Luke Mason

Mavic 2 Pro uses Ambarella H2 for the 10bit HEVC Main 10 Level 5 Profile. Sensor readout mode is mostly dependent on the sensor though.

P4P uses the same downsampling algorithm (pixel-binning) as Mavic 2 Pro in full FOV mode up to 4K 30p. P4P 4K 48/50/60p use pixel-binning + line-skipping. Mavic 2 Pro 4K HQ mode uses 1:1 readout for 10bit HLG/D-Log.

That quote is based on HDR mode for stills photo.

I believe Mavic 2 Pro still uses Ambarella H1 chip, which limits H.265 to main profile. Also the Sony sensor IMX183CQJ doesn't support full sensor readout for video.

Pixel binning is one of the methods of "downres", for example RX100M5/6 use supersampling to downres 5.7K to 4K, it's full sensor readout which is the best quality but computationally demanding. Other downres methods include line-skipping. With all of the processing going on in a small drone, supersampling 5.7K doesn't seem practical due to power/thermal constraints. Ideally you'd want a 1" sensor with less pixel to strike a balance between photo and video, but the Sony 1" 20MP one is the only model DJI has access to.

4k full FOV is not full sensor readout, in thise mode 5.7K is pixel-binned to produce 4K. In HQ mode it's a 1:1 crop of the sensor.

None of the current cameras have eye AF in video mode, Sony's impressive eye AF is only available in stills mode, in video mode it falls back to face AF.

10bit 422 up to 4K 30P, 8bit 420 for 4K 50/60P.

Only Alexa's digital noise comes the closest to film grain, the others have blotchy, chromatic unpleasant noise patterns, even uncompressed

That's debunked as fake, just a custom P4P

We spend a lot of effort to emulate filmic colours and grain using digital, maybe in a few hundred years, we would start to emulate the clean sterile digital look.

Both the old pocket and pocket 4K are marketed as 13-stops of DR. Pocket 4K has a larger sensor with much more advanced architecture from Sony (IMX294CJK). I'd speculate that the production version could offer slightly better DR than the old pocket.

The 1" sensor in RX100 VI performs better than G9/GH5 due to more advanced architecture - BSI and stacking (Exmor Reverse Stacked)

IBIS helps with micro vibrations when using gimbal.

Gimbals seem to work best when combined with optical image stablisation and/or IBIS. With gimbal only, i notice some micro-vibrations in the image.

What I've found is Fuji WDR retains more highlight detail than Eterna.

Have you tried the Fuji WDR LUT? IMO it looks better than Eterna.

We are talking about interframe compression here. the 400Mbps codec is intraframe.

If you shoot subjects and scenes with a lot of motion, 8bit 200Mbps is absolutely better than 10bit 100Mbps. For mostly stationary stuff, the difference will be negligible.

Essentially, HLG gamma is just BT.709 with aggressive highlight roll-off. It's not advisable to do any intensive grading due to this highly non-linear distribution of bits. If you have used BT.2020 gamut (often combined with HLG gamma as a default). Just map the gamut to BT.709 with some minor adjustment. The dynamic range will remain unchanged after export. After all, HLG is designed to work on both SD TV and HDR TV.

There are modified Go Pro 6 available with 19mm all glass, low distortion lens. Better sharpness with almost no glare.

They measured absolute dynamic range, which they did not do for Alexa: https://tech.ebu.ch/files/live/sites/tech/files/shared/tech/tech3335_s11.pdf If they used the same method from the GH5S test to evaluate Alexa, it would have easily reached 15+ stops of dynamic range.

Based on current info, the dual ISO on P4K is native at 400 and 3200.

Those are not prototypes, they are fully functional pre-production samples. The ProRes clips I've seen are UHD 24fps, fully working with natural motion. Maybe the materials you've seen had a different setting, or the card speed too low with dropped frames.

No, the editorial element for Dunkirk were 720p created using Millennium telecine.