sanveer

I could help you understand it, but I am guessing it would be better if you simply did a Google search of atleast 10+ random test results of Cinema5d doing dynamic range tests. It could include any and every camera you can think of. Check the history of the results over a few years and all your doubts will be answered. Your defence of them is either ernest and genuine ignorance or something much worse. Either ways, only you can answer your own doubts. Anything else would be an exercise in futility.

I think they do it as a private joke for themselves or they are genuinely never reliable. I actually suspect that they would have tested the Alexa at UNDER 14 stops, but are too afraid to publish it. The Alexa standard being indisputable, they would probably invite a plethora of brickbats. Almost as ludicrous as that 14.6/ 14.7 stops of Dynamic range on the Panasonic GH5s done by that freak which was published by NewsShooter.com. Cinema5d measured the same camera's dynamic range at 10.7 stops, 4 WHOLE STOPS less. If their measurements differed by 4 stops on the Alexa, one of those sites would have shut down. It is indeed an amusing world.

Whoa. Share the datasheet again. This sounds almost insane.

If that were the case, there would be no place for LuTs and other quick turn around processes. That's the same as saying why do Olympus and Panasonic need to introduce M43 when there already are APS-C and Full Frame sensors? If that were the case, Blackmagic and Kinefinity also would have no place. Thank God Blackmagic didn't feel the same way. The Original Pocket and the new 4k one are genuinely Path Breaking in many ways. New players could offer a lot of benefits and advantages. For one, a Price Advantage. And two, each of those systems has its minuses and pluses (the Compression ratio and the RAW codec itself probably has a long way to go). If the Organic sensor is as good as it claims, this could further shorten the divide between the high end and the prosumer market for video.

That Quad-Bayer HDR is a bit of a scam. It down-resses first (I am guessing to HD), and then up-resses (back to 4k/3860), to improve dynamic range. So the image is soft and not real 4k. If it's the same sensor as on the GH5s then the 14-bit is not in 4k. I vaguely remember it at some other (lower?) resolution. Overall the ECam Z2 is coming along as a great camera. If only they could do great accessories for monitoring and recording (and battery life?), they could have a great camera. And shave off $500 of off the price, while they're at it.

Considering that Fuji seems to have nailed the 10-bit formula (in the XT3), has good Log and other features in its ILCs, the transition shouldn't be too difficult. They could probably start with Cinema DNG and ProRes (off the shelf codecs) and pick up hardware (much of what may be quite easy too). And they have a history of film and photo colours, so they could be great with LuTs and grades. Also the cinema and broadcast market has huge potential for many more players, especially in the $1000-3000, $3000-6000 and $6000-10000 price bands like Blackmagic, Kinefinity and others have shown. If Fuji makes competing cameras to the Canon Cinema line at much lower prices, and more codec options, they could easily take away many customers and attract many more new ones to their entry level cinema line.

Or something even greater. Fuji is making a comeback to motion pictures by producing cameras that compete in the professional filmmaking space. With a sensor that does justice to such an ambitious plan.

Isn't it already S35

Maybe we need a New Thread Solely dealing with issues that DJI needs to address by way of firmware for the Osmo Pocket.

As in, I thought they would move to a larger sensor (Full Frame and larger) to accommodate the 8k resolution.

I had a similar experience as you. I am sure Panasonic has some great service in some places of the world. But I had a terrible experience and the after sales was absolute crap (including one in Adelaide and another in New Delhi).

The Varicam has a super35 sensor. They could do with a larger sensor I guess (Full Frame and larger). Especially if it needs to go 8k. If this is the Camera, I guess they're sticking with the APS-C sized sensor (PL mount). Which seems rather curious.

I hope DJI is generous and adds both D-Cinelike as well as D -Log.

