A7IV launch on Oct 21

I remember when you almost sold me my first VCR in the late 80s.

I was 4 1/2 and came in there to talk specs, but you were on your lunch break so I just went for the Sylvania 6260VF.
 
In the early-mid-1980's Jeffrey Kessler sued the Japanese TV manufacturers in an anti-trust action (price fixing, product dumping) on behalf of the US TVcompanies. The US courts ruled against him. The US TV manufacturers - GE/RCA, Sylvania, Zenith, Curtis Mathes, etc. - promptly quit the TV business, though some brand names were sold. The dominant brand names in the mid-late 80s to the end of the 1990's were all Japanese Sony, Mitsubishi, Hitachi, Pioneer, Panasonic/Technics, Toshiba, JVC, Subsequently, the Japanese were driven out by the Koreans, who were driven out of the mass merchandising market by the Chinese.

PS. I really liked the 1980's Sylvania TV ads.
 
Teddy_Dem said:
Maybe I'm missing it as I quickly glance over the specs on B&H and numerous sites, but did this not get the RAW output from the HDMI port?
Click to expand...

The a7 IV will definitely get ProRes RAW through the Ninja V. It's not clear whether the breathing compensation feature will work with PRR - we'll just have to wait and see. As far as ProRes RAW goes, on the a7s III, it''s 4.2K (4264 x 2408) resolution, which amounts to 23.7% higher resolution which is visibly more detailed than the internal codec. It means there's still a tiny bit more leeway for cropping or stabilization than with the internal codec. De-noising ProRes RAW in post yields a much nicer, organic looking grain structure.

For HDR, internal XAVC-S I 4:2:2 should be avoided.

"The Y’CbCr encoding model is popular because it conceals subsampling artifacts vastly better than does RGB encoding. Sadly, while Y’CbCr works well in Rec 709, it doesn’t work very well for HDR. Because the Y’CbCr values are created from RGB values that have been gamma corrected, the luma and chroma values are not perfectly separate: subsampling causes minor shifts in both. This isn’t noticeable in Rec 709’s smaller color gamut, but it matters quite a lot in a large color gamut. Every process for scaling a wide color gamut image to fit into a smaller color gamut utilizes desaturation, and it’s not possible to desaturate Y’CbCr footage to that extent without seeing unwanted hue shifts.

My recommendation: always use RGB 4:4:4 codecs or capture raw when shooting for HDR, and avoid Y’CbCr 4:2:2 codecs. If a codec doesn’t specify that it is “4:4:4” then it uses Y’CbCr encoding, and should be avoided". -Art Adams

This paper by Dolby shows how 10-bit Y’CbCr is not only not great for displays but also that maximum color deviation of 10-bit Y’CbCr exceeds the acceptable threshold at every luminance level for theatrical presentation, making quantization distortions like banding and contouring visible. It damages the image at capture as well, affecting not only saturated blues and reds, but the all-important skin tones as well.

https://professional.dolby.com/sitea...paper_v071.pdf
 
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Jared the Fro says that 10 fps stills shooting is only in JPEG or Compressed Raw and Sony doesn't say how compressed it is. Otherwise, in a non-compressed Raw, it's only 6 fps.

I, obviously, have not seen every second of every A7IV review out there but I had not seen this before.
 
The "Gladiators March" by Alfred Fucik. I first heard the riff as a part of the "Show must go on" by the Three Dogs Night, sometime in the early 70's off VOA.
 
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