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Re: Sony FX9 camera test

Re: Sony FX9 camera test


Cynthia Brett Webster
 

Right-On
Thank you for that Alister!

Cynthia Webster DP
Los Angeles


On Sun, Apr 18, 2021, 2:30 AM <alister@... wrote:
Cynthia.

I think we need to be realistic about differences and improvements between cameras. Most of the current cameras are capable of producing great images. Sensor technology is not significantly changing, so any differences or improvements will only ever be small. You are not suddenly going to see a camera with dramatically greater image quality unless you do something radically different. 

But these small differences do count. Less noise is always nice and make footage easier to work with in post production. Improved color response can make faces and skin tones subtly more pleasing, especially for less experienced colourists.


Alister Chapman 

Cinematographer - DIT - Consultant
UK Mobile/Whatsapp +44 7711 152226


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Twitter: @stormguy



www.xdcam-user.com    1.5 million hits, 100,000 visits from over 45,000 unique visitors every month!  Film and Video production techniques, reviews and news.


















On 17 Apr 2021, at 19:27, Cynthia Brett Webster <cyndustries.mail@...> wrote:

I too am very interested in this thread. I've been shooting with FS7
Cameras for a few years and just finished shooting a feature using FX9 Cameras for the first time.

The budget didn't allow for Sony Venice Cameras, so I suggested using a pair of FX9s and the producers we're extremely happy with the results.

I used S-Cinetone straight out of the box with no LUTs or adjustments or scopes. I simply relied on the camera built-in monitors for color and exposure and used larger monitors connected wirelessly only for framing and Camera Assistants pulling focus. Very pleased with the results.

(Also, the low light capability of the FX9 cameras is phenomenal).

I'm really surprised here by the results of the tests, as under normal set lighting condituons, I wouldn't have expected the differences between the FS7s and FX9s to be so small, (that is, if I understand the data correctly?)

Cynthia Brett Webster
DP,  Los Angeles

.

On Sat, Apr 17, 2021, 10:47 AM <alister@... wrote:
Alfonso. I look forward to reading your findings.


Alister Chapman 

Cinematographer - DIT - Consultant
UK Mobile/Whatsapp +44 7711 152226


Facebook: Alister Chapman
Twitter: @stormguy



www.xdcam-user.com    1.5 million hits, 100,000 visits from over 45,000 unique visitors every month!  Film and Video production techniques, reviews and news.


















On 17 Apr 2021, at 18:07, alfonso parra <info@...> wrote:

Thank you very much Alister for the clarification, I will try to compare the curves with that ISO value and see what it turns out. 

Alfonso Parra ADFC
www.alfonsoparra.com
Tel Colombia 57 311 5798776
Tel Spain 34 639109309
Instagram alfonso_parra_adfc



El 17/04/2021, a las 11:46 a.m., alister@... escribió:

Raising the gain when you are using a power law gamma reduces the dynamic range because gain is a multiplier. If you multiply your 0 to 100% input range from the sensor by 2 it becomes 0 to 200%, but you can’t record 200%, you only have room for 100%. So you have a small change in the shadows but a much larger change in the brighter parts of the image and the dynamic range that can be recorded is reduced by 1 stop for every 6dB you add. Adding gain means you will clip earlier. If you stop down to compensate, bringing the highlights down to where they would be without the added gain you reduce the shadow range as the SNR will become worse, and the extra noise from the amplification will limit the shadow range. You gain no additional highlight range, you are simply returning it to where it would be without the extra gain, but the shadows suffer. With added gain the highlights are less pleasing because the gamma curve is designed to work with the sensors output range, when you add gain because you can now more easily exceed the recording range the highlights clip sooner and don’t look as nice as a result.





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