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I think the Komodo might just have had one stop more if it were a roller. Who know how these companies think. Sony with the F55 felt it worth the hit due to the fact that the camera was aimed at a cinema production workflow where most scenes and sets would be specifically lit for a controlled...

Sounds very interesting. I watched that video. A global shutter would surprise me. That generally costs a stop in light loss. Not even their Venice or Burano runs a global shutter. An extra stop of dynamic range is far more useful on a day-to-day basis. But hey, it's Sony. Who knows what they...

I've made my points you've made yours. So be it. Chris Young

Look. Don't get me wrong. The F65 produces some beautiful images and as far colors go I think it is one of the best most natural looks cameras ever to grace the screen. Tomorrowland, Oblivion and Ex Machina are all great examples of its image capabilities. I love the look of the F65 image. But...

My last word on the matter. You are obviously convinced of your findings. There is nothing much I can add to Sony's own claims. "An increased exposure latitude of up to 14 stops." Taken from Sony's own published specs on the F65, page #4: "Wide Exposure Latitude, High Sensitivity and Low...

I see what you are saying, but I have no real idea how you are going about your testing as I have never seen a camera tested in such an unusual way. And I've seen a few cameras tested in my fifty plus years in the business. By the way Sony only ever claimed 14 stops for the F65. Had they been...

All very interesting but in reality I've found Geoff Boyle's Tests on the F65 to be more in keeping with real world use. As he states, quote: "The only objective here is to establish the true ISO of any camera and to find a precise usable dynamic range. I emphasise usable as although more may...

Worth watching this as there are a few "gotcha's" with it and the FX6. Chris Young

I thought there must be a mistake here?. In the past I've just produced HD or UHD single videos for split multiscreen displays. It's the hardware processor that is being used for the projection job that has to be programmed for how many screens the video is going to be split over. Usually...

No, Sir. Nothing special. If you look at the composite JPG I included you will see I just drew a rectangle selection to the left of her right shoulder and below the picture on the wall. NEAT did the rest when I applied that selection. NEAT just seems to be very well written code as it really...

Thanks for the clip, Scorsese. Personally I didn't find it 'too' noisy. Was surprised it was a .MOV not as S-LOG3 clip? Was this an external record ProRes or was it a ProRes rendered from an MXF? Whatever. I've uploaded a ZIP file with two files. One processed with NEAT Video and the other one...

Can you upload a ten-second piece somewhere? I can hit it with Neat and render it out and re-upload for you to look at if that helps. Could give an idea of whether it will work for you. Chris Young

Generally I draw a manual selection square in what appears to be the noisiest part of the scene in question. Very much like they show in the video I linked to. Very often that is usually in the lower light areas of the scene, the shadows up to mid-range. The thing is you can try a variety of...

That's one of Neat's major appeals. NR without detail loss. I can nearly always come up with a very clean image without going soft with it. Chris Young

IMHO, it's worth every $$$ you spend on it. You will earn it back in no time flat on a paying job. A bit of a learning curve but once you get the hang of it you will not regret it. Having spent years editing history documentaries with footage ranging from WWI to the current days I could not...

Are all these 'see through' text blocks going to be over a common background video? How many text blocks on screen? Do they have to sit at various angles? The technique I work with for this type of job is as follows. First I select all the videos / clips I want. I then batch render them out...

Good one! Keep us posted. BTW with the B4 setup you can get a remote focus unit to go on the lens. Allowing you full manual focus from a remote position. Canon's 1.5 x optic is only engaged if you need to cover a FF sensor. It's not remotely controlled. Though you could use it as a 50% mag while...

A good program that did both 4:3 and 16: DV that also allowed cutting on the fly and marking the ingest for areas of deletion, again on the fly was Scenalyzer Live. It was a paid app, but now you can download it from the website for free along with a fully functional serial to get it running...

I haven't bothered to chase down the post, but a number of years back I posted my solution to having a remote control variable ND on an A7 for virtually any lens you use. Back then I needed a remote controlled ND on my 28-135 and 18-110 mm zooms. I have since used this solution on various lenses...

MM. You mentioned an FX2 in your original post. Look, just another thought to throw out there. I don't really care how I obtain my 4K images. Be it by FF or S35 / APSC crop. As long as I can capture good clean 4K 50p I'm happy. With your FX2 / A7IV and the new A7V your crop mode is...