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SONY MIRRORLESS FULL FRAME UPDATE
SONY MIRRORLESS FULL FRAME CODE

So all in all, in 4K ProRes HQ you do get better results – probably due to the internal costumed sensor-specific fine-tuned noise reduction. The static image looks quite okay, but unfortunately in the moving image there are still those blotches of pink and green chroma noise but to a less obvious extent – I do find them very distracting but depending on the individual taste you could argue that we see 9 stops of latitude. Noise reduction settings for 5 stops under, pushed back using 4K ProRes HQ. For 4K ProRes HQ, I was getting this image at 4 stops under: Now I was curious if ProRes HQ would behave in a better way.

Finally, I did what I always do for each camera: using the “Lift, Gamma, Gain” Primaries in the Color Wheels tab in a node before the final LUT node (by the way, noise reduction is applied on the first node always).

then, using the Lift / Gain and Contrast sliders in the Camera Raw tab: with those controls, I was not able to correctly reconstruct the image (by comparing it to the base exposure waveform).

using the exposure slider (hence increasing the ISO) in the Camera Raw tab: here, results were even worse, with a much stronger color cast.

On a side note, I tried various ways in Resolve to see if I could squeeze out better results: For comparison, the ARRI ALEXA Mini LF has 2 stops more latitude (see the test here), one more in the highlights, and one more in the shadows (5 over and 5 under). Hence, the Sony VENICE 2 8.6K in X-OCN XT shows 8 stops of latitude. Using the Luma slider just turns the image into a plasticky, soft mess. Image credit: CineDĪs soon as I increase the chroma noise slider in the Spatial Threshold section the image turns brown. Noise reduction settings for 5 stops under, pushed back using X-OCN XT.

SONY MIRRORLESS FULL FRAME CODE

This CineD base exposure should help our readers to get a reference point for all the cameras tested, regardless of how they distribute the code values and which LOG mode is used. Some time ago, we have chosen an arbitrary value of around 60% luma value (in the waveform) for our subjects’ forehead in our standard studio scene. Latitude is the capability of a camera to retain details and colors when over-or underexposed and pushed back to base exposure.

SONY MIRRORLESS FULL FRAME UPDATE

We reached out again to Sony to make sure that in a future firmware update the ProRes Metadata header is identfied correctly in Resolve. As a quick check I also ran those corrected files again through IMATEST, nothing changes, we get the same results (as it should be). If I manually adjust it to “Full” then data levels are displayed correctly for ProRes HQ. For X-OCN though all metadata are shown correctly.ĮDIT: as a reader pointed out, the missing metadata probably also causes the data levels issue I pointed out above – data levels are not correctly identified by DaVinci Resolve. One final note to ProRes HQ – I don’t know if it is a DaVinci Resolve or Sony issue, but there are no Metadata visible in Resolve. Hence, confirms my suspicion that in ProRes HQ additional noise reduction is applied internally to the files. By the way, if I downsample the ISO800 8.6K X-OCN XT file to 4K and then run it through IMATEST, 12.4 stops at SNR = 2 and 13.6 stops at SNR = 1 are obtained – lower values. Those are superb results, the second-highest values ever measured in the lab! The kings of dynamic range are however still the ARRI ALEXA cameras, with the ALEXA Mini LF coming in at 13.5 stops at SNR = 2 and 14.7 stops at SNR = 1 (Lab test here)Īt ISO3200 in 4K ProRes HQ mode, 13 stops at SNR = 2 and 14.3 stops at SNR = 1 are measured. IMATEST results for 4K ProRes HQ at ISO800.