The review seems unfortunate. It doesn't address what issues could be fixed with a firmware and what couldn't. And his running style in the last video was hilarious, but it seemed to highlight an issue with the stabilization correctly. I am guessing that the stabilization could be better if he didn't set the autofocus to fast, or if that was not the case, then it could be corrected by way of a firmware handling the speed and accuracy of the gimbal stabilization could be brought out by DJI. IMHO no review on this should be final, till such time as it is established that the issues can be addressed with firmware. Until then asking for a Version 2 of the Osmo Pocket is silly.

I did a random Google search a nd found the page of the reviewer above. https://myfirstdrone.com/dji-osmo-pocket-vs-gopro-hero-7-black Interestingly he says, "For the best quality, I chose to shoot in 4K at 24FPS. On the Osmo, I used the Pro mode to set the color to “Cinelike” and turn(ed) noise reduction off. On the Hero 7 Black, I used Protune to set the color to “Flat”, then set the max ISO to 1600 since the Osmo can’t go to ISO 3200. I searched for a way of turning noise reduction off on the GoPro, but I couldn’t find anything in the settings or anyone mentioning that as a feature online, so I’m going to assume that isn’t possible." The highlighted (in bold) portion contradicts what Matt at NewsShooter tried to state. Matt either didn't know how to use the Osmo or got a unit with limited features in the firmware. Either ways, his review is (like the dynamic range of the GH5s piece) is flawed. I hope he makes a correction and stops dissing the thing without knowing the facts and tests it correctly.

Cinelike is IMPORTANT. The footage lacks a little dynamic range in tough lighting situations (meaning the majority of them). Also, the 100mbps should be in 4k 30p and 24p instead of 60p. That's the lowest bitrate required for Suprefine Pro Mode. It's great that DJI reached out to you and is listening to reviewers and prospective buyers. If it solelely improves dynamic range and increases the 4k 30p and 24p to 100mbps, it will sell way more. That's one of the few complaints that people have, both of which seem well addressable by firmware. Plus price should determine this, or that this is for hobbyists is just some other BS. Cause it's like a drone head without the drone, meaning it's probably like 1/4th the price or less to make. Plus if it can be fixed with a firmware, why not fix it. This footage looks great. The DJI Pocket had just a hair more dynamic range in low light and less blowout of light sources. Plus more details, as can be seen from the headlights, where the Go Pro blows out details and the light and dark contrast.

Is there any proof that a Global Shutter Camera will or has better motion cadence that ci rma camera and prosumer CMOS sensors with faster readout? In the cinematic or filmmaking cinema sensor space, many cameras (especially the Alexas), seem to be more than good enough. Are there global sensor cameras that apparently have a more cinematic motion cadence and less noticeable rolling shutter? Also having an extremely fast readout speed, I suspect, may not let the image have the necessary softness required for a cinematic image. I am suddenly wondering whether film stock had issues with rolling shutter. Not to mentions the 2-3 stops of light loss and lower dynamic range of global CCD sensors. Also many CMOS sensors have global shutter circuitry, so things are not exactly black and white.

An excellent review at NewsShooter.com: https://www.newsshooter.com/2018/12/03/dji-osmo-pocket-hands-on-review/ It appears that most of the issues with the Osmo Pocket can be addressed with firmware updates. IMHO they are thus: 1. Slightly Higher Bitrates would be great. The 100mbps is solely limited to 4k 60p. (HD Superfine 25p – 30.71 MBit/s HD Fine 25p – 24.85 MBit/s HD Fine 60p- 67.16 MBit/s UHD Superfine 25p – 87.75 MBit/s UHD Fine 25p – 79.88 MBit/s UHD Fine 60p – 100.23 MBit/s) 2. The highlights and shadows are not being handled as well as they should be. Meaning either that it doesn't have HDR in video or that it's not preserving those well enough because of the codec in general. DJI does have some great experience with Codec so they should listen to custoner feesback and actually improve the dynamic range. 3. The low light also seems to be something that needs to be tweaked slightly. And I am guessing it can be with firmware. 4. The 120fps mode will be brought back with a firmware update apparently. I hope they increase the bitrate and improve the Video quality slightly. 5. There are some modes like times lapse and others they're available solely in HD. I wish they were available in 4k too. At worst it may be software limitation.

