sanveer

I initially thought its Sony. But while Panasonic has 10-bit video and No PDAF, Olympus had PDAF and No 10-bit video. Which makes me suddenly wonder, whether its Sony putting those restrictions or Panasonic and Olympus, themselves. Fuji has 10-bit video, but its 4-2-0, though it isn't as big a difference as one would imagine. And everyone else using Sony Sensors seems to have External 10-bit video, including Sony themselves. About the Sale of the Imaging Division, I am curious why Olympus wants to sell it, to be set up as a completely new entity, unless it plans to further sell it or allow such prospects. It's at an MoU stage, right now, so a miracle could still save Plympus. Though a company would want to buy into M43, if it offered something above other ILCs, and a roadmap for noticeable further improvements and innovations. I am also guessing that Olympus may want to only sell their division to a Japanese company. I am suddenly wondering Panasonic's M43 division would also announce something equally shocking, sooner than later?

The question is, how will Panasonic handle this, considering that a lot of technologies are actually Olympus technologies in the whole M43 ecosystem? Also, should M43 users and buyers suddenly be more conscious, now that development on the part of Olympus has stopped? Also, why suddenly now, since Olympus Imaging had been in losses for a while for while (3 consecutive years, as the statement says)? Hopefully a lot of questions are finally answered regarding why sensors haven't been refreshed in a while, why Olympus didn't get 10-bit video, why Olympus didn't join the L-Mount Alliance and many others.

No word on autofocus. So its neither Contrast-based nor PDAF, in terms of confirmation. Though another G-Series camera, released with such urgency, would mean that it may highlight the roadmap for Panasonic for something (new sensor or new autofocus or some important new technology, that should eventually spill into the majority of Panasonic ILCs?).

True. Even Phantom Cameras have a Rolling Shutter, with a Global Shutter switch. The dynamic range loss, low light issues and the image degradation must be pretty substantial.

You have no idea about the concept of ownership and management of a company (or any other organisation). I wasn't making fun of Red or anyone there. I was making fun of the name thrower. The one who claimed that one has 'to be close to the owner to even get on the list'.

Are you sure it's not Jeffrey Epstein instead of James Jannard here, that you're talking about??? 😂 I am guessing you and Jannard are on buddy nicknames. Elena and Johny, perhaps?

After hyping the Komodo as much as the Hydrogen One project, it suddenly appears to have turned into an exalted and glorified embarrassment. "The KOMODO was RED’s answer for creating a much better crash action cam. They wanted to solve a problem at the high end where GoPro wasn’t creating a good enough image to be intercut with other cameras. KOMODO certainly evolved from that original concept, but it still has managed to maintain a small footprint. Jarred talks about how the KOMODO evolved over the years because the technology wasn’t available back when they first started developing it. He also tells viewers that 'he doesn’t see the point in releasing the full specifications of the camera until you can actually buy it. RED didn’t want to over or under promise what they could deliver by publishing specifications before everything on the camera was finalized'. While I get it, the camera is shipping to select people so I see no reason why the specifications can’t be released." This entire explanation seems both apologetic and like some form of cover-up, much like the Hydrogen One project. Bathos, at its finest. https://www.newsshooter.com/2020/06/06/red-komodo-qa/

I've only upressed a pic once on a laptop. It was a surprising good job, the app earnt too large and the thing happened quick too. But it was a single pic, JPEG, 12MP and from a smartphone. For the 16-bit photos TIFF that Topaz Labs advertises, I am guessing it must be processor intensive. For video it may be a lot worse.

I have been saying this for the longest. And now it appears that most things can be fixed and improved in post. Theoretically, as long as a JPEG (or any other 8-bit photo or video codec) isn't exposed absolutely terribly, its possible to not just improve (usable) dynamic range, but also increase the bit depth (super useful for post work) as well as increase the resolution. This doesn't mean that all photos will suddenly start looking insanely better, but most photos which don't have severe highlight clipping or way too much shadow noise, can look remarkably better. This also means that codecs can stretch dynamic range (way) above the bit depth, as long as the sensor allows for it. Interestingly, this should be even better for modern smartphone photos, since those suffer from actual details and bit depth, noise (except in night mode), lower resolution and bit depth. I noticed it already in the upressing video of Topaz Lapbs where 480p was upressed to 4k. It removed all kinds of artefacts and banding. Which, implies that, intentionally or unintentionally ir was also improving the vit depth. This particular software is more Phtoos. But the same principle applies. Though it would be super strenuous on a system yo handle this. This JPEG to RAW AI engine should be even more effective for smartphones. https://topazlabs.com/jpeg-to-raw-ai/

There is a lot of random moderation happening all over. I see it in youtube too, all the time. I feel, every story needs to be covered, neutrally, and every voice should be heard. Also, at the end of the day the masters of the planet aren't seen or heard, and yet they influence the major decisions, everywhere. We common folks shouldn't let the trillionaires affect our judgment. Least or all to burn bridges and cities

Once discussions become outright political and solely about left vs right, the entire discussion become about something else. The purpose of the original post and discussion is lost, somewhere in the entire vitriolic.

