#Panasonic Bayer raw files

[karingottschalk]

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[livefromphilly]

The Good and The Bad, 04.22.21 - 05.20.21

None of this shit is amazing or especially significant.

:(

I already mentioned it, but apparently my X100V suffered water damage. Since it was out of warranty and deemed unfixable, it would have just been $1220 for a replacement. That was almost the same cost as buying a new one so I just told them never mind. I’m honestly a bit disappointed; I didn’t baby the camera, but I also would expect a camera that’s advertised as weather sealed to hold up better than it did. I started using my Micro Four Thirds camera as my general walk around camera and it’s been ok in that regard, especially once I added the Panasonic Leica 15mm. I just wish the shutter wasn’t so damn loud.

Moving was a pain in the ass. I finally feel settled in here, at least, but man I don’t ever want to move again.

After all the costs of moving, I only had enough money to get a new computer or a new TV but not both. The computer was a more pressing need so I went with that. My old TV is relatively new (and nice), but I got it when I lived in a much smaller apartment where the couch was a lot closer to the TV. My eyesight is horrible and now it’s kind of hard to see the TV from that distance.

I keep telling myself this but I think I'm really going to try to get back to using Flickr more. Instagram and Tumblr are nice for sharing photos, but I think I want a more photo-centric place. Somebody I follow on Insta did a copy/paste thing about the platform being a place for friends to connect and it kinda hit like "yeah, I guess it really isn't just about photos anymore". At least not primarily. Apparently the last thing I posted on there was in 2020, but it was just photos from a roll of film I shot in 2018.

Speaking of film, I haven't shot a roll of that stuff in a while. I haven't finished one roll so far this year, and May is definitely the furthest I've made it into a year without shooting film since I got back into shooting film in 2012. I'll definitely have to fix that this weekend.

!

It’s been nice hanging out with friends again. So far the only bar I’ve hit up has been Local 44 but I’m hoping to visit Bob & Barbara’s soon. I had planned to go last Saturday but forgot it was my sister’s birthday.

I saw my mother and sister for the first time without masks in over a year last Saturday for said birthday. She and my parents came over for BBQ and cake. As much as I missed spending time with friends I definitely missed my fam more.

The Apple event was interesting in a way that I like what they showed, but it also made me decide to save money, skip the iMac, and just get the Mac Mini. So far I’m happy with the investment. I also got a 27�� monitor to go with it, and it does 120 fps so I can hook my Xbox Series X up to it and play certain games at the higher frame rate .

I downloaded a demo for some photo editing software called DXO PureRAW and it’s hands down the most amazing photographic software I ever used. You just drag and drop a raw file and it spits out an incredibly clean DNG even on super noisy high ISO pics. It almost makes the micro four thirds photos look like they came out of a full frame camera with the lack of noise. The only problem is it doesn’t work on Fuji X-Trans based files, so a lot of the photos I took in the last few years with my X100V and X100F can’t take advantage of it. It also, for some odd reason, doesn't work with the Fuji XF10 files, which is strange considering that's a regular Bayer sensor.

I’m HYPE for the NBA playoffs. I really think the Sixers have a shot to win it all this year. I mean, I think that every year but especially this year.

[exotrust]

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[lorrainecparker]

Cine Gear Expo: Three Cameras

Canon, Panasonic, and Sony all used Cine Gear Expo 2017 as the event to anchor their announcements of new cine-oriented cameras. What they revealed says much about where the industry is going, and when they revealed it speaks to the growing importance of Cine Gear as an industry show.

Canon C200 & C200B

C200 side panel. Yeah, you hang a decent lens on it, it gets nose-heavy.

Canon revealed the C200 and C200B a few days early on May 31st—and it’s clear they laid the groundwork some time prior to that. Jon Fauer (as usual) had with all facts and a good set of photos ready to roll, and Elliot Smith was good to go with a hands-on review. Erik Naso pondered whether the C200s are good upgrades for C100 and C300 users, and why. On the day Cine Gear opened, Andy Stout delved further in the new CinemaRaw Light codec, and of course Canon already has a set of C200 white papers available.

