In GFX 50S M2 I would expect better ergonomics and better EVF.Hi Erik,
It think that camera is called the GFX 100.
What improvements would you expect from the GFX 50S Mark 2?
Best regards
Erik
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In GFX 50S M2 I would expect better ergonomics and better EVF.Hi Erik,
It think that camera is called the GFX 100.
What improvements would you expect from the GFX 50S Mark 2?
Best regards
Erik
As an owner of a 50S not very enticing.In GFX 50S M2 I would expect better ergonomics and better EVF.
Once a curve, dodge, burn, or highlight/shadow recovery tool is used.Monitors - as far as I know - show either 8 bit or 10 bit dynamic range, print maybe only 5 bit.
So: How to see the difference of a sensor output of 12, 14 or 16 bit dynamic range (apart from lifting the shadows in raw)?
Monitors - as far as I know - show either 8 bit or 10 bit dynamic range, print maybe only 5 bit.
So: How to see the difference of a sensor output of 12, 14 or 16 bit dynamic range (apart from lifting the shadows in raw)?
Digital sensors only detect brightness information. The typical Bayer array adds green, blue and red filters in front of each sensor pixel. The other two color channels are interpolated from the colors of the neighbour channels. So, in a certain way, the DR is for example 14 bit brightness, but converted/interpolated to 3x 14 bit color information.24bit via LUT https://imagescience.com.au/products/monitors/eizo-coloredge-cg319x-4k
[the 10 bit mentioned is the serial digital signal for broadcast BVM monitors]
Output dynamic range is almost irrelevant to this conversation. The only question is what range of contrast is in the original scene, and what parts of that scene you wish to contain detail (as opposed to being clipped black or clipped white), and only in situations where you can't control the lighting contrast (e.g. you can't turn off the sun in a landscape or add a fill card like you can in the studio). One can demonstrate this even with 1 bit output (black or white only) provided you can use a bit of dithering. If you record it in the scene, you can represent it in the print. Of course, whether it is aesthetically useful to do so depends on the scene, the artist, and the intention of the work; a drive to always include all tonal range from a scene is a great way to get very low contrast muddy looking prints, or worse, garish HDR-looking images.I get your point Doug, if a curve is applied, that theoretically could make a difference. But the compression or cut-off from the raw image to the DR of a monitor or print is so tremendous that I really have doubts that on a on a 8/10 bit DR monitor or a 5 bit DR print the difference between a 14 bit DR sensor and a 16 bit (which actually mostly is only 15 bit real DR) sensor can be seen. Can you show comparison samples?
This depends entirely on the tone curve. If linear, 5 bits corresponds to a print Dmax of -log10(2^-5) = 1.5 at SNR = 1.Monitors - as far as I know - show either 8 bit or 10 bit dynamic range, print maybe only 5 bit.
Agree. In a practical sense, not completely irrelevant, but certainly not very important. That was the basis of my comments about scene-referred vs output-referred files. (That was here, right? [Yes, it was; I see it at the bottom of this page.]).Output dynamic range is almost irrelevant to this conversation.
Jim, you're one of my very favorite posters here. You're always accurate and practically informative without being demeaning, oversimplifying, or pedantic*– a rare ability for someone who knows so much of the technical nitty gritty. If you're ever in NYC I'd be very glad to buy you a beer.Agree. In a practical sense, not completely irrelevant, but certainly not very important. That was the basis of my comments about scene-referred vs output-referred files. (That was here, right? [Yes, it was; I see it at the bottom of this page.]).
Also you can't compare the precision of linear files with those that have tone curves applied.*
Jim
*Nerdy clarification: you can do such comparisons if you take into account the first derivative of the tone curve and its effect on precision when mapped back to linear.
Hi,Monitors - as far as I know - show either 8 bit or 10 bit dynamic range, print maybe only 5 bit.
So: How to see the difference of a sensor output of 12, 14 or 16 bit dynamic range (apart from lifting the shadows in raw)?
Like a lot of menu choices, choosing 14 or 16 bit is a set and forget operation so you don't have to think about it once you have made your decision.When taking an image I naively assume there must be a number of more important considerations than worrying about 14 or 16 bit capture, no? :facesmack:
Erik - that is a lovely lovely image, I think the best you've posted. Congrats!Hi,
That is a good question...
The way I see it we may have a great dynamic range. Than we have the task of converting that range to something we can show on screen or print.
Here is an image I am working on right now:
Dynamic range is great and a piece of magic light. But how can I fit in in the DMax of matte paper?!
Best regards
Erik
Erik - that is a lovely lovely image, I think the best you've posted. Congrats!
Hi Geoff,Erik - that is a lovely lovely image, I think the best you've posted. Congrats!