john reiff williams: What is the bit depth?
Thank you povetron and Hachu21, ironically the G1X is a 14 bit and one might think that rebranding to G_X would signify continuity, such as bit depth. Thank you both, and i am sorry as the the bit depth makes such a difference,in this case 4X the intermediate color possibilities that are not native and will fall into the interpolative realm of things. John
What is the bit depth?
To miss the gravity of siddharth's request is insane. The implications for macro photography are endless/enormous or using this device with/on any other digital camera would be wildly popular. Pocket wizard is a logical place to begin a professional collaboration and a simple day light strobe/slave actuator would make it even more universal, being able to trigger the device by any built in flash on a preexisting camera. Let me put it this way, if you don't make this feature available someone else will. You are not far away from a universal salve , make it happen, you will be a giant. Thanks john
Glad you mentioned the RX-1R Neodp, The reason to spend the money, beside sensor size is the bit depth. A bit depth of 12 isn't going to cut it, hence that is why the Sony Nex or the Hasselblad version of the 7 contain only 1/4 the native color information of the RX-1(R) (14). If you push images pretty hard in PS or the compositing vein, more native color info means less potential color banding. Lessening amount of Interpolative color info is at least as important as sensor size. So Dear Mr Barna, please add this into your equation for better image quality, as in theory it fits into your formula although it isn't expressed and DPreview needs to include the bit depth info into the standard line item details about every camera they post. Having to call the manufacturer for this info is kind of pathetic and most of the time these folks haven't a clue what i am talking about and before you know it you have a case number. Don't need to go there, Do you?Peace, John
Gesture: Good interview. Interesting how he keeps using the word "disruptive." Better than paradigm-shifting, I guess, but I think there must be a more apt word for what he is driving at.
From a practical standpoint the bench mark 12 bit depth is dead. Try 14 and preferably 16 if you want to be seriously competitive. This performance should be no problem for Zeiss glass or your sensor. Where are the Zeiss Nex lenses? ( years late and still waiting ), and where is the Nex with a bevel/swivel?Thank you, John
My feeling about the Sony line up, in general, is they lack optics that are serious. Don't understand the politics of Sony's relationship with Zeiss this line of cameras without the Zeiss quality glass to match and now Zeiss again through Hasselblad. Perhaps the parctical solution is to buy the Nex 7 and Hasselblad optics for it. Seems silly and punitive as a consumer. I could hope that this relationship will open a bridge to lens that match the capabilities of the Sony sensor. I could hope that the optics would be so good that the Sony chip could utilize and upgrade to deeper native bit depth and go from 12 right to 16 (Leica?). I would also like to add that for me the outstanding feature that has kept me away from the Sony is the screen that only shifts but doesn't pivot. This is a must have item to meet my needs these days. Thank you, John
Bought the G1X camera March 2. On march 6, purchased Adobe creative suites 5.5 design standard to upgrade CS 4 version for the raw converter for the G1X. If you search Adobe Photoshop CS5/ Extend: camera Raw support page (google) you will see that the G1X is in the supported camera list. This is a lie. The problem is this the latest version of raw conversion for CS Photoshop 5.5 is camera raw 6.6 which doesn't support this camera. In theory, it will come out in the next raw conversion v 6.7. There is a beta version of that raw converter available through Adobe labs. I have contacted Canon and informed them of this misrepresentation and called Adobe daily and am in an escalated case with Adobe, which is smoke and mirrors and gone nowhere. The Rock and the hard spot is is pretty simple. 1) Adobe will not make a backwards compatible raw converter to CS 4 and 2) the 5.5 version advertising the G1X raw as a supported platform is a lie. In the meantime they are Beta testing CS6 and Raw 7.
canon L lenses have suffered for a long time in optical aberratons, spherical, chromatic, and resolving power. The evidence is exaggerated the larger the sensor and MP. After running tests with a 5Dmk2 and using some Hasselblad V primes, the evidence could be seen on the camera's jpged screen image. Needless to say I have been saying to myself for a long time that another round of high end lenses EF-L is in order. This long overdue announcement is welcome news and evidence that Canon has known this fact for some time. I would expect most of the line to be overhauled in the very near future. At least that is my hope. To regain their status as king of the hill this change must come. And certainly every pro that reads this knows is aware of the problem and this is nothing new. Perhaps the greatest dilemma is that sensor and optical technology and production have not progressed at the same rate and hence the differences in capacity are now glaring.
what is the native bit depth of this chip? 12/14 ? 10? before D/A coversion to 16bit Raw