Luke Mason

There indeed seems to be issues with in-camera real time lens correction in video mode:

This clip along with the other clip shows some of the image artifacts possibly caused by in-camera lens correction used real time in video mode.

Thanks, that looks very concerning...

Quick question for those XT-2 video shooters, does the camera apply chromatic abberation, shading and distortion correction to the images in video mode?

Well I guess it's possible that only F-Log can completely turn off in-camera sharpening.

Try all the way down if -4 is the lowest you can go, I don't own XT-2 but the clip you posted has a bit too much digital sharpening.

Judging from the clip It's not the common type of moire which should be mostly chromatic (jumping with colour), was the sharpness setting turned all the way down? It might be also due to the in-camera debayer algorithm for video, considering the camera is debayering from 5K area of the sensor, downsampling to 4K and compressing it in real-time, the debayer quality could be different from what you get from RAW stills in Capture One or Lightroom.

C500 produces breathtaking images, but I need to mention two C500 woes: Loud fan noise makes sync sound impossible (especially in 4K RAW mode) Dynamic range and highlight roll-off (if you light and control the scene DR within 12 stops that the camera can capture, the images are organic and gorgeous, but if there were clipped highlights, they are usually harsh and digital looking.)

A menu design overhaul is top priority

Heartbreaking?! I find it heartwarming knowing that those equipment helped capturing the most breathtaking images from an once-in-a-lifetime perspective. It's a beautiful and fruitful one way trip. It's not the astronauts' decision. Those gears are just tools that had fulfilled their purposes. The return vehicle carried payload of paramount scientific value. That's something a few CMOS sensors, circuit boards or optics can never compare.

It is capable. But if they shot RAW, you wouldn't be seeing a video at all.

They shot JPEG because no software can process the RAW files from RX100 V yet.

Sport stills 1DC is one of the very best cameras. Video AF is almost non-existent. Image quality wise S35 1080p is sharp and clean, on par with C100/C300 1080p. I did a comparison between 1DX II and 1DC, you can take look.

Assimilate Scratch is the only Apple certified ProRes encoder on Windows platform.

No, full HD slow mo is up to 120fps, higher framerates have lower sampled resolutions, of course they are wrapped in a 1080p container.

Colour will likely be an incremental improvement on A7S III, just like A7S II from A7S. 10bit internal not going to happen. Max printing size depends on viewing distance.

Two articles you linked are from more than a decade ago. They are not so relevant to what most of the sensors are doing today. You (and the articles) are still talking about colour aware pixel-binning which improves SNR and creates full RGB data without interpolation. This is currently only used on C300/C500 (Sony F35 was a legend with this binning technique). The pixel-binning method used by majority of cameras today couldn't be more simple, they treat multiple pixels as one, one readout for many pixels, there's no averaging or any other processing involving signals from individual pixels. Because of the high total FWC of the pixel group, readout noise increases. Also if the OLPF is not designed with the size of the pixel group in mind, there will be severe aliasing.

Exactly what I said in the second paragraph of the reply. These are special types of pixel-binning rarely used on cinema and consumer cameras. Majority of cameras use the most standard and fastest method of pixel-binning.

On a small hybrid camera it would be even worse, because the OLPF has to be optimised for 40MP stills, which should be very very weak to retain fine details. The aliasing from 2X2 binning with a weak 8K optimised OLPF would be horrifying. 2x2 binning is 2x2 binning, different demosaic algorithms do not yield any better results. The key to not degrade image quality when binning is appropriate OLPF, and we are not talking about how to get better image quality here.

Definitely not the best solution, here is an example of it: 4K 1:1 readout from Sony FS7, downscaled in post: 2K from 2x2 pixel binning:

Pixel binning does not "average" multiple pixels, it reads them as one bigger pixel. If you used Sony F5 or FS7 you would notice that in "2K Full Scan" mode which does 2x2 binning from 4096x2160 sensor to produce 2048x1080 image, the image quality in this mode suffers from coarser and increased amount of noise as well as severe aliasing if the OLPF was not swapped for the 2K version. There's a special type of colour aware pixel binning though, as far as I know it's only used in Canon C300/C500, 4K sensor is pixel binned to produce full RGB 2K image without interpolation. The prototype 16K FF sensor from Forza also uses colour aware pixel binning to produce full RGB 8K from a 16K sensor.

"certain sensor resolutions are better suited for it than others." is exactly incorrect. From a pure image quality perspective, the more resolutions to work with the better, for example, Nokia Pureview technology oversamples from 41MP raw data to produce 8MP/5MP/2MP ones, they are sharp and clean because the noise can be average out. The "multiples of 4K" concept you mentioned is designed for optimal speed, called pixel-binning, groups of pixels are readout as one instead of every single pixel. The bin requires equal number of pixels horizontally or vertically, like 2x2, 3x3 etc. Hence the need for "multiples" of resolution. Pixel binning tends to create noisier and softer images with higher likelihood of moire.

That's incorrect. Oversampling can be done from any resolutions. For example, A6300 oversamples every pixel in the entire width of the sensor (6000x3375) to produce 3840x2160, without pixel binning or lineskipping, then downscale to 4K with software algorithm. It works the same way as when you take a high resolution JPG in Photoshop and change it to a lower resolution. The camera does it on the fly from a 6K raw signal, that's why it produces the sharpest 4K image. In comparison, A7R II S35 mode oversamples from a ~15MP area of the FF sensor.

It's confirmed fake, the Japanese text has grammar mistakes and not professionally worded.

A7S II with Speedbooster produce very good 120fps (1.6x crop with Speedbooster)