You're lucky it's a right winger country. I know a few friends who've lost family members in communist countries. Genocides are common there, and nobody dares to report things. Much like China and the whole curious Covid-19 story. Nobody in the media has lived to tell the tale.

Would you know what Signal to Noise Ratio, DXO records its tests at?

Very interesting. I suspected that RED cheats with their figures in many different ways. The highlight recovery on the RED was pretty bad, compared to the Alexa. The RED cameras also have strange flaring, maybe from poor coating applied to their sensors (along with the AA Filter). In a way it appeared to spread out the dynamic range wider, though only in appearance. The actual usable dynamic range may be much lower. I've seen such flaring from lenses which have poor or no coating (like the Mitakon 25mm f/0.95). In the 3 and 4 stops of overexposure, the RED made the skin look like plastic, from one of the very low quality cameras from 10 years back, with low bitrate and very low dynamic range. If the Alexa is 14+ stops the RED is probably 12, at best. Maybe lower, if one pushes it in post. Also the % of the grade was lower on the RED. The colours appeared to be more muted on the RED, and that's why the difference didn't appear nearly as much as it actually was.

I am curious. With the emergence of so many different VoD platforms globally, hasn't breaking into the industry become easier? Like many low budget films or series for VoD? Especially since there is far greater demand for content and far lesser content actually available.

This dynamic range chart seems curious. Usually the industry standard Xyla charts are available in 15, 21 and 26 steps. But this one seems to be somewhere in between 15 and 21 steps. Maybe RED invented their own chart?

I feel people underestimate the effort that goes into good photography. There is a lot of cropping involved, a lot of touching up and post work. Plus very few of the photos we took, actually make it to the final cut. This has been the rule since the days of B&W analog cameras. Plus studio setups and even so called street photography has to be put together, painstakingly. And the much of news photography, especially in war zones, is similar to studio setups, with actors being asked to do multiple remakes and makeup and touching up. Much of what appears, isn't really like it is. It's like Boney M and Milli Vanilli. About filmmaking, the so called greats of cinema, especially the ones who started by making low budget undies and/or who wrote books about their great low budget experiences, either befriended the sons of city and district mayors or found producers who handled all bits of production. Many of them also befriended great cinematographers early in their careers. They basically exaggerated their own struggles to glorify their journey. Filmmaking is tough, because it's a team effort. The director must be a master of management, more than anything else. He needs to hire a good writer, a good cinematographer, a good sound recordist, a good editor, a good music and foley composer, great actors etc. Therefore, he also needs great casting skills. He basically had to put a great team together and allow everyone a certain level of comfort and creative freedom, and inspire people on the job. And coordinate things between everyone. Doing too much can be a problem, and also not figuring out one shortcomings or limitations too.

Most likely too few PDAF pixels. That's why Samsung introduced the dual pixel 50MP 1/1.3" GV1 sensor.

Considering that Sony is the leader in sensor development, it's a mystery why they couldn't just produce a 12MP 1/1.3" sensor, that does better low light, has higher dynamic range, faster readout, and better frame rate options. Plus great HDR in photo and video (Sony really needs to fix its HDR algorithms).

Considering the breadth of the features on this one, the Least they could have done, is given multiple bitrate options. Also, I wonder if this is also 10-bit like some of the other flagship Xperias. Interestingly does seem to have HDR (though the A Series has it in 8-bit 100mbps).

I wish Panasonic cameras could be hacked like the GH2 was, back in the day, though with Magic Lantern kind of features.

Former Xperia flagships had issues with dynamic range, in photo and video, despite having 10-bit video in some of their flagships. Hopefully, Sony has improved dynamic range (by way of both codec and sensor performance), and all these stellar pre-installed professional cinema camera features are actually worth having on a smartphone, instead of having to download an app like Filmic Pro or some else. Extremely promising. Hopefully they also price it for mass market.

Samsung may have the Dual Pixel Autofocus advantage. The IMX700 is larger, but only marginally.

I saw this video. The stabilization didn't really seem that impressive compared to other smartphones. The example they compared it with, seemed not to have any nature of stabilization, whatsoever. It was terribly jittery. The 360° rotating (if that is what it can actually do), holds some unmatched camera potential. I guess we should have a comprehensive discussion on the Potential and Capabilities of Smartphone Sensors, what their hardware should be; Computational Photography algorithms; CFAs (including QuadBayer/Tetracell and Mixed CFA patterns); OIS and IBIS and EIS, sensor and pixel size and capabilities (including various frame size and sensor readout speeds, their effect on HDR, low light etc.). Also how many different zoom ranges should exist, ideally, in Smartphone Cameras, and what should be the minimum MP count.

1inch seems just too large for a smartphone cameras. 1/1.3" (and smaller sized sensors) seems much easier to manage. Plus, smartphones have multiple cameras nowadays, so having more sensors means ensuring that no single sensors occupies too much space on the smartphone.