Like "New" Condition - only 46 shutter acutations. Comes with original box and all original packaging. Most booklets and accessories have not been used and are all mark/scratch fee.

Hardly used camera in great condition. All the batteries have had two or less charges on them. Equipment was babied. The sensor is dust free as a single lens had been attached and stored in a camera dry box. Selling as a project has been postponed.

With box and all original packaging and accessories. Everything either in new or mint condition. EXTRAS: 1. SmallRigs Sony a7S BasePlate 2. Minolta MD (w/tripod feet) to Sony E adapter - new and never used. 3. Two extra batteries - total four batteries (2 original Sony batteries). 4. Extra battery charger.

$1,680 Paypal gift or regular paypal add 3% (100% feedback on fleabay). Shipping $15 in CONUS. Will split shipping with buyer for international. Willing to ship international if buyer is reputable and can prove it with other accounts. I have sold equipment on other forums and will share my information if the buyer requests.

1) What cameras can do both, fast fps and high DR?

2) Is there someone with such a camera in the Weilheim/Munich (Germany) area willing to help me out with his camera, lenses and technical knowledge (1-2 afternoons, arround sunset)?

I think one possible camera would be the Sony FS-700, but its expensive and even renting it is not cheap (as I have no experience with it, I will need additional time to learn its setups). Any thoughts on that one?

The GH4 can do 96fps, which is just enough (and I could use my m4/3 lenses) - but what about its DR?

http://store.tagotech.com/product_info.php?products_id=526

With the advent of wifi dslr, mainly the D5300, I started to think about to get a smartphone to see the live view from the camera when I get one with wifi, so I started a fun research...and I found a cheap used old model with enough screen resolution... and I got it for a low price...

Problems started when I did some attempts to connect using the 3G network, as the seller promissed me it would do, but it just got connection in 2G, and then I found it was a model from other country and it would never work in 3G in my city... so I went back to the seller and got a discount... good deal!

But then this became a "happy problem". Why? Because this makes me realize lots of people are still using 2G connections around the world and youtube just enabled the 144p around 80kbps for mobile slow connections and also pc slow connections.

I saw some videos in 144p in youtube using the 2G smartphone, and it was fun... I just remember the old days when internet was analog fixed phone lines with 24Kbps speed and online videos was just a dream.

(hey you, the three halloween batmen flying around... go away!!! Let me type... LOL ps.: did you run away from an atari emulator? Mouse over you!!!)

The 144p videos are just enough in the smartphone screen to understand and get involved with the video, to imerse in the history telling... and the fun thing: no need to worry about shallow dof...240p and 144p is so small to show shallow dof...

Oh God, if online videos are your goal, yes you must care about dynamic range, resolution, shallow dof, and so on, but this 144p thing just makes me realize the old school lesson: good script and good sound: that's what really matters!!!...

There are researchs on internet (you just need to google it) that shows the average internet speed for computers around the world is 5Mbps (this is enough for youtube 1080p streaming or 720p vimeo streaming, vimeo demands more bit rate than youtube). But 5Mbps are the average speed for big cities, most people outside the big cities are still using 1Mbps or 1,5Mbps for PC connections, just enough for 360p online streaming, and here, the 3G mobile connections are 1Mbps, 500Kbps or 256Kbps, and the 2G mobile connections keeps in 30-200Kbps floating... 4G is coming, 3Gis spreading, but it takes time.

So again: there are lots of things which matters much more than the gear: good actors, good script, good misanscene... clothers, scenarios... and good script and sound. In some 144p videos from youtube I could feel the importance of good actors, because even in 144p videos bad actors are revealed and made me feel it was a so amateur production, not convincing, unpleasant to see.

I showed to a female model I worked with two videos in 6400 iso from T3i camera, one was original, other was denoised and with film grain. I asked her: did you found any difference in the image? which one was more beautiful for you? And she answered: Oh sorry I did not pay attention to this, I was watching the people talking... but as I can remember... I saw no difference... And then I started fo feel frustrated about my image quality pursuing behavior... Story telling... Why worry so much about gear? I can do the same thing with that old GX88U and PV5500 VHS combo from the early 80s...

