sanveer

Or they gate-crash the FF Party and spoil many a great dream for 2019 ???

The problem with using Natural light for lighting, especially video, is that it is extremely unpredictable and unreliable. Anything from small cloud movements to many other factors can completely ruin a shot and video. Also while reflectors can be great for manipulation of light, they are much better and more reliable for phone and not so much for video. That's also perhaps why lighting is as important during the day, as it is during the night. Also, it is much easier creating the 3-point lighting setup during the day, than it is during the night.

Early 2019 they release more substantive information about the camera. Maybe by mid 2019 or late 2019 they release the camera finally. I heard a few theories (one by the Northrops too), saying that the 2 cameras have the sensors that are already on a few cameras now and that the corners or ends of cameras can ensure a few Megapixels to be added or subtracted to the final count. Also like @androidlad pointed out in an other thread, the A7iii sensor does have some superb potential, especially for photo. Even @Andrew Reid posted the new story on expected sensors on the new Sony A line cameras and some of those sensors could easily be doing 8k on professional video cameras as well.

Interesting. I am suddenly wondering how much is the maximum a camera photo/ image can be pushed in post.

"The source also told me the sensors will have this: 1: Weighted pixel binning: improve the image quality when shooting videos with pixel binning. Already featured in a lot of Sony sensors. 2: A new dual-gain ADC mode: improve the dynamic range by almost 2 stops. The sensor loses 50% speed when using it. Details not known yet. Already in XT3’s sensor. 3: Digital Overlap HDR (DOL-HDR): It’s like bracketing, but you can shoot 2 frames almost at the same time! (The minimum time interval is only 1/6000 seconds). All the new sensors with 3.76um pixel size have this function." And the multiple ISO settings on Sony sensors for their own cameras. So these sensors (mentioned above) have 3 settings for improving dynamic range range alone. AND, both of these sensors can easily push nearly 15 stops (and I wouldn't be surprised if they breach the 15 stop of dynamic range mark), and have 4-5 stops of highlight and shadow recovery in post with their 16-bit sensors. No wonder nobody cares about organic sensors and quantum dot and graphene and other technologies in sensor material.

Ok interesting. Did they also mentions anything regarding the other specs on the camera. Maybe we could make an intelligent guess about who the manufacturer may be.

I didn't say it will have a 1inch sensor, someone else did. I would have assumed that it would, instead, use the Sony APS-C Global shutter sensor, since it may have a lot more going for it (better dynamic range and low light). @KnightsFan mentioned 1inch sensor. Most cinema cameras have CMOS sensors (some with a few global sensor circuitry modifications), and yet produce great motion cadence. I am guessing as long as they aren't large sensors with slow frame rates, motion cadence (and rolling shutter) shouldn't be an issue. I am guessing it also has Something to do with bitrates and codecs, since action cameras and cameras that have proportionately lower bitrates in comparison with high movement have issued with bad looking images (motion cadence). Issues with micro blocking. I didn't notice you replied. Is the 1inch sensor Size mentioned in their Facebook page. Where was it mentioned.

Holy F@ck !!! Sony sensors are a camera designers wet dream. I wish I was working with a start-up that was in the imaging space. The sheer number of camera sensor choices is Insane. At every size and imaginable spec.

There are some interesting Sony Global Shutter sensors out there, but I couldn't find one in a 1inch sensor Size. I found this instead. 2 sensors that are about 1inch each with larger pixels, though I doubt the dynamic range and low light (like @androidlad mentioned above) will be good. These sensors were announced this year itself. https://m.onsemi.com/news/article?id=4043

The ProRes and RAW started out too slowly and the codec (especially log and other features) was also slow. That along with the pricing slowed down stuff. They should have just thrown in a cheap 5inch monitor along with the thing. Once ProRes and RAW come along (along with a small price correction), interest should go up in the Z2. GS cameras always have much lower dynamic range. Plus the Sony Sensor in this anyways doesn't have much rolling shutter anyway, so global shuttwr won't really bring much of an advantage. Unless it's a new sensor with much larger pixels and higher dynamic range (which I frankly doubt). We should know soon enough.

Why?

