sanveer

I hope there is some consistency with their testing even if they are wrong. To give credit where it's due, I actually check their rating and comments regarding dynamic range whenever I am down. It makes me laugh till my eyes water. Hopefully they don't stop that. They're probably doing all sorts of public service.

Wow. That would be quite an upgrade, especially with the benefits of the FF sensor. I don't know why but I think they might do a price correction, IF they don't make it absolutely path leading in the video department (and push it to 18MP stills or above).

It's beyond blasphemous comparing DXO Labs with Cinama5D. Cinema5D for the SAME CAMERA will show 3 different rantings in dynamic range, given enough time. I had even posted proof of this in one of the discussion threads.

I remember this write-up vaguely (Blackmagic had rated it at 13 stops). I didn't realize the guys (/the Dynamic Range clowns) at Cinema5d rated this thus: "We could get 8.2 stops of usable dynamic range from the AJA Cion. Interestingly it is the exact same rating we measured on the Blackmagic Cinema Camera 4K." ( https://***URL not allowed***/aja-cion-review-all-about-the-aja-camera/2/ ) Hahahahahahahahahahahahahahahahahahaha

I remeber this write-up vaguely (Blackmagic had rated it at 13 stops). I didn't realize the guys at Cinema5d rated this thus: "We could get 8.2 stops of usable dynamic range from the AJA Cion. Interestingly it is the exact same rating we measured on the Blackmagic Cinema Camera 4K."

If you compare their dynamic range testing over the last few years of the Same camera, you'll probably lose your sanity. Apart from contradicting everyone else, they contradict themselves too, many times over. And I don't think it's their fault TBO. It may have to do with the voltage and some kind of bulb or tube issued with their equipment. ???

@Andrew Reid the more I read the literature on the sensor, the More I am convinced it is in the wrong camera. It's a 12MP sensor after all. "Extended optical : dynamic range can be achieved by multiple integrated high dynamic range modes (multiple slope and dual exposure)." It does Full Res 300fps at 10-bit and 132fps at 12-bit, meaning, that, with the right kind of HDR method this sensor can have superb 4k (with full sensor readout) with absolutely no rolling shutter and very high dynamic range. It could have made a great cinema camera.

1200 nits is super bright. Especially for a monitor at the price.

XAVC has a lot of flavours they would probably just push it to the next upgrade. Dynamic Range may be similar, but the bitrate could go up and codec could handle grading and post better.

Have you resized the image, like cropped it or upressed it? I am guessing an old Canon.

And he used the HFR mode, which is essentially a 2 times crop of the sensor (and 4 times crop from FF). Meaning that if he used 4k and applied neat video noise reduction and then downressed to 1080p, it will be clean as a whistle. ?

80dB is about 13.3 stops of dynamic range. The Sony A7Riii offers more like 14.7 stops (https://www.dxomark.com/Cameras/Sony/A7R-III). The problem is that a camera can do photo stacking and have way better dynamic range. And having 132 to 300 frames (even if 1/3rd can be used would be great). But this camera doesn't seem like the computational photography powerhouse that smartphones are (or the Alexa cameras are). While they did mention 60-90dB in their literature, I am guessing they just mentioned the sensor figures and that they won't be able to actually pull that off.

CMOSIS is now AMS, but you got the sensor Spot On. It is super capable, thought not necessarily from a ILC or a Large Fixed lens sensor viewpoint. The sensor can do Full Res 300fps at 10-bit and 132fps at 12-bit full res. It has HDR mode where it has the option of doing it through different ways. The Problem is that the Photo Resolution is limited to 12MP. And the Even Bigger problem is that the sensor is an APS-C sensor. It should have been atleast 20MP if not 24MP. https://ams.com/cmv12000

@Andrew Reid I wish you could convince the guys at Magic Lantern to do something for the Panasonic Cameras too. Maybe any super compressed RAW like BRAW, or some 10-bit codec on cameras apart from the GH line but with more dynamic range than the VLog (which isn't really pushing it enough). I wonder if Cineform can be installed on Panasonic Cameras since it claims to be Open Source now. Also the compression ratio is huge, going all the way till10:1 and possibly Beyond ("10:1 and 4:1 are typical, greater ranges are possible"). Also the range of codecs that can be encoded in the 10-bit wrapper is amazing (including a 16-bit 4-2-2 one). Maybe that will help push up the curiosity for Panasonic Cameras like the GH2 hack did, at its peak. PS: A certain middle eastern connoisseur and master of technology (and of financial sleight of hand of the most ingenious type) seems to be looking forward the Canon R ML Hack ???

