Thread: The Pocket 4K has half a stop more DR than the old Pocket

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  1. #31  
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    Quote Originally Posted by tikklemedia View Post
    So technically, to get the best highlight DR, it should be best to ETTR, shoots in raw and bring up shadows. Right?
    No, please. Just. No. This isn't an 8-bit DSLR. Expose for your subject – there's enough dynamic range to deal with highlights (and shadows) in a reasonable manner. Most people want to watch moving pictures of other people doing interesting things, not footage of windows or sky.
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  2. #32  
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    Quote Originally Posted by Robert Niessner View Post
    Oh my god, yes Howie. You are into something - please investigate.
    BTW, in the Fujifilm X-T3 article they have linked to Fujifilm products and in the Canon XF705 article they have linked to Canon products. Wow!
    Take a pill fanboy.
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  3. #33  
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    Quote Originally Posted by Stefan Antonescu View Post
    ANSWER from Blackmagic Design, Andy Buckland:

    The Pocket Cinema Camera 4K uses our new demosaic algorithm developed with Blackmagic RAW, before encoding to ProRes. This new algorithm helps to reduce noise and improve the dynamic range in ProRes capture. With Cinema DNG RAW, the demosaic is still performed in DaVinci Resolve. That enables full control and manipulation over debayer settings, noise reduction, and highlight recovery to increase the dynamic range measurement beyond that of ProRes.

    By applying minimal temporal noise reduction to the Cinema DNG RAW files in DaVinci Resolve - the lower steps on the waveform can be cleaned up nicely, bringing the available dynamic range of RAW in line with those seen in your ProRes tests. Then by enabling highlight recovery, the available dynamic range in Cinema DNG RAW increases beyond that of ProRes.

    ProRes users benefit from the new debayer algorithm in terms of dynamic range and reduced noise at capture, resulting in a faster turnaround.

    RAW users benefit from the full control and manipulation of the image, to decide which parameters they would like to tweak and finesse.
    Interesting. So P4K is using some of the BRAW tech for encoding ProRES?

    This makes sense to me, TBH. In my own testing between CDNG v3 and BRAW v4, aside from this different v4 color science, the BRAW captures looked a tad brighter and cleaner, which also helps when pushing them.
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  4. #34  
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    Ungraded grabs from a brief test with a BMPCC4K demo unit in the local store and my old BMPCC, both at 800 ISO, (I know, I know, the native ISO is 400 but the image is still pretty clean), judge for yourself.

    Old BMPCC
    BMPCC.jpg

    BMPCC4K
    BMPCC4K.jpg
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  5. #35  
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    Quote Originally Posted by shijan View Post
    Those are very strange measurements. Why P4K chart with two clipped highlights compared to non clipped Sony/Panasonic? If they adjust charts by middle grey it shows exact that most people noticed - highlights dynamic range is very poor, but shadows feels cleaner but actually just filled with fake light. Effect similar to Tiffen Ultra Contrast filter. Probably this is BSI sensors nature and "look"
    Quote Originally Posted by shijan View Post
    Just check values with Color picker.
    P4K patches left to right: 255, 255, 226
    Sony patches: 180 168 147
    They just cut 2 stops of dynamic range from Sony for unknown reason.
    I swear you post some of the most inaccurate stuff on this entire forum.

    You only need just a little bit of experience, knowledge, and common sense to work out that if you check the darker patches with your little color picker you will see that one channel is brighter from the in camera white balance and for the two chips that are clipped on the left, the channel that was brighter on the darker chips is no longer the brightest and the other channels have either caught up or in some cases gone brighter than the original brightest channel. Ergo, the two chips are clipped at that point. That is irrespective of the overall luminance of the chip which is merely where the manufacturer log curve places them, so in this instance irrelevant. That's the case for all the cameras they posted images of.

    It's also just plain obvious visually that the chips are clipped compared to the other chips.

    Plus if you actually read their methodology they clearly explain this is what they do!!!!

    So no, they didn't cut 2 stops from sony compared to the rest. The rest also have 2 chips at the top clipped.
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  6. #36  
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    Quote Originally Posted by Max Minoia View Post
    Ungraded grabs from a brief test with a BMPCC4K demo unit in the local store and my old BMPCC, both at 800 ISO, (I know, I know, the native ISO is 400 but the image is still pretty clean), judge for yourself.
    This tells nothing. It's what you can push out of the image is what matters.
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  7. #37  
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    Quote Originally Posted by Howie Roll View Post
    Take a pill fanboy.
    Must be hard to admit that you just were talking nonsense and your little theory has been busted by reality and easy provable facts?
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  8. #38  
    Quote Originally Posted by TravisA View Post
    Interesting. So P4K is using some of the BRAW tech for encoding ProRES?

    This makes sense to me, TBH. In my own testing between CDNG v3 and BRAW v4, aside from this different v4 color science, the BRAW captures looked a tad brighter and cleaner, which also helps when pushing them.
    Yes, I think it's great that BM is also making ProRes better with what they learned from making BRAW. It came as a pleasant surprise as I thought that ProRes encoding was done once and for all. I thought that only RAW could get better.

    It's obvious that the Pocket 4K was made with BRAW in mind and that the two are a match made in heaven.
    Pocket 4K "Chaplin".
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  9. #39  
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    Quote Originally Posted by Max Minoia View Post
    Ungraded grabs from a brief test with a BMPCC4K demo unit in the local store and my old BMPCC, both at 800 ISO, (I know, I know, the native ISO is 400 but the image is still pretty clean), judge for yourself.
    Can you share DNGs?
    All my custom made accessories for BMMCC/BMMSC now available here https://lavky.com/radioproektor/
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  10. #40  
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    Shot in ProRes, sorry.
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