Unlikely. Panasonic and Samsung aren't even in the game. They never really were. I am also curious as to who actually made the sensor for the NX1. Would love to see the datasheet on that one. It could be AltaSense or OneSemi (not not absolutely likely). The Panasonic's promised organic sensor is a very recent development (If at all), and way too high end to every make it to a camera under 50k. I must say it again. RED had practically infinite resources at hand, to begin with. And while RED seems like a great success story, it's like Spielberg making a Zero Budget Feature. For THE most influential filmmaker of our time, who also happens to be a billionaire it really is a Joke. RED was big enough to buy a few camera makers to start it's cinema camera journey. Kinefinity is not on the same footage. I read a Superb article a few days/ weeks ago about how the original RED cameras had some terrible issues with quality control, extreme delays with delivery, very poor availability of parts and very low dynamic range (well under 10 stops and barely above the 7 stops of the REC709 standard). The C200 has the same sensor as the C700. Which means it had superb low light and dual autofocus. And good RAW. And about $7.5k with great ergonomics and a body that appears way more ready to shoot (it does need lenses, batteries, Monitor, EVF, CFast Cards etc). Do you see what I am getting at. The MAVO is unable to justify the price. The ProRes and RAW are still in development and it's a $2k camera. Which puts greater pressure on MAVO and other new entrants with much higher prices (maybe not compared the absolute high end of cameras). Blackmagic does it well by offering a usable camera out of the box (you actually only need a lens and Memory Card), which costs $1295, but with $300 worth of the Software Suite. And it already shoots ProRes and RAW out if the bix (unlike the ECam Z2) and will shoot even better RAW (BRAW) soon.

Could you share the datasheet of the IMX551 sensor.

Wow. You're an encyclopedia of camera sensors. I now know who to contact if I ever make my own smartphone or ILC ???

Offering RAW and ProRes? The Mavo LF price is just the brain of the camera. There are many other components (like on all major modular cinema cameras). People who can usually afford the $15000-20000 can afford another few thousand dollars for upgrading to a subjectively better camera. Actually it does. While the Ursa Mini 4.6k may be more on the price range war, things like options for better low light, various flavours of RAW, high speed options and limitless recording put it as a competitor in some ways. The lack of more audio options, SDI and other connections, along with EVF and other accessories do obvious matter. GH5/ GH5s have other advantages of extremely long batter life, weather proof bodied, extremely affordable recording media options, huge lens line-up and practically limitless lens options with adaptors, IBIS/ OIS, etc. The cinema cameras probably don't even have OIS (except perhaps Canon EF lenses), but except for shoulder mounting (especially without stabilizers), they dong need them. All I an saying is that between the high end rentals of tge 30-65k camera range and the 4k options of DSLRs and cameras that record ProRes and RAW below the 10k mark, the middle market is more of less pushing filmmakers towards the high end, unless they are penny punching. And I am not sure why they would trust Kinefinity in the 10k (and under) and 10k+ price bracket of cameras.

I guess the Kinefinity Mavo LF exists at a premium cinema camera price range (especially with all necessary accessories), where users want to use a system they are familiar with, by a known corporation/ manufacturers, something that has a SUPERB sales and after sales network, and something that is built and works like a tank. At that price range, newer entrants are a disadvantage, especially if their price is not a fraction of the established lot. The Blackmagic Pocket Cinema 4k crashes the Cinema Camera party by offering 4k RAW and ProRes at a fraction of the cost, along with a built in (huge) LCD, and cheap memory options, and nothing extra needed to be able to use the camera (apart from a memory card and a lens). Maybe Kinefinity should have started by making a DSLR form factor 4k camera at $2k or less and taken it from there. Jim Jannard had billions to blow (along with a markwting genius brain) when he entered the Pro Cinema Camera Market), so RED cannot be compared with the smaller players. Also RED started out at a time when the Cinema Camera market was still in its infancy wrt to RAW and other standards, so it was in many ways, a level playing field.

It's great news and I just hope they hurry on that. Also I noticed that he didn't say how quick can one expect it on the BMPCC 4k, which probably means it's gonna take a while. I guess Blackmagic may be trying to figure out how to recover costs and make money from BRAW if other Camera companies use it in the future. They may not be targeting obscene profits like Apple but they probably don't wanna give it away for free either I guess.

Oh ok, thabks foe the answer. I am looking forward to improvements in the video quality with HLG.

Has anyone tested the new HLG on the X-T3?

Wow. I am guessing you will be, officially, the first person to be using the Weebill with BMPCC4K. Sounds pretty interesting.