After sometime using a smartphone I got pretty addicted to it. It is much more pleasant than a computer for internet surfing... and I believe it is better than a tablet also. I just can carry it around to any place, lightweight, and I can put it inside my pocket!!! I am very satisfied with 800x480 screen, but God... there are 1920x1080 screens in expensive smartphones! I think people who work with online videos must take into account the main device for online video viewing are smartphones and 640x360 (360p) in a 5 inch screen is the resolution and size to consider for aestetics.

Many people following this thread - http://www.personal-view.com/talks/discussion/1937/finding-face-exposure-on-gh2#Item_51 - have heard me talk about the 4 stop (technically 5-stop) "Target Range" (or Target Zone) for DSLRs in which you should expose your scene to get clean images that grade exceptionally well with plenty of detail in the blacks and highlights.

But I've received so many questions about what exactly I mean by "the zone system" that I put this video together to demonstrate what I mean and why.

While I only touch very briefly on the actual Ansel Adams Zone System, which is way more complicated than explained herein, if you light and expose your scene using this "zone" technique, you'll never worry about macro-blocking, noisy blacks, or blown out highlights again.

...And you'll be able to grade the living hell out of the footage.

The GH2 with 128Mbps GOP3 and a good denoise with neatvideo give these results:

Good quality image when lifting 3 stops underexposed image without idynamic

Good quality image when lifting 4 stops underexposed image with idynamic

This is enough for most situations, including clouds in blue sky with foliage and people under the shadow

The T31 600D in MOV (1.3x CBR = 7.1MBps), HDR and RAW and a good denoise with neatvideo give these results:

Good quality image when lifting 3 stops underexposed image in MOV

Good quality image when lifting 5 stops underexposed image in HDR (lifting done in camera by two iso exposures in HDR video function)

Good quality image when lifting 5 stops underexposed image in RAW

RAW is more powerfull but MOV and MTS are very good if the datarate is high.

I just got my GH3 today, and of course the first thing I had to do was this test. I threw the GH1 in there out of curiosity since I had one lying around. It looks like the GH series hasn't had much progress in the highlights, but the shadow detail has gotten much better. The GH1 and GH2 were hacked while the GH3 was using the stock 50mbps IPB setting. I chose this over the Intra because of reports that it held up better due to a more efficient compression algorithm (I don't know though since I've only had the camera for a day).

I used the cameras' spot meters on the big square gray patch (which is supposedly 18% gray), but I think the GH1 was a little hotter than the other two cameras when correctly exposed. Base ISO was used on all three cameras to achieve maximum DR. In post, I raised or lowered each image by one stop increments with Colorista II to compensate for the increased or lowered exposure levels. Hope someone finds this as useful as I have!

This forum seems to be full of technical minded people, I'll post my query here.

I am interested in the DRO mode which applies processing to both still images and during video mode within Sony Alpha/ Nex cameras. From tests it seems to lower the contrast of the captured data meaning sky is less beached out and darker areas are more exposed. The result is a flatter profile (even flatter than setting your picture profile to flat -3-3-3).

The camera has 6 DRO modes from 'off' to 'level 1' through to 'level 5'. meaning you can adjust the amount of processing / exposure swing the camera applies to the captured footage.

Does anyone actually know how this process is working? Is the camera changing the ISO of different parts of the sensor in order to lower sensitivity in the brighter areas of the frame, and raising the iso to get better exposure in the darker areas? In still photography mode the resultant image when looked at in playback mode is brighter than it looked when you actually take the image, but the change is clearly visible in realtime while recording which would suggest to me that there is not a post processing type process going on during movie recording mode. - what you see on the monitor during recording is the same as what you see when you play it back.

Could it be that it is the camera ramping or lowering ISO depending on the brightness of the details in the frame or is it more likely to be similar to the processing a picture profile would be imparting on the picture?

I want to get some theories so I can start to look at ways to make best use of this process. EOSHD sstate that DRO adds a lot of noise/colour artifacts to the picture in movie mode, but could this be that if the camera were set to iso 800, the DRO might be ramping things right up to 3200iso in the darker areas? If i set the camera to iso100, it will mean the DRO wont ramp to as high ISO (assuming the DRO is playing with ISO.

Some clips about the process:-

I think this feature is yet to be properly understood and up until recently i thought it were just a feature available in still mode. If it is applying at sensor ISO level this could be something Sony havn't thought to advertise as a benefit to using their consumer grade products like NEX5n within indi film making.

