- Posts: 4267
- Joined: Tue Aug 21, 2012 7:57 am
- Location: Los Angeles California
Dmitry Shijan wrote:Dual gain may be not an easiest way, but it is the only way that may provide desent increase in dinamic range and noise structure. Canon now start to use dual gain sensors and result looks really nice.
BMD HAS DONE DUAL GAIN from their very first camera. They know what it takes.
I don't think it's the only way. BMD themselves showed that with the 12K using W pixels to extend DR. There's other ways you can design sensors to extend DR.
And as I mentioned, ask yourself why no-one else is using dual gain sensors from Fairchild. Z cam...? Kinefinity?
Cause they're freakin hard to dial in. No-one wants to do that work. BMD included.
Dmitry Shijan wrote:1. I wish BMD cameras being more consistent. Those endless experiments with different sensor manufacturers and technologies, different image quality and with different bugs (fpn, ir pollution, color casts, cross hatching, red channel clipping, noise/moire and scaling artifacts in 12k sensor) are very annoying.
I think they're consistently improving. Let's remember it's 8 years of dramatic improvements. Some of these issues are tied to the others you already complained about.
Dmitry Shijan wrote:2. Be like Arri - find final single but perfect quality 4k dual gain sensor with large pixels and with proper OLPF/IR glass. Use it for decades so people may predict what to expect. Improve unified full sized camera body (already done in Ursas) and additional unified micro camera body.
Arri got incredibly lucky with their sensor. No one else has had such longevity and it's now an Albatros. Why ?
Because the large pixels limits their resolution. The only way they can be 4K for Netflix is to force filmmakers to shoot LF.
If you want S35 in Arri it can't be done at 4K.
They're more than 2 years overdue for their next sensor release. They keep having issue with releasing it.
Because something has to give when you have such large pixels.
Dmitry Shijan wrote:3. Fix and don't repeat mechanical mistakes like lens mount wobble, too flexible plastic body, blue sensor glass corrosion.
I think if you're talking about the m4/3 cameras, it's hard to accomodate mechanical stuff when a price point is involved (and a defined standard you don’t control)
On PL cameras I've never had issues with the mounts.
JB
Last edited by John Brawley on Fri Nov 27, 2020 11:38 pm, edited 1 time in total.
John Brawley ACS
Cinematographer
Currently - Los Angeles
Cinematographer
Currently - Los Angeles