Sony RX10 with 24-200mm constant f2.8 zoom and 1" sensor !

^ +1

DR and aliasing/moire are the most interesting unanswered questions right now

Also, keep in mind that you may have to apply a 16-235 output levels filter to unclip the highlights, and test these settings if you don't already have others you like better. They are particularly good for DR on my NEX-5N, the price to pay is increased noise at high ISO.
 
Samuel H said:
^ +1

DR and aliasing/moire are the most interesting unanswered questions right now

Also, keep in mind that you may have to apply a 16-235 output levels filter to unclip the highlights, and test these settings if you don't already have others you like better. They are particularly good for DR on my NEX-5N, the price to pay is increased noise at high ISO.
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thank you, will you be optimizing the RX10 in a similar manner?
 
All the NEX cameras I've tried work in the same way: they need the 16-235 thing in post, and those settings work quite well. I expect the RX10 and the A7/A7r will follow those rules too.
 
Andrew has a new post up about this camera: http://www.eoshd.com/content/11565/test-first-impressions-sony-rx10-a7r
The full HD image at first glance is very sharp. Nicely detailed with only the barest hint of weirdness going on. I’m going to put the camera through it’s paces but the initial impression is of it being a brilliant shot grabber, run & gun camera for documentary makers and well worth the 1200 EUR street price. It is more than simply a bridge camera. Much more.
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Samuel H said:
All the NEX cameras I've tried work in the same way: they need the 16-235 thing in post, and those settings work quite well. I expect the RX10 and the A7/A7r will follow those rules too.
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Any link to a tutorial or step-by-step that explains how to do this?
 
Glad to help. Y'know, at the risk of going OT, if one googles "16-235" and search terms like NEX, GH2 or Premiere one gets a heap o' these threads from folk asking about these level mis-match issues, and not getting much in the way of a clear resolution to their questions. For example: http://forums.adobe.com/thread/1020766 and http://www.dvxuser.com/V6/showthread.php?316112-AF100-GH2-Cineform-codec-and-109-IRE-clamping&highlight=

If there's a better answer about how to deal with the footage coming from cameras like the RX10, in these various NLEs, it would be a good sticky to add somewhere on this Forum.
 
OPHERBA said:
Hi Stu
A7r is on my desk. Shooting is planned for tomorrow.

Will publish footage very soon. (RX10 is next)

Thanks!

Johnnie
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Johnnie, please don't waste your time on the A7r.... we already know that it line skips. But no one yet knows whether the RX10 is the real deal or not.
 
philiplipetz said:
^
I think what they want is to be told where to find the 16-235 setting in their NLE.
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Well, when I get an answer like the one below, he seems to be saying that the footage is being decoded (?) or displayed (?) wrongly because of some incorrect setting, somewhere. Fixing it later with a filter seems like a kludge to me, rather than the "right" way of addressing the problem. But if that's the best advice there is, well OK.

Any digital value that exceeds 8-bit 235/100 IRE is reproduced as maximum white and any value below 16 is reproduced as 0 black. You are probably working on a computer in sRGB color space where 8-bit 0 is black and 255 is white at gamma 2.2. You need to set your output gamma to comply with REC709 or bring your scope values under 100 IRE max with brightness and contrast before transcoding to preserve your highlights. There is no real difference in how these look on properly calibrated monitors. A 0-255 grayscale step pattern shown on an sRGB monitor correctly calibrated at 2.2 gamma will look pretty much identical to a 16-235 grayscale step pattern shown a properly calibrated REC709 monitor at gamma 2.4. It is only when you move video from one color space to the other that issues like this arise.
 
In this test RX10 has similar detail to FS100, and better highlights due to DR setting optimized for highlights at expense of some drop off in shadows. Also seems superior video to A7r. Cinema cameras like the Alexa are optimized for more DR in highlights. the RX100ii with same sensor had only three stops DR above gray, so this camera was obviously optimized for cinema, not stills like the Rx100ii

http://www.eoshd.com/content/11576/sample-video-comparing-sony-rx10-a7r-fs100

download at https://vimeo.com/80134787
 
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FS100 ballpark?! Sounds promising. Good that some dedicated videographers are now putting their hands on this camera.
 
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