Thoughts???

I've heard, that GH3 can record in 4K 20 frames per second and memory card capable to store 95 Mb/s. Therefore if we narrow size to 16mm (10.6mm x 6mm) is it possible to record RAW video?

In video mode replace exposure numbers with rotary disc shutter angle: 1/32 = 270° (?) | 1/48 = 180° (add) | 1/50 = 172.8° | 1/60 = 144°; | 1/96 = 90° (add) | 1/120 = 72° (add)

Add Frame Line - The aspect ratio frame  1.85:1 (35mm theatrical), 2.35:1 (Cinemascope)

These cameras all have (or are slated to have soon) RAW recording capability in some form.

Max Horizontal Resolution

• BMCC: 2.4K
• Arri Alexa: 2.88K max horizontal resolution.
• Sony FS-700: 4K expandable with 1.92K at release.
• Sony F55: 4K max horizontal resolution (4096x2160).
• Canon C500: 4K max horizontal resolution (4096x2960 RAW max).
• Sony F65: Greater than 4K.*
• Red One/Red One MX: 4.5K max horizontal resolution.
• Red Scarlet: 5K max horizontal resolution (but 4K max horizontal resolution at 24/25/30P).
• Red Epic: 5K max horizontal resolution.
• Red Dragon: 6K max horizontal resolution. Unreleased.

*As for the Sony F65, I don't want to get into that can of worms. With it's 20MP sensor, let's just say "easily 4K, probably more in the future" but not get too far into it other than to say that the current recording format is 4K.

Cameras with Global Shutter

• Sony F55

Max Framerates at 4K and Highest Resolution (with the color depth recorded)

• BMCC: Cannot do 4K. Max 30P 12-bit log at 2.5K.
• Arri Alexa: Cannot do 4K. Max 60P 12-bit log at 2.88K in 16x9 mode.
• Red One MX: 30P 12-bit at both 4.5K and 4K.
• Canon C500: 60P 10-bit at 4K.
• Sony FS-700: Upcoming 60P at unspecified RAW bit-depth in 4K.
• Sony F55: 60P 16-bit linear 4K.
• Sony F65: 120P 16-bit linear 4K.
• CMV12000: 90P 12-bit or 150P 10-bit at 4K.
• Red Scarlet: 30P 16-bit at 4K. 12P at 5K.
• Red Epic: 150P 16-bit at 4K. 120P 16-bit at 5K.
• Red Dragon: Unknown 4K (expected to meet or exceed Red Epic at all framerates but guaranteed 120P at 5K). At least 85P 16-bit at 6K. Unreleased.

Native DR

• Sony FS-700: Untested in RAW.
• Red One (not MX): 11.3 stops official.
• Canon C500: 12 stops official. (Though the highlight roll-off has been garnering praise)
• BMCC: 13 stops official.
• Red MX (as used in MX/Scarlet/Epic): 13.5 official. (Some sources measured at under 12 but I'm not invested in one measurement over the other).
• Arri Alexa: 14 stops official.
• Sony F55: 14 stops official.
• Sony F65: 14 stops official.
• Red Dragon: Over 15 stops official. Unreleased.

And of course, the Red Scarlet, Epic (and upcoming Dragon) support the HDRx mode that some people like and others do not, which is officially specified as increasing dynamic range to 18 stops (with a lot of caveats to go along with it).

Lots of people here undestands, dont undestand, and soso undestand what dynamic range is. Some people compare it to latitude, which in a simple way is much the same thing but on an analog sustrate.

COLOR HAS NOTHING TO DO WITH DYNAMIC RANGE.

Both sensors (bayer or foveon) and films stocks (diferent emulsions) captures light, in a time and a speed. Both use this to gather all the information available to them in that specific time.

""Dynamic Range of a Sensor: is defined by the largest possible signal divided by the smallest possible signal it can generate. The largest possible signal is directly proportional to the full well capacity of the pixel. The lowest signal is the noise level when the sensor is not exposed to any light, also called the "noise floor" This is interpreted by bits in a digital level.""

In the photosites of the sensor. When the photosites are well lit, they full themselfs with light particles. Then we can know how much light has enter each photosite and have a comparison between the low lit ( not so fully loaded ) and high lit scene ( fully loaded photosite). have the average and get results. So as bee told before Dynamic range is defined by the largest possible signal divided by the smallest possible signal it can generate.