I am very curious about that tiny flange distance. I wonder if it reduces or limits the stops of stabilization possible, especially across the pitch and yaw axis. And especially during walking (Sony does a decent job for stills but a terrible one for walking). I also think walking movements in video should have its own CIPA Ratings (or whoever else measured it) for Stops of Correction for Movement (different from those for Photo)

Actually most of the West (ironically) is living in this Orwellian Universe which people aren't even aware of. The Matrix is real. I see it all the time. The internet is just a tiny fraction of the stuff around. Atleast in Communist countries like Russia and China people KNOW IT. In most of Europe and the US, and most othwr parts of the world, people have been brainwashed for decades and centuries, and therefore unable to see anything that's in plain sight. They imagine that people who actually realise this, are conspiracy theorists. I am sure most people here too imagine that Andrew is imagining all this. Maybe they think he needs to change his beer brand or stop smoking up or something equally weird. I realised it long ago. When I first started using the net I researched on trojans (rats), and I suddenly realised that many organisations and groups are constantly spying on us and programming us in the process. There isn't much one can do to change it though.

The Nikon D7200 is an APS-C sized sensor that has 14.6 Stops of Dynamic Range. That's more than a lot of Full Frame Sensors. Like a lot of other Nikon cameras it uses the common 24.2MP sensor that is part of many cameras (likely across many other camera systems). Nikon is proof that that Sony's Sensors are class leading, and that with the right tweaks in fabrication and processor technology the difference between FF, APS-C (and arguably M43) can be be reduced to almost insignificant proportions. Which basically means that M43 have more scope for improvements based solely on processing and fabrication (I read about the shorter new gapless micro lens technologies improvements in both Canon and Nikon cameras). The FF sensor is about 2.5 Times that of APS-C and APS-C is about 1.5 Times that of M43, meaning the size gap between M43 and APS-C is MUCH smaller than the size gap between FF and APS-C. I read somewhere that the EMD1-X is apparently the next generation of M43 with improvements across various parameters. Hopefully they've pushed a little bit more in the Dynamic Range and Low Light potential, apart from implementing PDAF way better. If they can, there is no reason this should not replace some high end APS-C sensors.

Do this: 1. Light the room enough with soft lighting to maintain exposure at ISO1600 at most with reasonable contrast between areas. Don't go higher than that, because you may need to bring down exposure to ISO800 later, if need to, to ensure there is no noise in shadows. Also ensure none of the lights are anywhere near the frame and are super soft. 2. Fill the room with smoke (the fastest and easiest way is to use a Vape/ eCigarette) and spread the smoke around to make a Very even but thin layer. Ensure that there isn't any moving air once you fix the smoke in the room. 3. Use a strong torchlight and see how glary or contrast the light it. Adjust the smoke and light intensity accordingly. 4. Maintain a cool colour temperature in post, to give it the correct night look. It's shouldn't look warm. Also try and set the lighting similar to the torchlight so that the colours don't dance around.

I couldn't agree more. The LX100ii is such a piece of crap. I really don't know what they were thinking. I am also noy sure how the GX9 (or even GX85) is not vastly superior to the LX100 ii and actually eating into its market. Also the GX line has shown that there is a serious issues with the naming scheme and feature set on certain Panasonic lines. The GX8 was this 600 pound gorilla after the GX7 with enormous shutter shock (so much so that they had to change the entire shutter mechanism, giving a huge boost to Panasonic's shutter improvements across most of its cameras after that), and much larger body. Also why the GX line doesn't have a mic in is another strange question. The GX9 is what the GX8 should have been. True, but it's over a stop slower. Which seems a lot for a camera system which doesn't have very high ISO capabilities. The way I see this, is that M43 system started out as this extremely innovative way of handling smaller bodies and newer technologies from getting rid of the mirror; to touch focus, to focus and exposure and other stacking options (improving dynamic range, exposure, creating wider depth of field etc); Live Composite Mode and other similar modes On the Olympus and thay new compositing mode on Panasonic that merges many images into a single where a person or thing is shown performing an action (sequence composition?) etc. The are SO MANY feature sets, both in Hardware and Software, but they have just not been fine tuned and advertised and polished enough. Like the Touch to Focus has been around for the longest, in both photo and video, and yet the focus in video has been terrible since the GH1 (in 2009?). It's like the different between Apple and a lot of Android phones that aren't doing too well. Apple mostly doesn't create any new tech and has so many hardware and software glitches. But it fine tunes many features almost seamlessly, from opening its API for video Apps, to fine tuning colour accuracy on its screens, to having that superb FaceID unlock etc. The way I see it, M43 is not thinking ahead of the competition, like it used to. It was the first with IBIS, 10-bit video, Mirrorless and touch screen functionality, super tiny ILC form factor (the Panasonic 4/3 sensor GM1 was smaller than the Samsung NX1 which has a 1inch sensor, and which lacked an EVF and had less buttons too) etc. It it hasn't fine tuned it's feature set.