CFast card slot on the left, dual SD slots in the rear.

From the top: two XLR inputs, SDI out, headphone / USB ports, RJ-45 networking port, DC IN. On the side: HDMI.

Side grip with joystick, Fn button, dial control

The side grip uses a standard ARRI rosette for easy accessorizing

C200 LCD with buttons and joystick

There’s been a lot of discussion about this $6000–$7500 4K camcorder (the lower price is for an EVF-less, body-only C200B; the higher price includes EVF, LCD, top handle, and side grip). Many are distressed that the camera records only 8-bit 4:2:0 MP4 files to SD cards and DCI 4K Cinema Raw Light to CFast cards: the former is felt to be too lightweight for “serious” work while the latter is not cheap: a 64GB FCFast card will be consumed in a mere five minutes at 23.98 fps. (Gripers will be somewhat mollified by the promise of a future firmware upgrade to add XF-AVC recording, which offers 10 bits and/or 4:2:2 or even 4:4:4 sampling in its various flavors, though I don’t know which flavors the C200s will offer.)

People often grumble when Canon releases a new camera, whether in the EOS or Cinema EOS lines, usually saying (a) it’s too expensive for what it does, (b) it’s not pushing the envelope nearly as much as it should, and/or (c) they’ve completely misunderstood the market and built something nobody wants or needs. And yet, somehow, whatever overpriced, under-specced, missed-the-market camera Canon announces goes on to lead a happy and productive life. I think the C200/C200B will follow the same course.

I had a chat with Canon’s Paul Hawxhurst about point (c): who did they build this camera for? His answer was quite specific, though I’ve paraphrased it a bit: the C200 is for the C100 shooters who need an affordable, practical camera for their mundane day gigs, but want to step up their game on special projects. Plain, boring old 8-bit 4:2:0 MP4 will handle the long recording times and manageable file sizes needed for corporate talking heads, explainer videos, and the like, while Cinema Raw Light provides the grading flexibility and image quality for higher-end work—and it’s still more manageable and affordable than hanging an external recorder off the back.

While a 64 GB card may be consumed in 5 minutes, you can get cards up to half a Terabyte in capacity, for about 40 minutes of continuous recording time. And yes, CFast cards are expensive, but  they’re like film magazines, not film loads: they’re reusable containers, not expendables.

And, he said with his snarky hat on, if you’re already spending too much money on an “overpriced” Canon, why are you fussing about “overpriced” CFast cards? Remember when P2 cards came out? Or SxS? Or XQD? All new, fast media are annoyingly expensive. True, CFast isn’t that “new” any more, but there’s a global NAND flash shortage at the moment, and even commodity SSDs have suffered rising prices in recent months. Take a deep breath, buy some “digital mags” that’ll last the life of the camera or beyond, and get on with life.

Like many of the commentariat, I was a bit puzzled by the C200s when I first saw the specs and the pricing. But the more I thought about it, the more I think Canon knows exactly what it’s doing. The camera marks a further refinement and streamlining of the physical package, and the capabilities and price slot it neatly between the C100 Mk II and the C300 Mk II. The C200 may not make a lot of sense to “outsiders”, but those in the Canon camp—a somewhat hermetic society, like Apple or Leica users—are likely to adopt it with the same enthusiasm as they have other Cinema EOS cameras.

Note that all the bits ‘n’ pieces needed to make the $7500 C200 out of the $6000 C200B can be ordered a la carte, with the exception of the pigtail EVF. If you want the EVF, you’ll need to buy the C200; you can’t add that EVF to the C200B at a later date.

My only serious complaint is that the C200s employ the standard bayonet mount for the EF lenses, rather than the far superior breech-lock / positive-locking EF mount on the C500 and C700. Bayonet-mounted lenses can flex and wobble on the body, which they are wont to do once you hook up a follow-focus or drive motor; this is a sadly missed opportunity to continue the trend that Canon already started towards making a more stable EF attachment for cine uses.

The C200s are scheduled to ship in August.

Panasonic AU-EVA1

Panasonic tantalized crowds with a mockup of the AU-EVA1 under a cloth at NAB 2017; at Cine Gear Expo two mockups were unveiled: one under glass, and one in the hands of the indefatigable Mitch Gross.

