Rumor: Sony A7s will have 4K video

Gh4 is 10 bit.. But just spec on paper. Resulting Image look compressed to me, limited DR , tonal tones...

Samuel H said:
So, with such a wide profile, a bigger real-world brightness range gets squeezed into the 256 values of the 8-bit codec. Then, in post, you add a levels filter to redefine input points (get rid of unused blacks and whites, stretching the histogram horizontally), then a curve to reassign contrast where you want it. You'll probably have around 20-25 brightness values per stop of light in the midtones, and that's a really low number. But if the codec is good then these issues can be minimized (the biggest problem with cinestyle is that once you add contrast back you start to see horrible macroblocking in well-exposed skin tones). And in any case: there is such thing as "too flat", but the proof is in the pudding. I don't care how many theoretical problems this has, as long as I don't get issues in practice. We'll see...
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I wonder when Sony's going to announce the proprietary recorder specifically for this one camera that you'll have to replace when you replace this camera. Not sure why all the blogs are getting excited about the $2500 price announcement like that's the price of the camera - you've gotta include that recorder.
 
Lee Saxon said:
I wonder when Sony's going to announce the proprietary recorder specifically for this one camera that you'll have to replace when you replace this camera. Not sure why all the blogs are getting excited about the $2500 price announcement like that's the price of the camera - you've gotta include that recorder.
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Sony has been promoting the Atmos Shogun pretty heavily so I doubt they are going to make their own recorder. Also, I have a feeling most people will use this for really, really good 1080p and just rent an external recorder if they need 4K.
 
Samuel H said:
So, with such a wide profile, a bigger real-world brightness range gets squeezed into the 256 values of the 8-bit codec. Then, in post, you add a levels filter to redefine input points (get rid of unused blacks and whites, stretching the histogram horizontally), then a curve to reassign contrast where you want it. You'll probably have around 20-25 brightness values per stop of light in the midtones, and that's a really low number. But if the codec is good then these issues can be minimized (the biggest problem with cinestyle is that once you add contrast back you start to see horrible macroblocking in well-exposed skin tones). And in any case: there is such thing as "too flat", but the proof is in the pudding. I don't care how many theoretical problems this has, as long as I don't get issues in practice. We'll see...
Click to expand...
I guess we've found a new guru here. There was DVX and HVX's Barry, now Samuel you are el hombre! :-)

Sony has no even idea how they should deliver for free a camera to people like Samuel. This kind of customers helps them to spot on straight out of the box of candies. Any camera needs aura and they give it all from there.

E.
 
Low light is amazing on the A7s, I ordered one. Just sold my 5d3 and BM Pocket to go smaller/lighter/4k with the A7, GH4 (just waiting for Texas Media to ship mine) and the A7s. I'm gonna rent a Shogun to compare them both recording to a card and externally when available too. July can't come soon enough.
 
Thinking of a similar setup... Are you not afraid to regret your 5d3 as you will loose IS and autofocus capability for your EF lens on the Sony?

photochris said:
Low light is amazing on the A7s, I ordered one. Just sold my 5d3 and BM Pocket to go smaller/lighter/4k with the A7, GH4 (just waiting for Texas Media to ship mine) and the A7s. I'm gonna rent a Shogun to compare them both recording to a card and externally when available too. July can't come soon enough.
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I'm still not seeing any confirmation of UK price. The dealers' ads are still showing £2500 for pre-orders.
 
Nirv said:
I'm still not seeing any confirmation of UK price. The dealers' ads are still showing £2500 for pre-orders.
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It will not be the first time when European buyers will be screwed! 2500$ should be around 1800 euros or 1500 pounds....but...I dont think so...:furious3:
Best thing is to buy from US if you have a chance...then it will be a great deal!
 
Samuel H said:
So, with such a wide profile, a bigger real-world brightness range gets squeezed into the 256 values of the 8-bit codec. Then, in post, you add a levels filter to redefine input points (get rid of unused blacks and whites, stretching the histogram horizontally), then a curve to reassign contrast where you want it. You'll probably have around 20-25 brightness values per stop of light in the midtones, and that's a really low number. But if the codec is good then these issues can be minimized (the biggest problem with cinestyle is that once you add contrast back you start to see horrible macroblocking in well-exposed skin tones). And in any case: there is such thing as "too flat", but the proof is in the pudding. I don't care how many theoretical problems this has, as long as I don't get issues in practice. We'll see...
Click to expand...

Honestly guys, i don't truly expect for 15 stops (nor even 14 stops) at all in video terms!

However, i don't really know if my experience can be useful here. I've been working in CGI environment for years now. Most of the time i output a 32-bit float HDR or EXR files where you literally get almost infinite DR. You can recover as much as you want from highlights and shadows (with proper rendertimes, otherwise you'll get tons of noise from shadows just like from actual cameras). After stretching lots of luma info -in a ridiculous way sometimes- recovering both the sun and the darker parts ever, i can properly final output it into a 8-bit simple JPG file without any kind of banding and/or other kind of image suffering... The luma and color palette just fits and adapts according the final global pic info. SO, i don't see why it'd be a problem IF the codec is trully strong and really well implemented. -See Canon C-Series-
 
Alex Roman said:
Honestly guys, i don't truly expect for 15 stops (nor even 14 stops) at all in video terms!

However, i don't really know if my experience can be useful here. I've been working in CGI environment for years now. Most of the time i output a 32-bit float HDR or EXR files where you literally get almost infinite DR. You can recover as much as you want from highlights and shadows (with proper rendertimes, otherwise you'll get tons of noise from shadows just like from actual cameras). After stretching lots of luma info -in a ridiculous way sometimes- recovering both the sun and the darker parts ever, i can properly final output it into a 8-bit simple JPG file without any kind of banding and/or other kind of image suffering... The luma and color palette just fits and adapts according the final global pic info. SO, i don't see why it'd be a problem IF the codec is trully strong and really well implemented. -See Canon C-Series-
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It doesn't matter how good the codec is. 15 stops 8-bit log will break even if it is uncompressed, once you bring contrast back.
It is the stretching that hurts. There is no problem in outputting 15 stops in 8 bits if the DR is already properly distributed for display: that is, compressed shadows and highlights + expanded/fat mids.
You'll most likely need the added precision of 8-bit 4K -> 10-bit 2K to preserve detail in the unlikely case s-log actually carries 15 stops.
 
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