Yes. And with the waterproof case it can do upto 60 metres which is pretty amazing. If it's the IMX377, 477 or 577 sensor, it should have some serious potential. @androidlad will probably be able to answer the sensor question better. ?

Maybe if users petition them, DJI add a few more features. With the bright features, I can see this selling in the truckloads. Most of the limitations (except perhaps the water resistance) seem fixable with firmware.

It's actually created a new line of cameras: Tiny Travel Vlog Camera. And it seems to have so many features. I hope I find one or 2 around the $349 advertised price around here. I hope the CameraSize comparison site has this. Would love to compare it with more cameras. I am sure this is like 1/2 or even 1/3rd the size of many Vlogging Cameras. P.S.: I noticed this from the DJI site: "Notes: 1. Tested without a connection to a phone or accessories. 2. Panoramas must be viewed on the DJI Mimo App. 3. Story mode and D-Cinelike video will be available soon in a future app update." I guess the quality of the video including the Dynamic Range should go up with the D-Cineline update. I saw minor focus jumps in a few of the videos. I hope they fix the minor glitches with focus too with firmware.

The stabilisation, colours and the frame in general looked better on the Osmo (no strange fisheye and vignetting). Though it needs to fix the 4k 24p with a firmware update and also the sound on the mics needs to improve on the Osmo. I am also guessing that the waterproof features on the Osmo could be fixed with a few accessories. Hopefully they don't price the accessories too high. It seems to be a great camera. It has the Mavic 2's camera with all the bells and whistles at a fraction of the cost (it doesn't have the 2x zoom, but it costs a lot less). I forgot to mention. WAY BETTER battery life on the Osmo.

@DBounce maybe DJI actually makes the World's BEST Vlogging Camera that's terribly inconspicuous, has superb stabilisation, good sound, good dynamic range, reasonably long battery life; and does equality good video and photos.

After looking at various smartphone HDR photos I am convinced that cameras and photos too have a lot more dynamic range than we know and can imagine. Photos start galling apart in post more due go the bit and colour depth than due to anything else. If this characteristic of the photo can be handled better, we don't have to worry about assuming that there isn't too much information to begin with. Computational Photography and AI in post should actually, in theory, be able to improve dynamic range of photos even after they've been taken. It's almost like turning B&W photos to colour. The limitations right now, IMHO, are more to to with a lack of imagination by programmers and experts in the field, than anything else. I am not sure you're right about interpolation and it's limitations. Those are more of the accepted limitations of the present times based more on unexplored methodologies more than anything else. In theory HDR should be possible from a photo, whether physical or digital, and also up-ressed and increased in bit depth. I actually think that downsampling a 4k photo to HD will improve the noise and increase the colour information. It can then be upressed back go 4k and it might be way better than the original photo. It would obviously require a lot of processing power and great algorithms. Also it may not yield the same results and would vary from photo to photo (depending upon the quality of the original photos to begin with). There is that Sensor fusion process where information from 2 sensors is read and a composite image is created with MP count from one and noise foem the other helping out. The same thing can be done with a single image by undergoing a few steps to help improve it vastly.

There is a (debatable) school of thought that says that downscaling perfectly from 4k 3840 x 2160 to HD 1920 x 1080 ensures that there is more colour information and less noise, and in thus in theory, the equivalent of more bit depth. There have been lots of articles to push this theory forward. I agree with some of the viewpoints, but I have neither tried it nor an I am sure of how much the inage quality improves. (Translated this page cause it's in German). https://www.slashcam.de/artikel/Grundlagen/4K---Von-RAW-bis-4-2-0.html And https://***URL not allowed***/best-way-downsample-4k-smartphone-footage/