Marcin 3M: Well, there is a good reason, why in Bayer pattern there are 2x more green filters than red or blue. The green portion of light spectrum delivers us most information about details. I'm curious how it will be with blue having highest resolution...
If final destination is JPEG, its internal encoding is YCbCr, or White-Blue-Red basically. With blue and red downsampled 4:1.
Joerg V: The blue layer of the Foveon actually doesn't capture saturated blue but a very very pale blue - almost white. So this is more like a sensor that captures white light at every photo pixel and color information with lower resolution. This seems like a more Bayerish approach and will probably sacrifice resolution but should help a lot with the Foveon noise that stems from crosstalk between the layers.
The camera design is... errr... special.
"There is no blue layer in a foveon. The top layer has no color filter. The middle layer is yellow, the bottom layer is red."
tesilab, this is not what is shown in the picture.
John Miles: What a breath of fresh air. I was being retroed to death.
Dedicated exposure compensation, shutter speed and aperture dials are just as convenient today as they were long time ago.
They should have higher resolution in Green, not in blue. Only about 5% of cones in our eyes are responsive to blue light. We are adopted to see detail in green foliage, not in a blue sky.
Let me guess your first reaction - WTF!?!?!
peevee1: Venus IX? Did they skip Venus VIII?
But it is sick pro camcorder in an innocent photo camera shape...
The only place mentioning it was techradar. And that is strange, 2 new processors in 6 months?
Jogger: Although there is a lot of hype on this forum for this camera, the fact is that m43 is a non-player in the cine market. Others such as Sony and Canon have long released dedicated S35 and FF cine cameras (C100, FS700, F55, F65, etc). This market is dominated by S35 cameras. Whereas, the only m43 cine camera, the Pana AG100 never took off. The m43 mount BMP is even more of a compromise, and after the hype, its fading away.
So the reason you dont see these specs on Sony/Canons is that they dont need to... they are already catering to this market, but, you wont see the F55, F5, etc mentioned on here.
"Those cameras do not cost tens of thousands."
Huh? You have mentioned Sony F55. It is $29K body only. A starter kit with 2 zoom lenses is $123K on ebay right now.For comparison, GH4+Interface Unit+12-35/2.8+35-100/2.8 will be about $5K, even less with something like 14-42PZ+45-175PZ. For multi-point shooting you need several of them. Size and weight are not comparable, you can strap a camera like this on a car or even onto an actor for first-person view, try to do this with F55 and Arri 18-80.
ThePhilips: DRP, please cover in details the DFD (Depth From Defocus) feature! Thanks.
Others have made a presentation -http://www.imaging-resource.com/PRODS/panasonic-gh4/panasonic-gh4A.HTM#DFD- but there is no real-world test of it yet.
So much innovation happens with AF these days, it's like 80s again, but on a whole new level.And it BEGS some objective testing. Claims are worth nothing.
peevee1: DPR, you have a mistake in your spec table for AW110, it starts from f/2.8, not f/3.9 like AW110.
"This makes the second reasonably bright water proof on the market (the wg-3 and TG-2 use the same lens.)"
Technically, it would make it 7th, but not so bright - TG-1, TG-2, WG-3, WG-3 GPS, WG-4, WG-4 GPS use the same lens which is also a whole stop faster. But really, f/2.8 is closer to Panasonic TS4's f/3.3 than to these cameras' f/2.0. Unfortunately, that Oly lens is still in the class of its own. :( If only Olympus would release TG-3 putting 1/1.7" sensor (in MAR mode) with 5-axis stabilization and TruePic VII behind that lens... I would preorder (going on vacation soon).
Oops, I meant AW120.
"12fps for up to 50 Raw+JPEG images, or 7fps with focus tracking."
Meaning at 7 fps RAW only, it should be practically unlimited with a fast card. Or artificially limited somewhere at 99 frames?
Archiver: I love this upgrade, but I'm wondering about what is NOT being said. HDMI output has a maximum of 4:2:2 10bit quality, but what about the in-camera files themselves? And what of useable dynamic range?
While the 4k output and 200mbps and 100mbps ratings should be excellent, what about the bit depth and dynamic range of the in-camera files? Surely Panasonic would make something of quantifiable advances in those areas?
What about FullHD, is it 4:2:2 10-bit in camera?
Venus IX? Did they skip Venus VIII?
DPR, you have a mistake in your spec table for AW110, it starts from f/2.8, not f/3.9 like AW110.
jhinkey: How about someone (I mean you Nikon, but Tamron too) build an excellent 28-105 or 24-105 instead of a likely IQ compromised 28-300 10x zoom. And no the 24-85AFS VR nor the 24-120/4AFS VR don't count as excellent.
"buy new sigma 24-105 f4 You won't be dissapointed"
Until Nikon upgrades firmware and break compatibility again.
Kevin Purcell: I'm still a bit suprised that there is no RAW in rugged compact cameras.
It seems the obvious "premium compact" feature to add (along with a slightly bigger 1/1.7 sensor with fewer pixels). I'm sure there are plenty of outdoor folks who PP their images.
How does it make it "much better"? You can adjust colors just fine in JPEGs.If you compared pliability of RAWs and JPEGs taken by APS-C or even 4/3 cameras, your experience simply does not apply to 16 mpix camera with 1/2.3" sensor. There is simply no useful information in those pixels beyond what JPEG can store. In fact I think even superfine JPEG is overkill, because noise visible IN JPEG even at base ISO if NR is set to minimum (if it is even possible) in such cameras.Look:http://www.dpreview.com/reviews/studio-compare?utm_campaign=internal-link&utm_source=mainmenu&utm_medium=text&ref=mainmenu#baseDir=%2Freviews_data&cameraDataSubdir=boxshot&indexFileName=boxshotindex.xml&presetsFileName=boxshotpresets.xml&showDescriptions=false&headerTitle=Studio%20scene&headerSubTitle=Standard%20studio%20scene%20comparison&masterCamera=pentax_wg3gps&masterSample=imgp0088&slotsCount=4&slot0Camera=pentax_wg3gps&slot0Sample=imgp0088&slot1Camera=canon_eos7d
"lime yellow" is one of the options above.
I am only interested in their "GPS" model, not the crippled one.
peevee1: Nice. But at f/6.3 max... - do DSLRs even focus?
I mean, it is rare that more than just a central focus point works beyond f/5.6. Meaning no tracking or wide focus area or using peripheral points. And in any kind of "low" light (lower than bright sunlight), it might start to have real problems at f/6.3. Who needs misfocused pictures?
Terrible choices of color for a beach camera. Black will get superhot under the sun very quickly, blue can easily get lost under water. They should be bright-yellow, orange, red.
Nice. But at f/6.3 max... - do DSLRs even focus?