Mitch Gross and the AU-EVA1

Mitch and his mockup attracted heavy crowds. I was his first interview at 10am; when I walked past at closing time, he was still at it—a security guard had to come over and threaten to throw him out so the show could close.

The AU-EVA1 is (or will be) a 5.7K, Super35mm camcorder with an EF mount recording 10-bit 4:2:2 to SD cards. While codec speeds ‘n’ feeds weren’t being discussed, take a look at what the DC-GH5 and the DVX-200 can do, and you’ll likely have a pretty good idea.

Like its larger VariCam stablemates, the EVA1 will have a dual-native-ISO readout (exact values TBD), V-Log and V-Gamut, and, with a future firmware update, raw output to external recorders. The camera will capture 4K at up to 60P and 2K at up to 240p. The button layout on the side panel is vaguely VariCam-ish, and Mitch says that the menus will likely have a VariCam-like flavor to them, too. One thing not carried over from the VariCam, I’m told, will be the long reboot times!

At $8000 or less, the EVA is aimed at the gap between the VariCam LT and the GH5:

(from Panasonic’s EVA website)

Why 5.7K? The EVA is a Bayer-pattern single-chip camcorder, and like all such beasties the “honest” pixel resolution of the debayered sensor is a fraction of the raw pixel count. If we go by the rule of thumb that a good deBayer yields a final luma resolution of about 80% of the raw pixel count, 5K will give you a proper 4K image. If we’re lucky, some of that extra .7K might be used to provide “lookaround” outside the active image area, so we can see mike booms and light stands before they show up in picture.

The EVA1’s 5.7K sensor

EVA1 side panel

EVA1: LCD can mount on either side at the back of the handle. Or pull the handle off and mount it to one of the top-plate sockets.

EVA1 has dual SD slots, takes DVX-style batteries or 7–12VDC power

Rotating side grip with control dial and function buttons

The units at Cine Gear Expo were weighted mockups, so the heft of the models was close to the 2.65 lb / 1.2 kg weight of the final product.

The cameras will have 2-, 4-, and 6-stop internal ND filters, electrically driven, along with a retractable IR filter on a second filter wheel.

The EVA1 will output 4K over both HDMI and SDI, and will feed both outputs simultaneously. There’s no eye-level EVF; you can fit a third-party loupe to the LCD, or use something like the Gratical if you prefer. Having both HDMI and SDI active means you can sacrifice one for an EVF and still have the other output for an external monitor/recorder or to feed video village.

An EF mount is the standard—and only—lens mount. Sadly, unlike the one on the VariCam LT, it’s a twist-on bayonet style, not the rigid and robust positive-lock version.

EVA1s are scheduled to ship in Fall 2017. More info at Panasonic’s EVA1 webpage.

Sony Next-Gen CineAlta Camera

Sony held a small press briefing hidden deep in the bowels of the Marathon Building before publicly announcing their next-generation CineAlta camera in the Paramount Theater.

Peter Crithary ran though the basics: Sony has has 17 years of experience in the cine world, and the F65 won a Scientific and Engineering Oscar in February. Sony’s Digital Motion Picture Centers exist in Hollywood, Pinewood Studios on the UK, Beijing, and Mumbai; these are places for industry pros to learn about and work with Sony gear, and for Sony to learn from industry folks. Sony also holds focus groups to have industry folks talk directly with design engineers (I’ve had the pleasure of doing this a few years ago), and they’ll take big-name DPs to Japan for intensive discussions—in the case of the current project, Claudio Miranda was involved.

And the current project? A complete, new, from-the-ground-up development of the next-generation CineAlta camera:

Full-frame, 36x24mm sensor. Sony agrees with Panavision that full-frame will be the feature format of the future. And it’s not just those with cameras to sell that say this; I’ve spoken with a number of thoughtful and perceptive DPs who agree that full-frame, a.k.a. large-format, offers greater “dimensionality, roundness, and separation of elements” than S35mm. One DP told me that the larger formats render images more the way we see them, while smaller sensors flatten the space too much.

