D4s - short notes

M Lammerse wrote:Well, hopefully you want to share your light again this coming September on sensor quality and sensor data processing in an other camera :-)

Michel
That's the one I am waiting for! :-)
 
1. Are you suggesting that we set our max ISO no higher than 3200 (even if it means underexposing), and push during post processing when underexposed?
Yes, however it is not underexposing, as exposure depends on light, not on amplification or multiplication which ISO setting is.
2. Is 3200 a good max for all cameras, or just the D4?
For D4 I stop at 1600. It is an easy procedure to find this setting for any camera. Set the stable light on some target (ColorChecker, Q13,...), set a reasonably high ISO, set the exposure so that the target is not blown out on the preview, shoot, lower the ISO setting by 1/3 stop, shoot, lower the ISO setting again,... Bring the shots into raw converter and apply exposure compensation to counteract lowered ISO settings, compare the resulting noise and details. Much here depends on the raw converter. Some raw converters will be rendering compensated shots better, some will be lacking. Objective data can be obtained using raw data dumps and statistical analysis; practical performance may depend on your choice of raw converter.
I'm guessing such a number would be lower for Sony column ADC sensors than other sensors.
Many Sony sensors do not benefit from raising ISO setting past 400, some for practical purposes do not benefit from ISO control at all - of course, if you are shooting in raw mode.
 
I wonder What Illah thinks about the version with 24 MP :-P
I do not know of a 24 mpix sensor ready to be used in a pro camera with 10 fps (not even 11) - unless Sony-type lossy compression of raw is in use ~<;-)>
so you think that Sony does compression not post on-die ADCs
Broken line characteristics is implemented as ADC control.
I am curious what is the test to distinguish that from post ADC ?
 
I wonder What Illah thinks about the version with 24 MP :-P
I do not know of a 24 mpix sensor ready to be used in a pro camera with 10 fps (not even 11) - unless Sony-type lossy compression of raw is in use ~<;-)>
so you think that Sony does compression not post on-die ADCs
Broken line characteristics is implemented as ADC control.
I am curious what is the test to distinguish that from post ADC ?
lex parsimoniae
 
I wonder What Illah thinks about the version with 24 MP :-P
I do not know of a 24 mpix sensor ready to be used in a pro camera with 10 fps (not even 11) - unless Sony-type lossy compression of raw is in use ~<;-)>
so you think that Sony does compression not post on-die ADCs
Broken line characteristics is implemented as ADC control.
I am curious what is the test to distinguish that from post ADC ?
lex parsimoniae
well, it is easier to do it post ADC and then Sony sensors are everywhere, but nobody else is using that except Sony - it is quite reasonale to assume that it is done by Bionz rather then designing extra features in ADCs on die when major clients (not Sony Imaging) are not asking for those at all... and there is no test to prove either way.
 
I wonder What Illah thinks about the version with 24 MP :-P
I do not know of a 24 mpix sensor ready to be used in a pro camera with 10 fps (not even 11) - unless Sony-type lossy compression of raw is in use ~<;-)>
so you think that Sony does compression not post on-die ADCs
Broken line characteristics is implemented as ADC control.
I am curious what is the test to distinguish that from post ADC ?
lex parsimoniae
well, it is easier to do it post ADC
Nope.
nobody else is using that except Sony
Nikon are in there "lossy" scheme while compressing highlights.
 

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