" For Pixii has no screen. And doesn't need one: your screen of choice, the smartphone, is already in your pocket. " ● CMOS sensor with 5.5um pixels ● 12-bits sampling rate, and high dynamic range (60-90dB) ● Global electronic shutter ● Native gain: ISO 200, programmable from 100 to 6400 ISO ● RGB color matrix, optimized with micro-lenses ● IR filter, no low-pass < 1.0mm Its basically a Sony XQ series camera (though it claims to have a viewfinder. Also it claims 12-Bit RAW but how long would images take to transfer between a smartphone and camera. I am not sure what the USP of this camera. It can't possible the rangefinder design. There are some great cameras with that. Or the compact size. 60dB is 10 stops and 90dB is 15, so the range is HUGE. I am guessing that it will have poor dynamic range, a problem suffered by Also while it says 5.5 as the pixel size, it doesn't mention the total pixel count. It mentioned Global Electronic Shutter but it mentions a CMOS sensor, so that's a bit of a contradiction. "Pixii is a new kind of camera. You press the shutter and the picture is revealed on your phone. We feel that the simplicity of our design is the result of a natural evolution. We found that path through learning and experimenting. It all makes sense once you realize what matters." Why do you need a smartphone to view photos on??? That's insane. So you carry 2 devices only to take and view pics??? The SOLE reason smartphone photography had developed so far is because epoeple hate lugging around huge pieces of equipment wherever they go. With this camera or concept, one cannot do without an accompanying smartphones whose majority of battery consumption is dedicated to tethering between the smartphone and the camera. Bluetooth won't cut it for fast enough file transfer and wifi will drain the battery big time.

I couldn't agree more. Sensor development and feature additions in the M43 space still has a long way to go. It's easier to downres a 20MP M43 than a 40+MP Full Frame. Also the dynamic range difference between APS-C and M43 is miniscule (except for a handful of Nikon camera which is also in the 1-stop improvement range). The VLog and Dynamic Range in video have still need a lot of improvement. Actually the exact specifications of sensors only come out when Sony starts making them em mass. Plus even the same sensor can have many versions depending upon things like PDAF and the total number of PDAF Points, dual or multiple ISO etc. I could be wrong, but I think the sole reason Panasonic Cameras do not have PDAF is due to the fact that Sony believes (rightly so) that they will cut into the Sony Market and have thus not licenced them. Pick an Alexa and a Red Weapon. They had it coming. ??? Sony is looking at the competition and wants to make a camera that adds just a little more bang for the buck or does something that nobody else does in the FF Mirrorless Video space. I am also questing that the A7iii has put tremendous pressure on everyone including itself regarding price. So pricing of the S1 will determine how Sony plans this one. They can't appear to have no price advantage. If the GH5 has usable ISO upto 12800 and just 1 stop more video dynamic range, the A7s series would have become a dinosaur.

