variable.

reading this forum is so frustrating. why would you ever use a speedbooster on a s35 sensor (or ever really)? it's the most standard format for moving images. if you need "proper full frame" on s35, just shoot a stop wider than you would on FF, and open up your iris an extra stop, maybe add a stop of ND if you're clipping. that's it. there's nothing special about this sensor size. if you want a 24mm t/2.8 on FF, just use the 18mm of the same lens set, and set it to t/2 to match the dof on the fx30 or xh2s. if you want to match a 24mm at t/1.5, then sure, that's most likely not possible, but it's not gonna look very nice anyway, is it? how about just using the right lens set for the right camera, and being a bit more thoughtful, instead of bulking up your camera with oversized lenses and a low quality layer of glass in between? how often do you need a dof thinner than t/2.8 on s35 (or t/4 on ff) for that matter? if most of the image is blurred out mush, i tend to assume its not worth watching anyway.

Unfortunately dpreview's video resolution chart tests didn't cover 1080p. What they did find was that 4k 10-bit modes were noticably sharper than the 8-bit modes (except for 4k50p/60p, which appeared to be the same sharpness in 8 and 10-bit) - see https://www.dpreview.com/reviews/om-system-om-1-review#VD I'm waiting to see what video functionality the OM-5 strips out...

On the 'Optyczne.pl' website OM-1 'film mode' review, there is a collection of straight-out-of-camera 8 & 10-bit files at the bottom of this page - https://www.optyczne.pl/59.5-Inne_testy-OM_System_OM-1_-_test_trybu_filmowego_Podsumowanie_i_filmy_przykładowe.html The list: Also some resolution test chart videos on this page - https://www.optyczne.pl/59.4-Inne_testy-OM_System_OM-1_-_test_trybu_filmowego_Jakość_obrazu.html Their opinion (Google translated) of the 1080p modes was:

The internet can be magic, but not that kind of magic!

The problem with digital sharpness is that it cannot be un-done. If you take a RAW frame, it will have the resolution of the camera/lens with a neutral amount of sharpness. If you then sharpen that image, compress it, and then blur that image, you don't get the original image, you get something that is simultaneously too blurred and also too sharp - the worst of both worlds. If you blur the image sufficiently to counteract the sharpening (and the associated compression artefacts) then you end up with an image that is waaaaay lower in resolution. If, however, the image isn't overly sharpened in-camera (a tiny amount is ok), then you can process it in post without those issues.

I hate digital sharpness like a plague.

For a split second, I thought this thread was about how the sperm met the egg…

I'm agreeing with you. The FX30, if it's going to don the 'Cinema' tag, should have shutter angle and DCI. Two fundamentals of cinema shooting. I was merely saying that this proves the term 'cinema' camera is nothing more than marketing nonsense according to the manufacturers who tell us these are 'cinema cameras' but then omit very core fundamentals of Cinema shooting. Sony should be applauded for this camera but it should be a slow clap until they add shutter angle and DCI.

The FX3 is overpriced imo. It has the exact same downfalls as the FX30: Still no DCI 4K or shutter angle or WFM/False color. No S35 crop mode. No EVF. No internal RAW. No oversampled 4K. Actually the FX30 has oversampled 4K so in one important IQ aspect it is actually superior to the FX3! And it can do both S35 & FF with speed booster. I'm not really worked up, I just find the Sony cripple hammer very annoying and disappointing. Canon caught a whole lot of flack when it was up to those shenanigans but Sony gets a pass from you? double standards. See I do want a b-cam to my FS7 just like I'm sure FX6 & FX9 owners do too, but Sony doesn't give it to you. Not in FX3, not in FX30. At least Canon have C70 & R5C will full cine line features including internal RAW.. more expensive sure but no severe compromises like with Sony. All that said I will probably go with Fuji lol.

Well its a dumb move imo because the FX3/FX30 would be perfect B/C cams to FX6/FX9 or even Venice. Think drones, gimbals, action shots. Also the FX30 web page talks about cinema and filmmaking all throughout: Sony's acclaimed Cinema Line cameras sets the standard for filmmaking, with beautiful cinematic imagery, high performance and highly efficient workflow. Film industry experience allied with state-of-the-art imaging technology. The outstanding Cinema Line series of cinema cameras is built on decades of experience in the film industry and supported by Sony's sophisticated new technologies on the cutting edge of digital imaging. And even if you're not aiming for cinema release 4K DCI is great simply for getting closer to full sensor readout instead of the UHD crop. Again every mirrorless brand offers this in their flagships / video oriented models.. except Sony. It's a deliberate cripple to continue and segment the now "affordable" FX line from the more expensive "real" cine line. Same for shutter angle, it's probably 2 lines of code to copy/paste but no dice. Its rather infuriating. I'll be at the Sony booth at a trade show next weekend and rest assured I will grill them about this. Not true: Canon R5C has shutter angle, Panasonic GH series also. FX3/FX30 are half-ass attempts and not 100% worthy of the FX line imo. R5C remains the benchmark with full cinema line OS. FX30 is really hyped because of its price point and sleak FX3 body but in reality you're not getting that much with NDs, DCI & shutter angle missing, no EVF, no mechanical shutter and a sensor that pales in comparison to what the XH2S offers you (14-bit readout, 6.2K Open gate, DCI4K, 9.7ms RS, 13.4 stops of DR, ProRes).

The S5 and S1 are fantastic for everything other than AF compared to Canon and Sony. So it depends on your priorities.