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07-30-2020 02:03 PM
Yes, and dithering is something done to just one bit, so if it really was 12 bit dithered to 16, it would just be (LSB+3), the others truncated zeros.
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07-30-2020 02:14 PM
From the tests I've seen other than the slight crop at 120p, detail in all 4k modes is pretty much indistinguishable. Its just a hair less sharp than the a73 and the 60/120 is more detailed than the R5. Gordon Liang posted a SOOC Slog3 shot, gonna tinker with that. Hopefully more footage surfaces soon.
Chris
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07-30-2020 03:17 PM
David S.
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2 out of 2 members found this post helpful.
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07-30-2020 03:33 PM
thanks
David S.
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07-30-2020 03:41 PM
Edited, to make a short version. Don't worry about 16 Bits on the A7SIII.
Now the long version.
I'm not 100% sure but I wouldn't worry to much about the 16 bits vs 14 bits. If you look at it from the stills perspective, even on medium format cameras, there have been discussions about how valuable the 16 bits are vs 14 bits. No CMOS sensor that's readily available that I'm aware of even if you look at a PhaseOne, GFX100 or on the video side of things like the Alexa 65, will give you 16 stops of clean noise free dynamic range. At a certain point the ADC converter's bit depth is exceeding what the CMOS can capture and you are basically just getting more steps or a more accurate readout of noise without that much benefit to signal. Some people argue the difference between 14 and 16 bits is huge and other's will say they can't see the difference just a bloated file. Either way I doubt it would make much difference on the A7SIII. I believe there was some drama not with the 150mp IQ4 or 102 mp GFX 100 but with the Hasselblad X1D and the GFX 50s/r. They are both using the same sesnsor and apparently both doing 14 bit readouts but for some reason Hasselblad chose to to still process/write in 16 bits and Fujifilm stuck with 14 bits. People argued the merits of the "phantom" bits between X1D and GFX 50. I think Hasselblad chose 16 bit files just to stay in line with there higher end cameras. It's not until you reach PhaseOne or Alexa levels of dynamic where 16 bit files even really matters. In terms of dynamic range the GFX 100 sits north of the X1D/pentax/gfx 50 type cameras but south of the PhaseOne so I think any benefit that you might get on the GFX 100 16 bit files over the 14 bit files certainly aren't huge. Probably the type of differences where you have to go hunting for them or someone would need to point out to you.Last edited by Carlos Morillo; 07-30-2020 at 03:55 PM.
2 out of 2 members found this post helpful.
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07-31-2020 04:57 AM
As far as I know, size of value for each colour (be it 8bit,12bit or 16bit) in independent of dynamic range. However, it follows that for any given dynamic range to be fully effective - that is - both in the shadows and in the highlights in the same frame - there must be enough precision to hold a meaningful value from black all the way to white. An example being SLOG3 recorded in 8bits on previous Sony cameras (not the A7SIII) - you did have the dynamic range but no way to record the sensor pixel's value accurately enough - resulting in banding and other artifacts.
On a seperate note, it looks like Canon are nervous about the R5 and R6 and might either recall them or make some last minute modification to combat the severe heat problems.
https://www.eoshd.com/news/will-cano...28EOSHD.com%29
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07-31-2020 07:18 AM
Thank you for pointing that out. I constantly hear supposedly-knowledgeable people equate bit depth with dynamic range. It's just not correct. There is a *loose* correlation because traditionally an expensive high-bit-depth cinema camera would generally be designed with a sensor having better dynamic range. But the bit depth doesn't *cause* the dynamic range, and (as you pointed out) doesn't even *enable* dynamic range. You could theoretically design an 8-bit sensor and processing path which had 16 stops of dynamic range, but there's no reason to do that.
Right now on the Arri Alexa web site, they have downloadable ProRes sample footage, some of which is only 10 bit. Those cameras will also shoot internally 12-bit ProRes 4444XQ or 12-bit log-encoded uncompressed ARRIRAW. That camera has great dynamic range and beautiful roll-off, but to my knowledge it's "only" 12 bits per color channel.
We think the Ninja V will also record 12-bit log-encoded ProRes RAW from the A7SIII, which might send the raw data as 16 bit, possibly with lower bits zero'd out due to issues with HDMI standardization, encoder ASIC, etc. Therefore I don't see why all the concern on some forums about whether it's 12, 14 or 16 bits. I wonder of some of that is coming from photographic people who are familiar with 14-bit raw stills and think somehow 12 bit raw video is a downgrade.
What would be really cool is if mirrorless cameras could sustainably record 14-bit raw stills at 24 fps. They are probably just one generation from doing that.