mosc

Joined on Aug 9, 2012

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Total: 1664, showing: 1 – 20
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On article Now we know: Sony a9 is sharper than we thought (311 comments in total)
In reply to:

Roman Korcek: At F5.6, shouldn't the DoF be deep enough for such millimetre-scale adjustments to not have a discernible (though perhaps measurable) effect? What was the focus distance?

https://2.img-dpreview.com/files/p/E~TS590x0~articles/4553555371/Test_Scene.jpeg

Best answer shown seems to be this picture. Obviously the focusing distance varies based on the focal length of the lens they pick. Looks like about 10 feet for an 85mm lens?

Link | Posted on Jun 22, 2017 at 18:13 UTC

Having two camears without listing the focal length is exponentially more frustrating than having one and not listing the focal length. I'd guess 25mm/50mm but it'd be nice if they'd bother to list it considering the information will come out eventually and they want to tout their camera so much...

Link | Posted on Jun 22, 2017 at 12:22 UTC as 3rd comment
In reply to:

Arca45Swiss: Manual focus ?

What's the marketing speak difference for Milvus vs Otus? Otus is sharp and Milvus is CA-free?

Link | Posted on Jun 21, 2017 at 17:33 UTC
In reply to:

NicoPPC: MF, Massive, more expensive than the Canon or Sigma... wonder how it will survive be any attractive...

That's why they're trying to sell to movie pro's where autofocus is a bad word. Nobody sane with a DSLR would prefer this to a Sigma 35mm f1.4

Link | Posted on Jun 21, 2017 at 14:45 UTC
In reply to:

Arca45Swiss: Manual focus ?

I assume that's what Milvus means. Isn't that obvious?

Link | Posted on Jun 21, 2017 at 14:39 UTC
In reply to:

BJN: More shotgun mics. If only people knew how bad shotgun mics are when mounted on a camera and aimed at many common subjects, maybe we'd get some other more versatile on-camera mic products. Some things are popular because they're popular, not because they're good.

Well yes it's not an ambient mic but generally off-axis sound reduction is a feature you pay for on these mics so I'm finding your comments a little confusing.

I can't remember ever wanting an ambient mic attached to my video. I suppose if I was recording a symphony or somesuch I would not want a shotgun mic but I've yet to go to a decent concert hall that didn't have it's own mics placed well out of reach.

Link | Posted on Jun 21, 2017 at 11:32 UTC
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TonyPM: I am the kind that looks at 8k video as "overkill" for any amateur or aficionado type user. You already need a lot of computing power and space for 4k. Then there is the thing that most people still don't have 4k tvs or screens. And one more important thing. Distance of viewing is important. Being at 2 or 3 meters from a 4k screen blows away any detail advantage to this type of screen compared with a Fullhd screen.

I see it perfect for pros though.

All this technology applied to semi pro/ enthusiast ilcs can be interesting, but it's not all about resolution.

Hisense 50H8C. Was a black Friday deal but there are lots of others if you look carefully.

Link | Posted on Jun 21, 2017 at 11:30 UTC
In reply to:

BJN: More shotgun mics. If only people knew how bad shotgun mics are when mounted on a camera and aimed at many common subjects, maybe we'd get some other more versatile on-camera mic products. Some things are popular because they're popular, not because they're good.

with a little damping (it does come with damping), I'm not sure why you hate shotgun mics? General use case is recording a school concert, school award, possibly athletic event, etc.

Link | Posted on Jun 20, 2017 at 19:36 UTC
In reply to:

mosc: interesting but I think being able to power from the hot shoe alone is a big differentiator for me.

I prefer to run from the camera's juice. Choice might seem ideal but that also means more weight so I'm not even sure I want the choice. A light mic powered from the camera keeps the kit light. FZ1000 with a giant powered mic doesn't make much sense.

Link | Posted on Jun 20, 2017 at 19:34 UTC
In reply to:

TonyPM: I am the kind that looks at 8k video as "overkill" for any amateur or aficionado type user. You already need a lot of computing power and space for 4k. Then there is the thing that most people still don't have 4k tvs or screens. And one more important thing. Distance of viewing is important. Being at 2 or 3 meters from a 4k screen blows away any detail advantage to this type of screen compared with a Fullhd screen.

I see it perfect for pros though.

All this technology applied to semi pro/ enthusiast ilcs can be interesting, but it's not all about resolution.

If you can't detect a difference between 4K and 1080P at 2-3 meters from a 50" screen, you need to have your eyes checked. It's not like comparing 1080 to 640x480 or something, but it's clearly noticeable. Can you see the difference between 4K and 8K 2-3 meters from a 50" screen? No. That's not in the capability of human eyeballs.

8K is different, but if you want to make professional 4K content you'll want 8K recordings to work from.

PS: I got a 50" 4K TV for $250 and my PS4PRO outputs that res with an HDR gamut no less. This stuff is not going to be an added cost much longer at ANY pricepoint.

Link | Posted on Jun 20, 2017 at 18:12 UTC
In reply to:

EdnaBambrick: I went crazy and bought all of things needed for 4k. Once I had it all, I went back to 1920x1080 and consider it future proof enough. The files are great and very easy to work with.

To make professional 4K output... you're going to want to shoot 8K. It's inevitable.

