Lux Shots

Speaking as an experienced software engineer, you can sometimes implement FPGA logic in software, but you can never duplicate the true parallel nature as efficiently, even doing the implementation in CUDA or OpenCL. You can make it work, but the power budget will be quite high. Also, we are talking about FPGA's like there is just this black box of magic 😁, but then the higher up the offerings you go, FPGA fabric is mixed in with fixed function components and (multipliers, memory controllers, etc) which reduce how many LUTs* you have to use for those functions and saves you power, at the cost of flexibility. What node are they at for mainstream FPGAs now? The last thing I did anything with was the Spartan III. I did sit in on an Intel presentation a few years ago, and those damn things are mind blowing in what they offer, the speed at which they offer it, and the freaking cost! 😬 * This is a slightly different kinda LUT 😄

I'm knee deep into the L-Mount for at least the next 5 years, so I'm not in the market to switch. But I am always willing to consider a deal on another S1H if my funds are right. 😀

I have been trying to import the ProRes RAW footage that I captured into Premiere Pro CC, and I have discovered a bug. 😢 I have an AMD Ryzen CPU, and I have both an AMD Radeon Frontier Edition 16GB VRAM GPU AND an NVidia Tesla K20 GPU that is for dedicated compute. The requirements for ProRes RAW for Windows are you must have an NVidia card and you must configure the project to run accelerated with CUDA. I have done that, even though I could use OpenCL and Software Rendering, but the ProRes RAW plug-in fails everytime. The Adobe community forum says that this is a new, known bug, and that they are working on a fix for it. I really hate that this is happening, as I have a trip set up next week, and I wanted to capture some ProRes stock footage while I was on the island. I will still capture this, but now I have to capture ProRes RAW, ProRes, and H.264/H.265 just in case a trash a ProRes RAW exposure.

It would be simply unbeatable. The crazy thing is, that you could grab three used S1H cams last week, as everyone was cashing out to race to Sony and Canon's offerings. Kinda wish I dodn't book that all inclusive vacation to Puerto Rico next week, cause I would certainly love to grab a few more! 😀

With the new data rates that this thing uses, I was surprised that my inexpensive 1 TB Western Digital Blue SSD could handle ProRes RAW HQ in 5.9K and 4.1K 60p. I plan on using this new codec specifically when doing outdoor weddings. As of now, I have been severely underexposing just to make certain that if the sun peeks from behind the clouds that I don't burn a hole straight through the brides dress, never to be recovered ever again. Canon and Sony have had some interesting releases the last few weeks. The only realization is that the S1H clearly would best both to an extent if it had Canon/Sony level autofocus. With that said: I know how to manual focus. Glass f/2.8 or faster and ISO 12,800 looks fantastic. Anything more, I will light it. I've run my camera for over 4 hours straight (Hindu Wedding) in 5.9K, and my camera didn't overheat! When video work dries up, this thing is a competent stills shooter. I really don't know what job this dynamic duo of S1H and Ninja V can't do.

Yeah, it stutters in 5.9K. I still have to install my NVidia Tesla K20 card before I can edit in Premiere Pro.

Wrong. No IBIS because the sensor was oversized. You couldn't use IBIS because the sensor already is at the limits of the image circle, and there is no where for the image to move.

I have been fully in Panasonic's camp since my journey began. Never in my life have a seen a Mike Drop from a corporation so damn brutal in all of my years. But I have one more question. Where do they get these black people with all the gorgeous chocolaty skin from? My skin has never looked that damn good, and I've been black all of my life! LOL If this is BMD putting their best foot forward for inclusion, they certainly did it with class.

You can buy whatever you please. It's your money. And in evaluating a subjective medium, there is bound to be differences of opinions. Stunning isn't a word that would come to my mind, but as you state that DR isn't the only thing to a picture, you fail to list things about this image that make you feel the way you do. That's not sassy or silly. That's a discussion. The cameras that I own don't contribute to my statement, and demonstrates how this has devolved into something I wish to no longer take part in.

Stunning? You really think this is stunning? Every camera looks good on an overcast day with limited dynamic range.

Where did you hear that from? My S1H has a stabilized sensor, and the IBIS is like a virtual tripod!

They are fixed now.

In my opinion, unless Panasonic adds the -1 NR setting and all that it brings to the S1, no narrative creator should even consider the S1 to work alongside the S1H as a B cam. Pony up and get another S1H!

It doesn't down scale to ProRes, it's that the HDMI output is down scaled to 4K so it will be able to be displayed on the Ninja V, and then it can be recorded to ProRes or DNxHR.

Now I have to go trolling for models again! I always feel like I'm cheating on my wife when I do that. Its even worse when the girls are interested in more than just modeling. You can turn down a meal or a drink, but turning down advances from women can get you killed or at the least, incorrectly thought of as gay, (with all due respect to the LGBTQ community 🌈 😃).

I'll try and grab a little today. Maybe a few sky shots. I'm kinda anxious to see how the HDMI down scaling works. Would be nice to see the 4K ProRes against the 5.9K H265.

First full frame camera that's Netflix Approved, with 6K and ProRes RAW on deck? Don't hold your breath buddy!

The internal 4K 60p of the S1H is in 10-bit, not 8-bit. This is a big deal with a harder grade. I AM ALSO HAVING ISSUES WITH REDS FROM THE S1H!!!! The damn thing almost looks like its super neon when doing stills with the slightest bump in saturation.

Not particularly. It looks fine at first until you see it side by side with 4k H264. It looks like you may have missed focus the image goes so soft. Here is the link, again nothing special, but I did get 4K FF H.264 24p, 4K S35 H.265 60p and 5.9K FF H.265 24p, and ProRes variants for eveything but the 5.9K obviously. I'll be out and about getting some ProRes RAW stuff when the firmware drops on Monday. 😀 There should be 5 files, but one of the ProRes files is still uploading. https://drive.google.com/open?id=1FeBzE69sL0SsmGgi8TuuIGPFdYaZY-R7

I'll try and get some Ninja V footage, but this is a "photo shoot", so the opportunity for adding the Ninja may not present itself.

It matters a whole bunch. Maybe not the 4:2:0 color reduction, but the H265 encoding really rubs the shine off of the image.

This is currently missing. It's also kinda a pain in the ass to get this working with my S1H, as you have to enable Timecode over HDMI for the triggering to work. Go figure! I'll have some tomorrow with a model I have scheduled for a photo shoot. I'll do some video in a mix of 5.9K, 4K FF and 4K 60p.

This has been addressed in the upcoming ProRes RAW firmware to be released on May 25th.

I can put an 18-bit ADC on a sensor that has 9 stops of dynamic range. The only thing that will change is the delta between steps will be almost indiscernible numerically. Dynamic range is based on the physics of the pixel well, and how many photos it can accept before saturation.

Bits ain't stops buddy. Why is everyone interchanging bits with stops like they are the same thing, they clearly are not the same thing! Bits allow more graditions between a minimum and maximum luminance. The delta between minimum and maximum luminance is the amount of stops of dynamic range.