""Even if one's digital camera could capture a vast dynamic range, the precision at which light measurements are translated into digital values may limit usable dynamic range. The workhorse which translates these continuous measurements into discrete numerical values is called the analog to digital (A/D) converter. The accuracy of an A/D converter can be described in terms of bits of precision, similar to bit depth in digital images, although care should be taken that these concepts are not used interchangeably. The A/D converter is what creates values for the digital camera's RAW file format""

"sensor has millions of pixels collecting photons during the exposure of the sensor. You could compare this process to millions of tiny buckets collecting rain water. The brighter the captured area, the more photons are collected. After the exposure, the level of each bucket is assigned a discrete value as is explained in the analog to digital conversion topic. Empty and full buckets are assigned values of "0" and "255" respectively, and represent pure black and pure white, as perceived by the sensor. The conceptual sensor below has only 16 pixels. Those pixels which capture the bright parts of the scene get filled up very quickly"

we can easily understand this, but inside the sensor there are more dificult parameters that must be calculated.

This differs alot from what actual film is made of, and the prosess that has to be done to make the film capture light. foveon sensor is more like Film, it has diferent levels of colors, chemicaly aligned in layers using diferent sutrates and quemicals for each color. So film does not "hold light inside" it uses it for a quemical reaction, so color can be generated using this method. Foveon sensors are quiet the same, the are made from layers of silicon with diferen materials, so the wavelenght of the light can traspass easily each layer. Also foveon sensors use pixel by pixel information, thats why foveon sensors with less pixels have better image quality than good old bayern pattern sensors (GHx, Canon, RED, Nikon Pentax)

But here is the question ive been hunting me some hours ago. I didnt knew that Dynamic range is limited by the bits the sensor can output. As @berniez put at the GH3 rumors topic. Vitaliy answer was quiet good but i didnt manage to undestand it at its full.

IF THIS IS TRUE CAN SOME ONE EXPLAIN MORE DETAIL ABOUT IT, COS I DONT HAVE THE KNOWLEDGE.

Here the eplanation but .... can someone explain it in more detail please.

""As an example, 10-bits of tonal precision translates into a possible brightness range of 0-1023 (since 210 = 1024 levels). Assuming that each A/D converter number is proportional to actual image brightness (meaning twice the pixel value represents twice the brightness), 10-bits of precision can only encode a contrast ratio of 1024:1.

Most digital cameras use a 10 to 14-bit A/D converter, and so their theoretical maximum dynamic range is 10-14 stops. However, this high bit depth only helps minimize image posterization since total dynamic range is usually limited by noise levels. Similar to how a high bit depth image does not necessarily mean that image contains more colors, if a digital camera has a high precision A/D converter it does not necessarily mean it can record a greater dynamic range. In practice, the dynamic range of a digital camera does not even approach the A/D converter's theoretical maximum; 5-9 stops is generally all one can expect from the camera.""

Info:

http://learn.hamamatsu.com/articles/dynamicrange.html

http://www.kenrockwell.com/tech/dynamic-range.htm

http://www.cambridgeincolour.com/tutorials/dynamic-range.htm

http://www.dpreview.com/learn/?/Glossary/Digital_Imaging/dynamic_range_01.htm

Please feel free to post any info concerning this topic. Thank you very much for reading, and please correct me if im wrong since im still in learning stage.

Cheers.

A creative vacation video shot on (and off) of Chebeague Island. Located a few miles off the coast of southern Maine. Shot on a Hacked GH2. Download Original for maximum quality (FINALLY a PLUS member)!

Lenses used:

Tokina 11-16mm f2,8 Lumix/Leica 25mm f1.4 Zeiss 85mm f1.4.

Filter: Singh Ray Vari-ND DUO (Vari-ND and Polarizer in one)

Simple color corrections within Final Cut Pro, and some Magic Bullet Looks

SONG: "Daily(drops) - 5/1/2012 [Day One] (1)" (Infinite Third) / CC BY-NC 3.0 soundcloud.com/infinitethird/daily-drops-5-1-2012-day-one-1

MORE INFO on how the filming process on Vimeo

Via: http://www.manufacturingnewsletter.com/docs/automate2011-advanced-camera-image-sensor-technology.pdf