I will agree that 8K video output is unnecessary but it's a nice layer of depth to have when you're making 4K content. Cropping reduces any number of issues and allows for more creative freedom in post.

8K is a game changer for 4K video format and I do think 4K output is easily detectable to the eye compared to 1080P.

And yes, convergence too.

Link | Posted on Jun 20, 2017 at 18:10 UTC
In reply to:

timsnowshoe: So I think most people are completely missing the point of this article. First of all, in 2017 8k RAW is overkill for anyone that isn't making a Hollywood blockbuster. The idea is that actual covergence could happen with 8k in 5, 10, 15 years from now. Who knows how long it will take for the tech to become practical.

This isn't significant for good for photographers, but for videographers/ filmmakers it's going to be a game changer. I shoot video and I always get clients who ask if I could give them quality stills, and right now I can't. If it becomes possible I could deliver both. I could make significantly more $ per project because the client wouldn't have to budget for a photographer anymore.

I think in the next 10 years or so a lot of photographers are going to have to learn video or go under. I'm not hating on photographers either. I transitioned from photo to video, and there is a lot of crossover. I think that's the point of the article.

I agree but I'm not sure video distribution (at least intended for conventional TV sizes and viewing distances) should ever move to 8K. Probably makes sense to shoot 8K if you want to produce 4K though. I think 4x higher bitrate 4K would offer identical quality to 8K (4x the resolution) when viewed from more than 12 inches from a 60" display... and who watches a screen that big that close?

Link | Posted on Jun 20, 2017 at 18:05 UTC

interesting but I think being able to power from the hot shoe alone is a big differentiator for me.

Link | Posted on Jun 20, 2017 at 18:02 UTC as 8th comment | 3 replies

It's true, I agree with this guy. And I think it's just a matter of time till this tech is in your cell phone 1/2.33" 36mp sensor (say 2025?) let alone in an A7-type body (say 2020?). I feel like Panasonic is basically trying to make a GH body m43 sensor (I guess in this case it would be 7680x5760 which is 44mp) which can do 8K/60fps sooner than later.

There will be some lingering that the RAW isn't 14-bit or has some loss in the compression for years I'm sure but that too is just a question of processing capability and storage. The sensor itself doesn't seem that far away. Indeed RED has already made it.

8K is already beyond human vision. I feel like content doesn't make sense in 8K for video but it works great for large poster stills and makes for plenty of crop room for 4K video. Plenty of room to improve in dynamic range yet but perhaps this is spelling the end of increasing resolution.

Already we see 24mp FF's recapturing market share from larger sensors. 8K is probably "IT".

Link | Posted on Jun 20, 2017 at 18:00 UTC as 25th comment
In reply to:

Marty4650: 2008 might have marked the beginning of the end for small sensored Superzoom Bridge Cameras. At least until Sony figured out how to put larger sensors in them in 2013. Then Panasonic and Canon followed suit, and they had a renaissance.

Back in 2008 you could buy a DSLR two lens kit for around $500, and that seriously killed the market for superzoom cameras with tiny sensors that cost the same, and were almost as large, or sometimes even larger than a DSLR.

I bought the SX1 for video. Two kit lens DSLR didn't have 1920x1080 video nor did it zoom to 560mm from the back of a gym.

Link | Posted on Jun 15, 2017 at 17:41 UTC
In reply to:

UncleBobsPhotography: This camera delivered 1080p in 2008 and Canon are still releasing new cameras with 1080p as the highest video resolution (although now in 60fps)

It was still 30fps in 2015 on most models, wasn't it?

Canon used to be the cutting edge on video. Arguably the SX1 was the last time Canon was cutting edge on video.

Link | Posted on Jun 15, 2017 at 14:28 UTC
In reply to:

Onur Otlu: Oh, the DirectPrint button! I missed that one. (Not really.)

I would love to have a PowerShot S1 IS TBT, by the way.

I had that one too. 3.2MP just wasn't enough. My other memory is the insanely slow AF.

Link | Posted on Jun 15, 2017 at 14:22 UTC

I had one. I used a flash exclusively for stills. It was great for video once I figured out how to deal with the ridiculous format canon decided to use.

The lens was reasonably bright at the wide end so coupled with a flash, I did not have image quality complaints indoors. ISO80 10mp was pretty awesome actually.

I actually had to order one from Australia because they weren't available in the US at first. At the time it was explained as an over-supply of S5's and other earlier models Canon wanted out the door before the SX1 arrived.

The video was the best of any stills camera (DSLR or otherwise) in 2008 and remained better than pretty much anything available until the Panasonic GH2 three years later and a much higher pricepoint. Canon didn't beat the SX1's 1920x1080x30fps until what? 2016? Several of their 1/2.33" models still derive from the SX1's back end as far as I can tell even if the MP's have been cranked.

Link | Posted on Jun 15, 2017 at 14:18 UTC as 16th comment
On article LG G6 camera review (110 comments in total)
In reply to:

jwhig: An unusual 18:9 aspect ratio. Surely that is 2 :1.

More of a reason why aspect ratios should always just be 'some number >1' : 1

Link | Posted on Jun 5, 2017 at 19:41 UTC

Great, now make a 24mm equiv.

Link | Posted on Jun 5, 2017 at 19:23 UTC as 58th comment | 4 replies
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