Frage von Auf Achse:
Keep in touch!
I had a Canon MV3MC many years and was with the overall impression of the picture very happy. Then I bought for temporary purposes, a SonyPC 105 and had a eureka moment: When the illumination of the motif is difficult as dark wood with bright sun then the dark areas of the image move too dark while the white bright spots even in overexposed! Now I have wondered why so many people knew in my camera when they saw the pictures of the Canon MV3MC.
I solved this problem for a long time with a different camera. But I would like to know why this is and whether you get with the changes in the basic settings of the camera in the handle. For I have found that this is over / under exposure and a much more general problem is not confined to this one Sony model. If one now thinks that this is a common problem with consumer devices .... WHY it has not had MV3MC then? And for those times had a very small optics, was in those days revoltiuärem (almost) Format pack of cigarettes and was sauteuer.
Why is it when a camera has such exposure problems?
Thank you for your info,
Auf Achse
Antwort von MarcBallhaus:
Dynamics of the lack of the chip. The better the Cam, the higher the dynamic range the less the better the overall contrast (raw) image.
MB
Antwort von Auf Achse:
Keep in touch!
What do you mean with the lack of dynamics and dynamic range? On the perimeter can not be mapped because of two very bright to very dark can. But why is it creates one in the bright and dark areas, not only LIGHT or DARK portray the many Zwischenschattierungen Sonderen and the other not?
At the exposure in the general liegts my opinion, not because the "average brightness is" both OK.
LG, on the axis
Antwort von MarcBallhaus:
Keep in touch!
What do you mean with the lack of dynamics and dynamic range? On the perimeter can not be mapped because of two very bright to very dark can. But why is it creates one in the bright and dark areas, not only LIGHT or DARK portray the many Zwischenschattierungen Sonderen and the other not?
At the exposure in the general liegts my opinion, not because the "average brightness is" both OK.
LG, on the axis Öhm ... oh dear. Suppose your forest consists of theoretical brightness values between 0 and 1000, 0 would be black, the farthest corner in a bottom hole, 1000 would be the sky.
Maximum Dynamics (= minimal contrast) would mean in this case, your camera makes all of these brightness levels from exact, they could rearmost hole with 0 and record the sky with the Picture 1000 and later reflect that. This camera had 1000 levels of brightness = ideal.
Maximum contrast (= minimal Dynamics) would mean is that everything is in the brightness between synonymous only black or white, everything would be black to medium brightness, and over the white. 500 would know, 499 is already black. This camera would have only 2 levels of brightness = very bad.
Schonmal is thus clear that high contrast is at a camera for a weak optical performance, and each cam can be black and white. Can you follow so far?
In your case, this means that your old cam is simply more gradations than the new, so the chip has a higher dynamics.
Moreover, there is no such theoretical Cam the 1000 graduations can, but the more the better. Maximum technically possible, perhaps, based on this example, 1 / 10.
I hope this was somewhat understandable.
MB
Antwort von Auf Achse:
Marc Ballhaus Servus!
Thank you for your very detailed and clear explanation! Wieder was learned!
Are there any camcorder and digicam a unit with which one can compare the dynamics of the devices? As you can see this is a very important feature!
Regards,
Auf Achse
Antwort von MarcBallhaus:
It is (in addition to the actual resolution that is never specified, incidentally), the most important quality in general. The dynamics is partly given of the manufacturers, but in english and diaphragms (F-stops) I'm not sure but I think 12/13 is currently the panels Maximium.
Aperture a more / less stands for double / halve the brightness.
MB
Antwort von Auf Achse:
THANK YOU!!
LG, on the axis
Antwort von MarcBallhaus:
The F-Stops do not claim to be confused with the specification of the optics, which is almost always indicated. There, the smaller the number, the quality of the optics. This was with the ones described above, Dynamics nothing to do, but with the optical Empfindlichtkeit or lowlight the optical properties. The dynamic range is usually synonymous as such.
MB
Antwort von WoWu:
Perhaps even in addition to Marc's explanation:
The chips are not the culprit here, because modern chips are similar to "poetry" of approx. 4, such as film. Rather, it must comply with the "Gamma" - curves, ie the manner in which the contrast of the companies programmed during synonymous and are used as the brightness values within the available 8-bit (256 steps). Again, the curve is not necessarily linear, because otherwise the 10 panels Dynamics could not be transferred.
So it's a question of how to choose "good taste" the development runs the curves. Modern cameras, already synonymous of the semi-class today give the user the choice between multiple curves. (Movie setting).
Antwort von Auf Achse:
Keep in touch!
.... then this is a great pity if a Camera "more" could, however, was badly programmed!