“Lens agnostic”, implying flexible cropping for S35mm or other formats. When Geoff Boyle said he’s used to calling for a 40mm and knowing what that looks like (on 4-perf 35mm film), Peter nodded and said, “not a problem”.

4K 4×3 anamorphic is a specific target; the sensor will have at least that much resolution. Sony says that they have “very consistent feedback” that 4K 4×3 anamorphic was Something They Need To Do. (I even overheard mutterings—which I didn’t confirm—that “4K 4×3 anamorphic” applies to a S35mm-format crop. Make of that what you will.)

“Much wider latitude than anything we’ve had before”.

Wider color gamut.

All-new design: this isn’t a reworked F65 or F55 or anything else.

And yet: the same familiar workflow: 16-bit raw, X-OCN, XAVC. (Much approval voiced by the crowd at this.)

Sensor is “very far along”.

Existing cameras remain in the lineup. The next-gen camera supplements them, it does not replace them.

Sony is not ready to discuss lens mounts or recording media yet.

Release is planned for “early 2018”. Price TBD. When asked if there would be something to see at IBC in September, Peter said that IBC “may be a target” and there would definitely be more information then.

“Stay tuned.”

So What?

The three different announcements reflect three trends in the cine-camera industry: larger formats, resolution agnosticism, and high dynamic range / wide color gamut imaging.

Larger formats: various larger-than-S35mm sensors, mostly from RED, have been cropping up (pun intended) for several years now.

The RED-sensor-based Panavision Millenium DXL and ARRI Alexa 65 have legitimized the resurgence of large-format more than a bunch of aggro bad-boy biker-gang revolutionaries could (grin), and it doesn’t hurt that we’re now seeing large-format cine glass becoming increasingly available.

That the EVA1 uses a S35mm sensor instead of a four-thirds sensor as the GH5 and DVX-200 do is another indicator: size matters. I know a bunch of folks were disappointed that the EVA1 isn’t a direct follow-on to the AF-100/AF-101 MFT cine camera (hint: look at the GH5 instead), but S35mm was the right choice: while many (myself included) appreciate MFT as a perfect Goldilocks compromise between one-man-band live focusability and cinematic shallow depth of field, we’re in the minority.

Resolution agnosticism: scanning formats matched to broadcast or exhibition resolutions made sense in analog and early digital days, when memory was expensive, high-res sensors were difficult, and resampling framestores cost an arm and a leg. Nowadays there’s increasingly less reason to shoot what you screen, or to capture the same image you record. Shoot more pixels, and you can downsize for sharpness and detail, or have room to zoom in, pan ‘n’ scan, or stabilize the image in post. The EVA1 does this in a small way with its 5.7K sensor for a 4K image, downsampling in camera for higher quality. Sony’s announcement that their full-frame camera will be “lens agnostic” seems a clear indication that it’ll have plenty of pixels to play with, allowing for high-res images even with at least a S35mm crop factor.

HDR / WCG: all these cameras are firmly aimed at a high-dynamic range, wide color gamut future. Of course you’ll be able to capture log images at 10 bits or higher and/or record or output a raw image.

It’s interesting is that all three of these camera announcements were timed to synchronize with Cine Gear Expo, not NAB or IBC. It seems there’s a growing sense that NAB and IBC are too big and diffuse to be the best venue for cine-style gear rollouts; smaller, more focused shows like Cine Gear Expo and CINEC are the places and times to make a big noise in the industry. More power, then, to Cine Gear Expo and CINEC, and all the more reason to attend… or at least to keep an ear to the ground when they’re happening.

    Disclosure: There is no material relationship between me and any of the companies mentioned. None of ’em paid me to write about ’em or offered any blandishments to do so.

The post Cine Gear Expo: Three Cameras appeared first on ProVideo Coalition.

First Found At: Cine Gear Expo: Three Cameras

[karingottschalk]

placeholder for dxo photo lab 6.3

[karingottschalk]

It's a day of constantly changing weather...

