Luke Mason

Sony cameras employ dual stage gain so noise in the shadow will be very blocky, solution is to overexpose, for low light scenes it's not necessary to use s-log as the scene dynamic range is low.

The standard is Alexa, they advertised 14 stops and the test proved it. If you must say C300 has more than 12 stops, than Alexa can do 15 or even 16, but ARRI decided on 14 based on years of research and strict standards. 12bit RAW does not increase dynamic range, and it does not make any part of it "more usable". SNR is affected by sensor characteristics and compression, not quantisation.

highlight recovery in Resolve only works with DNG RAW, C300/500 RAW is logarithmic (Alexa's Log-C is also logarithmic), meaning it's just uncompressed C-log, there's no "extended range", Xyla tests reveals the entire available dynamic range the camera can produce. As for the BMPC-4K example, they tested with BMDFilm curve applied and also highlight recovery, so again there was no missing DR. Your eye ball certainly were not as precise as IMATEST software.

C-log on 1DC offers decent dynamic range, but you are exaggerating saying it's better than C500. In fact it's inferior than most cinema cameras. See this dyanamic range test: http://www.cinematography.net/edited-pages/NZCS-Contrast.html

BT.601 is tied to MJPEG codec, because this codec is so ancient, using BT.601 is the only option. 1DX II also uses BT.601 when recording 4K.

haha, BT.601 is cinema standard colour space? It's an almost obsolete standard definition colour space. It's about the same as BT.709 but lacks a bit green coverage. So it's either that person who told you this was totally incompetent or you made it up.

I prefer 1DC but for low budget VFX film 1DX II could be huge, it does in-camera lens distortion correction in addition to vignette and chromatic abberation correction, it basically takes a Canon EF lens into near Master Prime quality.

according to the research I did on 1D C, only C-Log completely removes in-camera sharpening, other picture profiles even with sharpness at 0, still applies subtle sharpening, neutral has the least, landscape has the most.

I believe "fine detail" picture style applies additional sharpening before compression, try neutral with sharpness and contrast all the way down, it'll look more organic.

haha you are funny, 30bit is 10bit PER CHANNEL, so 10bit per R/G/B channel, HDMI supports maximum 16bit colour depth.

Turn on highlight tone priority with neutral picture profile, much better highlight roll off.

Well, silicon based sensors are inherently daylight balanced (around 5000K), usually when lit with daylight source you have the best colour separation and accuracy, and lower noise as well.

If you looked at their marketing material, they stated that they are the first and only company in China that obtained official ProRes authorisation directly from Apple. haha, unsolicited email? Apple ProRes program office encourages users to email them if they have questions regarding products that use ProRes codec, go have a look at their website. Yes the authorisation could be pending, but that doesn't mean they could claim they already got the authorisation in the marketing material.

Just to update everyone, got an email from apple today (2016/04/04) regarding Kinefinity's Apple ProRes license.

You do need permission to use Apple ProRes in the products, and it's incredibly hard to obtain. JVC killed one of their camera products due to Apple rejecting the ProRes certification request.

As of now, Apple has not listed any Kinefinity cameras as authorised ProRes products.

You can combine S-Log2 gamma with S-Gamut3.Cine colour space, just set it in the picture profile settings.

Got confirmation from an A6300 tester " DVFire", 4K 24P/25P crop factor 1.5x (24MP full sensor readout) 4K 30P crop factor 1.9x (13MP crop area full readout) HD 120P crop factor 1.9x (13MP crop area pixel binning readout)

Still nobody can confirm the crop in 120p mode? some videos and newsshooter say 1.6x in 120p, 1.5x in 4k 24/25p, 1.9x in 4K 30P

Canon's implementation of this in 1DX II is the ability to pull still in camera from 4K video.

You took an F65 to the subway, hats off to you one thing I didn't quite like was the highlight roll off. I believe the strength of F65's sensor is mostly in the shadow.

According to Canon, XFAVC is only for their camcorders and C-series cameras, it's likely to still be MJPEG but with increased bitrate, like 1000Mbps, recorded to CFast 2.0 card (128GB/15min)

4K 60fps will be almost certainly a 1:1 sensor readout, DSLR form factor just can't do any kind of downscaling to 4K right now, meaning it will be slightly softer but moire free, similar to 1D C 4K.

The restriction is only for very large capacity batteries, typically larger than 200Wh (brick batteries), usually smaller ones you have to put them in your carry-on.