Actually Sony's STRONGEST advantage is the sensor. They make sensors which are ahead of cameras by atleast 2 generations. Even their own cameras only tap a small portion of their Sensors True Potential (to protect their cinema line-up as well as genuine issues with heat and battery life). The ZCam E2 is Proof of this. By offering 4k at 120p, it easily outlines the potential of the sensor that Panasonic is unable to or unwanting to explore. Even the dynamic range in video is greatly handicapped in video due to the limitations of VLog and all its other profiles. The GH5 itself can do full res at 60p, meaning it's potential for HDR photos is superb. Sony mentioned in the same interview that they have customers requesting for higher megapixels even though he believes the 12MP count on the A7sii is sufficient. Which means probably an 18MP sensor or somewhere between that and the 12MP and obviously with equally good if not better low light. And the colour science of the new A7iii. IMHO the dilemmas foe Sony are thus: 1. Should it offer 10bit 4-2-2 internal like the Panasonic or have it external like Canon, Nikon and Fuji. Or have a mix like Fuji's to satisfy everyone. 2. Whether they need to get rid of the recording limit on the Camera or wait for the regressive EU legislation to die by next year and save on costs and then get rid of it. 3. 10bit may have more heat and pipeline related issue. Sony is wondering where (all) to cut corners. He is confident that they STRONG cards can easily handle 10bit so that is not an issue with him. The issue is giving as much as Panasonic and not too much more. Considering that apparently all Sony Sensor buyers have to outline their exact specification in the purchase order (under the guise of getting the right sensor for the job), Sony is more than aware of what the Panasonic Full Frames cameras will be capable of. Sony has to offer similar features, some more and some less. At a Premium in terms of cost. Or actually in terms of profits. This is a sensor roadmap (in the pic). But many sensors are on the market ONLY after their original buyers finish making their products, and Sony won't share details of its own sensor atleast until such time as it is available off the shelf. The only thing sure, right now, may be that the sensor can do full res at 60p (or higher) and has 14-bit at some frame rates which may be half of that or lower. Also dual or rather multiple gain and ISO in the range of the previous A7s cameras and maybe a little higher, if not just cleaner at those ISOs.

It looks a little like the famous Orbs issues with Blackmagic cinema camera, that many initial users reported, till Blackmagic finallynaddressed it with a firmware issue.

Unless someone says something remotely incriminating, this may be just shooting in the air, but I feel the reason why Olympus didn't join the L-Mount Alliance, may have something to do with Leica dictating the lens and other specifications in unsuitable or non-negotiable ways. Sigma apparently makes lenses for both Panasonic and Leica. But Olympus is not really a contract manufacturer for anyone. I think the exact specification of the Olympus FF lenses would shed more light on why Olympus isn't joining the Alliance. It is very likely that the cream of lenses will remain Leica Lenses (super fast lenses for instance) according to the negotiations with Leica (making them prohibitively pricey), something Olympus wojld not have agreed to, since they make some superb fast lenses. Hopefully the first quarter of 2019 will highlight both the roadmap of Olympus' M43 and its FF Dream. https://www.reddotforum.com/content/2018/09/photokina-2018-details-on-the-l-mount-alliance/

Could I also add, 'if members could please stick to the topic'. In every other topic, there are discussion that are out of subject. And Magic Lantern RAW and the Samsung NX1 seem yo be part of random discussions, where they shouldn't be.

So many YouTubers (and so many others) are promoting Red Cameras (maybe due to the RED affiliate program), it's not difficult to assume for people using Canon's Cinema cameras to assume that it (RED) would be a better option (for whatever curious reasons). Plus cinema cameras have so many hidden costs along with shit loads of noise at MOST ISOs, that they are mostly prohibitive for smaller crews. People should probably be aware of these, before buying them. Also everyone on FB and everywhere else believes that he or she will become Roger Deakins by getting a RED camera.??? Atleast Caleb sets the record straight about not becoming better or more talented after using a RED camera. Atleast now we Know. Hahaha

What's the bitrate on the canera?

I suspected something earlier, but the more people I interact with, the More I am certain, there is something wrong with Panasonic's marketing department. Most of their advertising budget is vapourware, which apparently is in the millions, in many countries. As is their supply chain. I don't know why, but so feel Panasonic should thoroughly investigate its whole Marketing Setup and cap the huge leaks. They are part of the reason why Lumux doesn't have more reach than it presently does.

Supply chain and Marketing mostly. Do you find Panasonic Cameras in stories (Street and Online), often enough? What about Advertising? Is it visible enough?

And probably add Dual Sensors on it (20MP M43 + 12MP 1/1.55"). A 12MP Smartphone equivalent camera for immediate social media sharing where quality is not an issue, and much larger 20MP sensor when you want some serious photos for lots of post work.