It’s a day of constantly changing weather…

[karingottschalk]

We're Having More Fun Processing Bayer Raw Files in DxO PhotoLab 6 Elite & DeepPRIME XD & Wish DxO Would Support Fujifilm X-Trans Raw Files Too

We’re Having More Fun Processing Bayer Raw Files in DxO PhotoLab 6 Elite & DeepPRIME XD & Wish DxO Would Support Fujifilm X-Trans Raw Files Too

[karingottschalk]

Today We Tried Out DxO PhotoLab 6 To Process Bayer Raw Files Made with Panasonic Lumix GH4 & Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS Zoom

Today We Tried Out DxO PhotoLab 6 To Process Bayer Raw Files Made with Panasonic Lumix GH4 & Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS Zoom

[karingottschalk]

Quick Comparison of Fujifilm X-Trans Versus Panasonic Bayer Sensor Raw Files in DxO PhotoLab 5 with DxO FilmPack 6

Quick Comparison of Fujifilm X-Trans Versus Panasonic Bayer Sensor Raw Files in DxO PhotoLab 5 with DxO FilmPack 6

[karingottschalk]

When a documentary video or photography project about people involved in creativity and innovation is not in the offing, what else is there to do other than picking up the latest review loaner, placing another review loaner upon it then jumping on a train to head off for the closest reasonably busy suburban shopping destination the afternoon of New Year’s Eve 2017? 

Panasonic Lumix DC-GH5 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens, Guerrilla G-Cup for GH5 and Peak Design Clutch camera strap. I used a Panasonic Lumix G 25mm f/1.7 lens on the GH5 for my photographic walk through Chatswood depicted below.

Panasonic Australia’s media relations people kindly couriered over a GH5 just before Christmas, shortly after Guerrilla, formerly Miller & Schneider, sent over its G-Cup for GH5, and the G-Cup has been permanently fixed to the GH5 ever since.

It is still early days for me with the Guerrilla C-Cup but this first serious foray into shooting with it was a success.

New Year’s Eve 2017 was a hot and muggy day with constantly changing low-angle light filtering through the glare of a cloudy sky in Sydney’s northern suburb of Chatswood.

A Brisk New Year’s Eve Walk Through Chatswood with a Lumix GH5 and a Guerrilla G-Cup for GH5

DxO Optics Pro Elite with its companion applications cum plug-ins DxO FilmPack and DxO ViewPoint was the first dedicated raw file processor I bought after being less than impressed with Adobe’s Camera Raw of the time.

The DxO combination has been my raw processing benchmark provided, that is, the raw files in question are not Fujifilm X-Trans non-Bayer raw as DxO’s code base sadly only supports Bayer sensors.

Accordingly I processed my brisk walk images in DxO OpticsPro Elite, now renamed DxO PhotoLab, with DxO FilmPack and DxO ViewPoint as plug-ins.

This set of images was processed with DxO’s Agfa Scala 200x analog film simulation and selenium/gold split toning to emphasize the heat and light of my walk through those gritty streets.

Even the light indoors in the shopping centres and arcades both upmarket and down seared my eyes as it shafted through the skylights and windows into the gloomy lower floors below.

Agfa Scala 200x, intended for processing as a transparency film, was discontinued in 2010 and the closest extant film is reportedly Adox Silvermax.

The Guerrilla G-Cup for Panasonic GH5

I was glad of the way Guerrilla’s G-Cup for the GH5 shielded the edges of my eyes in those searing shafts of light so I could peer more effectively into the darkness.

More importantly, the G-Cup did exactly what Guerilla’s product page text promised it would:

The G-Cup is a replacement eyecup designed to fit the electronic viewfinder of the Panasonic GH5. It enhances the clarity, comfort, and stability of your camera by securely attaching to the EVF to block out light and provide a comfortable cushion for firm pressure and improved handheld stability.

Custom-designed and optimized for each camera, the G-Cup adds very little weight, and it perfectly compliments the camera’s shape and balance. It enables run-and-gun shooting with your camera stripped-down, right out of the box.

Panasonic Lumix GH5 with Guerrilla G-Cup for GH5 and Peak Design Clutch hand strap.

