androidlad

Because X-T2 had NR at 0 and can't be changed to -4, while X-T3 was tested at -4. I'm pretty sure if we crank up the NR to +4 and also turn on Interframe NR, the DR would easily reach 13.

Exactly, CMOS sensors respond linearly to light, so doubling light intensity does mean doubling the bit value. The linear factor between scene intensity and bit value is 1. Because in a photodiode, incident photons free up the same amount of electrons. This is why extending DR is best achieved by employing multiple ADCs with multiple amplifications, so there's an artificial "non-linearity".

It will definitely be higher than A7S II due to significantly lower conversion noise and better quantum efficiency.

Most likely it's because the UHS-1 95M card couldn't sustain 400Mbps writes for long duration. X-T3 has huge buffer so for slower cards, short takes are fine, but it'd get unpredictable with longer takes.

I like your choice of word "SEEMS". Most of his video has little to no reference video, I watch them for entertainment. In this particular video, his testing method (NOT methodology) was flawed from the outset, how do you know the dynamic range "chart" he put up on a screen was exactly 1EV apart between the steps? There's a reason for Xyla 20-stop Dynamic Range Chart to cost $4K. Next, for the deep shadow stops, how much noise is acceptable? There's no way for him to quantify without using professional tools such as IMATEST. This is why I only reference Cinema5D's DR testing results: https://***URL not allowed***/the-cinema5d-camera-lab-is-back-dynamic-range-tests/ They haven't done A7 III, but I can say it won't be higher than 12.

For stills, hell yeah. At 13.85EV pixel-level DR it even beats "medium format" X1D.

If you would like dual recording feature, request it through Fuji global website http://www.fujifilm.com/contact/

Yes it's called S1R.

Do you have X-T3 with Ninja V? Would be interesting to see a comparison between internal H.265 HLG and external ProRes HLG. HLG metadata seems to be precise and complete.

Yeah X-T2/T3 and X-H1 do provide mic plug-in power.

Sensors work in linear, even if the analog components (photosites) are capable of 10000000 stops, a single 12bit ADC would only be able to produce max 12 stops in digital signal. Sony's IMX490 is capable of 120dB DR, that's achieved by three 10bit ADC working simultaneously. https://***URL removed***/articles/4653441881/bit-depth-is-about-dynamic-range-not-the-number-of-colors-you-get-to-capture Have a read and educate yourselves gentlemen.

The Possession of Hannah Grace, shot on A7S II in 8bit, looks gorgeous.

12bit ADC places an upper limit on the DR, which is 12 stops. Current silicon based sensors work in linear, so 1bit=1 stop. Again, E2's low noise mode engages the 14bit ADC which is a hardware on the sensor, the video files are encoded with 10bit ProRes, which I'd say holds between 12-13 stops DR. ARRI uses dual 14bit ADC to merge into a single 16bit stream, this is mapped to 12bit log for its 14+ stops of DR. It seems that you're confusing linear ADC bitdepth with encoding curve bitdepth which can be log or linear or anything in between (for example, BRAW is non-linear RAW)

It does. sensors respond to light in linear way. 12bit quantisation results in 12 stops of theoretical maximum DR. ADCs have everything to do with DR. That's way ZCAM E2 has a low-noise mode that takes advantage of a 14bit ADC. 16bit ADC do exist but the framerate is in single digit at the moment.

Do you know what ADC is? ADC bitdepth directly determines how much DR can be extracted from the sensor. Sony sensors use single 12bit ADC for video. The new BMD 4.6K G2 uses dual 11bit ADC, ARRI uses dual 14bit ADC.

It you're solely talking about video then DR is between 11-12 stops, since the moving picture readout drive mode is limited to 12bit ADC. Panasonic S1 lab test exceeded 12 stops, but it's really just heavy NR cheating the charts, which don't reveal detail loss in real world shooting scenarios. 10bit log encoding can efficiently store up to 16 stops of dynamic range, that's why most film scans have been using 10bit cineon format.

Decoding a BT.709 YCbCr signal using BT.601 and BT.709 matrix should produce two different results, so, if Scratch was truly respecting the tags, internal and external should look different. Of course this is all based on the assumption that the camera originated YCbCr data is the same between internal and external.

Interesting. Why do you think internal files and ProRes file match in Scratch despite one uses BT.601 matrix and the other uses BT.709 matrix?

were you able to change metadata tags for both stream and container ? What does ffprobe say for the altered file?

BBC already published a tool to change colour metadata and I tried it, it didn't work because all it does (including recent ffmpeg builds) is changing the metadata tags at container level (QuickTime), while the actual metadata tags are also present at stream level (H.264/H.265), to change metadata tags at stream level you might need to go extremely sophisticated with hex editor.

This sensor. With dual 11bit ADC, it behaves similarly to ARRI's ALEV III. ltn4625.pdf

The reason is that current mobile phone sensor interface - MIPI, doesn't have near as much bandwidth/lanes compared to SLVS-EC.

It happens with all fuji camera internal H.264 and H.265 files, with the exception of HLG.

The latest Adobe Premiere Pro/Media Encoder support ProRes output on Windows now. But they interpret colour from Fuji cameras wrong. Assimilate Scratch also outputs ProRes and gets the colour right.

Anker uses c to c for the PD port, you can get spare ones from Anker.