Deadcode

These results are shocking for me ? h265 > ProRes ?! Insane. I think i will redo this test with my own RAW footage.

With ridiculous amount of crop there is a difference in texture detail. "B" is ProRes (left) and "A" is h265. (right) Thanks for the test!

And none of you can figure out why this is happening. Beautiful. The AF is reliable till -3EV (with A73), and live view exposure counts. Regarding to backlight situation if you go below -3EV the AF can struggle even in broad daylight. The test is simple, use SLOG2, dial down to -2EV exposure and try to use AF. It will be unreliable. If you dial up to +2EV everything will work perfectly. In backlit situation the auto exposure metering is unreliable, if you push the exposure up manually above +2EV the AF will work perfectly. Side note: in backlit situation i recommend to shoot with zebras turned on and set 46 +-5. Set your zebras to your subject, and you can avoid noise and still have some room in the highlights. (46IRE means +1EV for SLOG2 middle grey) If you are using auto metering, and set it to +2EV, it will be still underexposed.

Awesome, an expert! Please show examples, reason, and solution!

Actually it's easy to even out the skintones. Just use hue vs hue curve with 4-5 adjustment points between red and yellow. Dave Dugdale created an awesome tutorial about color matching between cameras and it's worth every penny. He also talks about the thickness of the skin tone "blob" what you can see above, and how to match it

What will be the "usual" bitrate for 8K? For 1080p there was 28Mbps AVCHD first, then 50Mbps with newer codec's. For 4K the usual was 100Mbps. For 8K IPB h265 i say 200Mbps seems to be the favorable. V30 SD cards could be enough. Actually i dont think processors are there yet. If these sensor's will be in the A7 line, they will be limited to 4K 60 But the same sensor will probably record 8K in Sony's next high end cinema grade cameras.

5D2 is using Digic 4 processor 5D3 is using Digic 5.Everything that is possible with the Mark II is possible with the Mark III. 5D4 is not hacked yet. Yes, A1ex was able to run his code on the 5D4 (just like with the EosR) but he is not owning one, so he cannot continue the progress. Until one of the skilled hackers own at least one newer (Digic7+) cameras we can not expect any progress.

Dont get too excited, reddercity is brute forcing the registers in the past couple of years, and technically never archieved anything. The other forum members developed the new features from reddercity's findings . And unfortunetaly less developer using 5D2 every year. But let's hope for the best

Gorgeous! Please show more samples! Maybe early bird discount for the first 10 buyer? ?

Dont forget the rolling shutter / overheat at a6300 / a6500, overheat / sunspot / bad battery life / poor AF with A7S II, The crappy 4K at fullframe with A7R II, the aliasing heavy 1080p with A7 II. Sony was bashed a lot in a lot of reviews But they overcome the major weaknesses with the third generation. Still not perfect, but much more value for the money and much less pain in the ass comparing to previous generations. Actually i dont remember if there was major problems with GH3/GH4. Maybe they were perfect? ?

I fixed it for you, now you can rest in peace. Let's get back to the original purpose of this video: noise levels...

I'm sure most of the Z7 customers are photographers who rarely record video. And they use factory default settings. Those who want video oriented camera, will not buy Z7, nor EosR. The customers buy these cameras for photography. And very few of the photographers are even heard about Davinci Resolve for example. I was in several Sony Mirrorless/A7/a6xxx Facebook groups, and even after several years the "why my slog2 is so noisy" question is STILL on the table. My point is: we, here on EosHD forums are only the small percentage of the users who actually want to examine 100% of the capabilities from these cameras. Others just use them out of box.

He is showing every camera at their default settings. So technically he is using the cameras just like 90% of the users do. A lot of people complaining sony have the worst skintones. Because they dont know how to grade. I can make the image from any camera to look good. It's just 30 sec work to fix the Z7 image in post. And it's just few minutes work to match all of the cameras above to look the same. But we dont want that. We want to argue which one is better...

Technically the pocket 4K sensor size is the same as the eos r in 4k mode. I would love to see sharpness comparison with the same lens from your hands.

Can wait to see what happens after he tried BMPCC4K. ?

Black levels and exposure are roughly matched, contrast is more or less close to each other. Technically you compare noise levels and shadow detail here, the contrast difference does not matter. Probably there IS a difference between N-Log and Flat, just like with the Sonys. Cine 4 has 2 stops narrower dynamic range compared to SLOG2 I think middle grey should be exposed to the same level. If we expose for the highlights it's much harder match the shots in post.

A7 III has the widest dynamic range, however the darkest parts of the image tends to shift magenta, as usual with Sony cameras X-T3 seems like losing about 2/3 stop in the highlights and 1/3 in the shadows compared to A7 III, and the dark parts slightly shifts to green. I would redo this test with the original h265 file, because Resolve dont set the data levels correctly (at least Resolve 14), so if you created this comparison in resolve, maybe you missed the superwhites/blacks in the transcoding EosR is impressive, it has same information in the shadows as the X-T3 but losing about a stop in the highlights GH5 has the same highlight information as the X-T3, but losing about a stop in the shadows The Z7 Flat has the most shadow detail but it losing more then 1,5 stops in the highlight compared to X-T3 Interesting to see how well the 8 bit low bitrate codec's hold's up against 10 bit high bitrate. The reason is probably the fully used dynamic range, in low DR + underexposed scene the difference would be much more visible after color correction. Edit: in my first post in the shadow nosie comparison the correct camera order from left to right: GH5 - A7 III - X-T3 - EosR - Z7, just like above

On the sidebyside picture there is the Nikon FLAT. Nikon N-Log +2EV is actually missing from your comparison! The original N-Log is underexposed, i am unable to recover anything from the dark areas.

EosR - A7 III - X-T3 - GH5s - Z7 (lifted) shadow noise at +2EV: Thanks for doing this comparison!

He did this test with factory default settings. Low light and dynamic range comparison is coming soon. If we compare cameras in their "best" settings and match them in post, it would give a lot of room to cheating... and favor one over another. I dont understand why you are defending the EosR or the Z7. In one post you hammering the EosR because it's shit, in another post you bless it's glorious image.

Thank you for doing this comparison! Actually GH5/GH5s is better than i expected.

The image from the BMPCC4K is superior to GH5, but not this much. It's awesome if you just put a REC709 LUT to BMD Film how good the results are. But it does not require advanced grading skills to make the GH5 image look good. This is my problem with Wofcrow's Alexa comparison too. We can see REC709 LUT's side by side. But what happens if you want to match the GH5 and BM's image to Alexa? Is it possible? (Yes...) how hard is it? . Can the cheap cameras keep up? (in some cases, yes).

We already discussed this comparison several pages earlier. This video favors the BMPCC4K in every scenario: poor grade on the GH5 in skintone example, dynamic range comparison while the GH5 is rolling in it's natural PP, BM on gimbal vs GH5 in handheld... It a joke.

Thank you very much. It's a processing error just like with sony footage. Switch to bmdfilm log and gamut on the raw tab, and add a gamut mapping node to convert it to rec709 with saturation and luma knee. The color will roll-off perfectly fine in all of the examples. But. With v3 colorscience (i have resolve 14) the hue is shifted from red to orange. Strange. Maybe v4 is more accurate.

The prores is already clipped. RAW is cannot be clipped, because gamut is chosen in the post process. And i think this is the same problem what we already saw with sony cameras. Probably the raw is perfectly fine with proper post processing. It should be. I hope so.