That run-and-gun shooting experience is important to me with the GH5 and its DSLR-style form factor that is so different from the types of cameras I usually prefer for stills photography, rangefinder and rangefinder-style cameras like Panasonic’s GX8 and Fujifilm’s X-Pro2.

I am right at home with those two cameras for the urban documentary approach I applied to my walk around Chatswood on New Year’s Eve, 2017.

The G-Cup made the GH5 look and feel like something very different, a marksman’s sight for peering distantly at the target and that feeling was underscored by my choice of lens, the Panasonic Lumix G 25mm f/1.7 Aspheric.

The Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro.

I received the 25mm f/1.7 with my Panasonic Lumix GX8 during an end-of-year promotion and it is currently one of my fastest Micro Four Thirds lenses.

Its 25mm focal length is not one I would have chosen to buy as I tend to shoot documentary stills with wider or longer focal lengths – in M43 they are 14mm, 17mm, 20mm and 42.5mm and in 35mm format they are 28mm, 35mm, 40mm and 85mm.

For documentary video as well as stills, I am very tempted by the Olympus M.Zuiko Pro f/1.2 prime lenses range and its 17mm, 25mm and 45mm focal lengths with their manual clutch focus capability, crucial for accurate and repeatable manual focussing and focus pulling.

Panasonic Lumix G 25mm f/1.7 Aspheric prime lens, one of Panasonic’s f/1.7 prime lens series, all affordable and light, and with a fast enough maximum aperture for most situations. Manual focussing is damped focus-by-wire rather than manual clutch focus as with the Olympus M.Zuiko Pro lenses, so I prefer the latter for repeatable and accurate focus control but Panasonic’s f/1.7 lens series is great for tight, fast situations.

Panasonic’s fast little Lumix G f/1.7 primes are a different proposition, better suited to autofocus and one carrying on M43’s initial promise of smaller, lighter, more affordable cameras and lenses as well as more discretion when shooting in public.

For that they are well-matched with Panasonic’s GX8, a camera that is the height of discretion due to its unique tilting electronic viewfinder, which I hope will soon be updated as the GX9.

I have tried using the fully-articulated monitor on Lumix cameras in lieu of the GX8 tilting EVF’s waist level finder effect, but success is dependent on being able to shield the monitor from the sun or in having a main subject lit brightly enough.

SmallRig LCD Screen Protector Sunhood 1972 on Panasonic Lumix GH5.

I recently bought SmallRig’s LCD Screen Protector to try when shooing video in challenging light and needing to have the camera low rather than eye level on a tripod or gimbal, though it may be unwieldy for run-and-gun stills and video.

I will be in the Sydney city CBD later this week to shoot some much-needed Hybrid Log-Gamma (HLG) High Dynamic Range (HDR) and All-Intra 400 Mbps 10-bit 4:2:2  video footage so I can explore these promising new developments that arrived with version 2.0 of the GH5’s firmware.

Links

ADOX

DxO

Guerrilla – G-Cup (Panasonic GH5)

SmallRig

Untitled: Stories of Creativity, Innovation, Success – Guerrilla G-Cup for Panasonic Lumix GH5 Released, Arrives for Tryout and Review

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Taking a Panasonic Lumix GH5 Equipped with a Guerrilla G-Cup for GH5 on a Brisk Walk Through Chatswood When a documentary video or photography project about people involved in creativity and innovation is not in the offing, what else is there to do other than picking up the latest review loaner, placing another review loaner upon it then jumping on a train to head off for the closest reasonably busy suburban shopping destination the afternoon of New Year's Eve 2017? 

[karingottschalk]

Iridient Developer Raw Processor Adds Support for Fujifilm GFX 50S, X100F, Leica M10, Panasonic GH5 and More

Iridient Developer Raw Processor Adds Support for Fujifilm GFX 50S, X100F, Leica M10, Panasonic GH5 and More

Independent raw processing software developer Iridient Digital has updated its flagship Macintosh MacOS product Iridient Developer to version 3.1.4. Iridient Developer is reportedly favoured by photographers seeing to gain the sharpest, most highly detailed renderings of raw files from Fujifilm cameras with non-Bayer X-Trans sensors.  Iridient Developer 3.1.4 supports raw files from 11 new…