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Chrissie last won the day on April 5 2020

Chrissie had the most liked content!


About Chrissie

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  1. I mostly agree to what you're saying, but would like to add a little refinement to the above quoted statement: The camera contains a high-speed buffer of limited size. "High-speed" refers to the speed, at which can be written into that buffer. The buffer can be drained only at a - say - traditional speed, i.e. slower. That's why the buffer eventually fills up, at which point the burst frame rate will fall back to what the write speed of your memory card sustains. The point is, that this high-speed buffer can be filled and drained simultaneously, with the fill rate being higher t
  2. Have you read Sony's advice on the usage of different "color spaces"? Capture One has a matching opinion to this:
  3. Apparently there are tons of differently labelled genuine/cloned types in circulation. Just enter NP-FM500H into a search engine and look at the image results. In a German-speaking forum someone came up with the information that you can tell by an embossed 5-digit code on the back side, between the two sticky labels. Genuine Sony follow a pattern, where the second digit encodes the year of production, the third digit the month, like this: which would make your top sample, having a code of Y7L4D a genuine one from December 2007, and your bottom sample, having a code of K2OOF a non-
  4. Well, you got me on that one. I'm not a mathematician myself, but you can't really follow along without some understanding of the mathematics involved. I'll try anyways: Forget about the image for a moment, and just look at a scanline, or single row of pixels. You will see a pattern of intensity changes, depending on the nature of the subject which you were taking a picture of. Let's assume, you were taking a picture of a b&w checkerboard pattern. So your scanline could initially be represented by a square wave, alternating between zero intensity (i.e.: black) and maximum intensity (i
  5. I consider those "shades" to be artifacts from the (probably) jpeg-compression algorithm. This is a lossy compression algorithm, which is ... Source: https://en.wikipedia.org/wiki/JPEG#JPEG_compression Those "shadows" are also very pronounced at the left side of the almost vertical branch, right behind the bird's head. Note, that the most affected areas are indeed those with the "sharpest transition in intensity", like the highlighted portion in the above quote says. I would expect, that those artifacts are not visible in a raw editor program, like Capture One, which allows y
  6. Firmware updates are typically cumulative. That is: a more recent update contains all the fixes of all previous updates, including possibly fixes for things which previous updates goofed up on 😉
  7. @Pieter: quite to the contrary. I took the initial statement of the TO, that he "can't compromise on that" at face value. The very notion of "no compromise" doesn't lend itself to any - well - compromise. 😉 I pointed out, and backed this with quotes from Sony's original documentation, that Sony admits to compromising in the question of "full 4K" already is inconsistent about its claim the A7S3 can do 120fps at all. One could have expected, that such a main feature would have found its way into the documentation, if it existed at all. If the prospective initial recording d
  8. I think you'll have to learn reading the fine print, and not to believe all hearsay or marketing hype. For instance: Sony itself claims the involves a "10% crop". (Click on the "6" footnote at the end of that heading). It's up to anyone's guess wether that is a 10 % crop at the overall pixel count, of if it's applied to both width and height of the image. In the latter case, that would amount to a 19% loss already. The same sources quotes the via HDMI at a maximum of 60fps. "Compatible recorders to be announced. (As of July 2020, Atomos Ninja V is expected.) See foot
  9. You (or someone) could figure this out analytically, doing the math, or pragmatically, which I want to propose: just borrow/rent a zoom lens, for instance the 24-105, use that to find out which focal length satisfies your requirements, find the fixed lens having the closest focal length _below_ the length you just found out, i.e. a little wider. Then buy that lens.
  10. Guys, while I'm a friend of fancy technical gimmicks myself, I can certainly understand both your enthusiasm and also your frustration if things don't work out as expected. That said: You are probably aware of the fact, that an external trigger like the MIOPS can only react after the fact, that is: after the beginning of the fact. Fortunately lightnings have a duration in the range of up to 100 ms (and also some repeat patterns), and if you (or your external trigger) are fast enough, you may still catch some of the action while it's still going on. The reaction bit involves some sort
  11. Dan, sorry for your mishap! I happen to own the same lens, and checked mine across the full focal range: The "uneven" structure at about half radial distance from the center is not visible in my copy of this lens. I'm afraid, something is in fact broken inside of your lens. Since you were willing to spend 2500 bucks to get a top quality lens, you apparently expect top quality in return. Even if it hurts, financially, I'd recommend to send it in for inspection and repair. Maybe ask for a quote first. Although I have no idea about the cost range. (The top end of the possible cost
  12. I hope it's nothing serious, and get well soon! The lens hood, whatever its kind, can certainly wait. Hang in there!
  13. Apparently you already have all components ready at your disposal. Why don't YOU try both ways and tell US about any differences?!
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