andrgl

​That's the key sentence. 22-bit sensor data has to be mapped into a 12-bit file. You can choose which part of your data is squashed via ISO.

It's crude but it works. By alternating the digital gain, we can capture more of the top and bottom of our signal data. It works more effectively than squeezing all signal data into a 12-bit file.

You're almost right. But we don't store 22-bit DNG files. Changing the camera ISO preserves different areas of the sensor signal.

BMCC. Sensor captures 22bits of data that is stored as 12bit DNG. Different ISO values preserve more signal data.

For digital cameras, ISO is really a quantification of signal gain based on photon sensitivity. Signal data changes based on amplification. When you change ISO you're literally changing the amplification of the image sensor, which affects how it responds to light. I've posted a sample image as proof, and I'll link to a fairly good explanation on stack exchange.

​Gotta thank you max, was about to write a long-winded response when I realized: Blackmagic's soon to be released Micro version of the BMPCC has an expansion port to control camera settings. Assuming we can control the ISO (which we can't because it's one of the settings not mentioned in any promotional material,) we could simply alternate the value every frame during a 60 FPS rolling shutter capture. Will have to wait for it's release to see if it's possible.

No shit there's halos. That's a side effect of maximizing every stop. And no, I didn't ask for someone to comment on personal footage that I purposely shot handheld on horrible, cheap lenses, I solely uploaded to get an opinion on high dynamic range image sensors. Let's get the obvious stuff out of the way too: the grade is over-saturated, WB is completely off, footage is clearly over-sharpened, there's vignetting, there's fringing and the highlights suffer from magenta tearing. Thanks anyways though, I'll treasure your post.

I've started shooting landscapes for fun and I've managed to hit the DR ceiling with my BMPCC rather quickly. What's the next smallest camera that can capture greater than 13 stops? There doesn't seem to be any consumer alternative to the BMPCC for capturing raw, high dynamic images. Anyone know of a USB3 image sensor that can do something like 120 dB of dynamic range? Oh, and this is why I love shooting RAW. This is what I would've got had I shot H.264 or even ProRes.

Mosaic Engineering is shipping their Blackmagic MFT AA filters again. I've wanted to purchase one for a while, so I sent them an email when they weren't available, and was given a coupon code for free shipping worldwide. Worked for my order, not sure if it still does, but send me a PM and I'll message the code back to anyone that is interested.

Wasteland survivors killing each other in cars and mesmerizing visuals; they nailed it.

Sort of off-topic but not, vimeo and youtube reencoding can mess with your colours too. I've had 255,255,255 white get shifted to magenta.

​Must be magic! Oh wait, no, the F35 has a global shutter and the A7S has a rolling shutter. There is no magic folks. Some of you are verging on clueless audiophiles.

Goes without saying but please be careful. Determining brightness and viewing angles from overseas online markets (alibaba, dhgate, ebay, etc) is hard and if they **** you with the description returning it for a refund is not worth the shipping cost.

That's incredible. I'm always amazed how hard people will work to reverse engineer products they love. Thanks for the update Andrew.

​This is an interesting point of conversation. What you consider proper frame rate (let's call it that to avoid discussion of frame interpolation,) is simply your perspective. There is a whole generation of people growing up who consider 30 FPS and greater to be 'filmic'. Anecdotal point: I was dragged out to see the Hobbit. It was projected at 48 FPS. I thought it looked like a cheap soap opera. My nephew thought it was amazing, word for word: "that was the best!"

Why would you ignore the specifications of the technology? Sensor technology and compression methods are what determines image 'cadence'. If you understand what's happening 'under the hood', there are no guesses and you can't call it magic.

​Every camera sensor suffers from aliasing, even CCD sensors. You should read up on what an OLPF is. Edit: I googled "bmpcc olpf" First result points right back to this forum. The "upgrade" costs 115 less than what you'd pay for it.

​Sure if you like: over-saturated colours, RF spewed everywhere and ridiculous power consumption. Why do you think production monitors NEVER* used plasma? Try it out yourself, see how accurate a plasma panel is with a colorimeter. *Panasonic, Sony, etc...

​8-bit sucks. Hold off if you can upgrade the board yourself.

​They wouldn't do RAW, as transmitting it would use a non standard interface (doesn't exist yet.) It'd be 12-bit 4:4:4 (just as good as RAW, except already debayered) through SDI. ​If Blackmagic built a 4K recorder, my bet is that it'd use CFast cards.

​We're about ~2 years out from OLED panels being printed which will greatly improve manufacturing yields. Expect the market to be flooded by late 2016.

​I bet someone (tinkerers, electric engineers) would be willing to take it off yours hands if you stuck it on ebay.

The body cap lenses from Olympus and Panasonic Pancake primes are a fantastic combo with the Pocket. ​I agree. I still love using this camera, especially when I see how flexible the image is to grade. Feels akin to what a 2.0 darkroom would be like.

​Yup, waveform vs histogram could make all the difference for some. I know which I'd prefer when shooting for chroma key.

Cheese plate and a pistol grip: USD$35 Add whatever monitor you want. (sorry for the halfassed picture, didn't bother trying to find pics with correct perspective.)