As already mentioned, people have approached me again and again because of the high quality image reproduction. Only when I have tried other cameras, I realized what it meant! I find it appalling that the SonyPC105E a few years younger than my Canon MV3MC and was synonymous not just cheap, but in contrast it failed! For me this was a real disappointment that I did not expect!
LG, on the axis
Antwort von WoWu:
The companies that are often subject to "constraints" that their claims to the hardware, especially in the higher resolution cameras.
And you can not really synonymous of "good" or speak "bad" because the picture will be judged only in the eye of the beholder and as such has little contrast for the One Picture is a super image and the other "gray sauce."
Therefore, even bein rivers synonymous supply, the curve in the cameras themselves.
Antwort von MarcBallhaus:
So it's a question of how to choose "good taste" the development runs the curves. Modern cameras, already synonymous of the semi-class today give the user the choice between multiple curves. (Movie setting). Only the camera experience, precisely when such names as "Movie-gamma" or "Cine Gamma" is often the contrasts and thus produce the worst results for the post. (eg, EX 1)
MB
Antwort von domain:
The companies that are often subject to "constraints" that their claims to the hardware, especially in the higher resolution cameras.
And you can not really synonymous of "good" or speak "bad" because the picture will be judged only in the eye of the beholder and as such has little contrast for the One Picture is a super image and the other "gray sauce."
Therefore, even bein rivers synonymous supply, the curve in the cameras themselves. Constraints, hardware-I know less than fashionable or marketingmäßige. The trend in Consumercamcordern and Digiknipsen in recent years has walked continuously moving in the direction of a higher "crisp" contrast even in the recording, which leads to the following photographic laws auto and without any further manipulation synonymous with higher color saturation.
Such images please the vast majority of the consumer better stop right away, as such, with soft concerted Gradationsverläufen.
But for advanced amateur would really be a freely selectable gamma process better.
However, who is in the recording so much time in the best 8-bit gamma for a particular shooting situation be defined?
This is hardly expected of amateurs and remains an area for professionals and it is equal to the full house of 12-bit RAW recording dynamic range of Sensor-A/D-Wandlereinheit, but of course with huge amounts of data and a lot of know-how combined with post-processing.
Antwort von MarcBallhaus:
And you can not really synonymous of "good" or speak "bad" because the picture will be judged only in the eye of the beholder and as such has little contrast for the One Picture is a super image and the other "gray sauce."
Of course you can "good" or speak "bad", because small matter of taste but a matter of what one intends to do. If I know there will be a post or a grading that is "gray sauce" perfect, because it makes me all the freedoms. But if I want to use the Recorded Picture 1:1, I can start with the gray sauce, nothing. The best example is the 5D. First of the picture looks nice, and sharper contrast as that of the EX1, but if it goes into the grading is losing his hair in rows with it.
MB
Antwort von WoWu:
The "good" and "bad" was not related to the choice of the camera but rather the product
of a camera, the picture of some it is just perceived as "good" of others do not.
And in this case, Canon has now even moved in a certain direction, Sonyeben in a different direction.
But with low contrast is not always "show better". This must be even to each individual to what he is better. "
What's more, the trend of "RAW" in any case is questionable because the camera trends (video) for a long time to go in another direction. Only RED has noticed that yet.
In addition, software vendors no longer jumps to the processing software.
And as far as the 5D ... I overlooked that the raw video takes up?
@ Domain
The hardware constraints arise already at too low a Resolutionund Misen Optics. When I first images by edge sharpening got done ", that I can sell it at all, I'm already dependent on contrast. The High-contrast picture, then, is not just (accidentally) the more popular, it covers synonymous hardware weaknesses. Even a handful of other weak points, there is hardware in which the Manufacturer the choice of options are actually taken.
Antwort von domain:
Achso, of this Page here are the hardware constraints WoWu.
Since I fully agree. Poor Camera from Aldi with superknackigem contrast can satisfy amateurs in the first weeks possibly more.
The hype around the video films professional cameras is synonymous such a marketing ploy and is gradually becoming synonymous relative here in the forum. With all due respect, it is particularly clear in the Nikon D3s. That can be no question at all that this camera for high quality video films is at all suitable. This is a pure, highly successful and best professional camera for photos, which can now be used casually sometimes synonymous for videos.
These cameras use as video cameras like egg timers: Up a lot of sand inside and then, the total ripple through a bottleneck in the Auffangbehältter. If something should really be something, be cooler, quite bombastic Batteries and recording media the great full-frame sensor must be adjusted.
So far it's all gimmick and marketing ploy of s.sich very good cameras.
Antwort von MarcBallhaus:
I already have material of the EX, of the Red, of the film reel, of the EOS gegradet and no idea of what. If there are a practical rule, then it is: The lower contrast the better. And always, without exception.
MB
Antwort von WoWu:
You have "forgotten basta" ..
