Looks like a great idea - the utility of 802.11 WiFi but with none of that bothersome universal compatibility to get in your way.
Horshack: Once again dpreview is showing their extreme Sony fanboyism and anti-Pentax bias with these studio samples, as indicated by this 100% crop:
I considered it but the dog is facing the wrong way so I would've had to put your face on the dog's a** :)
Once again dpreview is showing their extreme Sony fanboyism and anti-Pentax bias with these studio samples, as indicated by this 100% crop:
Horshack: Here are 100% crops of the 5DS vs 5DSR studio shorts with and without sharpening:
For fairness I applied the same sharpening to both, which I agree leaves the 5DSR oversharpened. In real-world usage the 5DSR would be sharpened less in post vs the 5DS and with about half the sharpening radius. That would bring the two even closer than what is depicted in my comps.
whakapu: I'm surprised the comments I've read so far haven't mentioned the obvious thing. Sure, the resolution is impressive (as expected) but the thing that hits me like a flying brick is the difference in colour to every other camera I compare it with. The colour looks hugely more saturated than anything else. So the question is - is this a realistic rendition of the scene (which only DPR staff have scene with the naked eye). Is every other camera missing half the colour? Was this colour produced by a special setting? I find I increase vibrance and or saturation in most of my images. I can't imagine doing that with this camera. I do recall reading somewhere when this camera was announced that they designed the sensor with colour saturation as top priority (rather than ISO performance). Perhaps this is what we're seeing. (btw, sorry America but yes - there is a "u" in "colour")
ACR/LR profiles for the 5DS/R are applying a much steeper tone curve than typical. That might be what you're seeing.
Horshack: The studio scene is definitive proof that dpreview has an anti-Canon bias. Check out this 100% crop from the 5DS file:
Nice work Richard. No Wonder that D810 review isn't done yet :)
The studio scene is definitive proof that dpreview has an anti-Canon bias. Check out this 100% crop from the 5DS file:
If I were to photograph a Taylor Swift concert I would gladly hand over the copyright to my photos in exchange for ear plugs.
Here are 100% crops of the 5DS vs 5DSR studio shorts with and without sharpening:
JackM: So do I have this right? With Electronic First Curtain, the mechanical shutter closes to end the exposure, and then opens again to resume liveview? And this is the default behavior of the a7r2?
To avoid the potential image artifacts. An EFCS can cause an exposure band, depending on how fast the rolling reset logic is (example: http://www.dpreview.com/forums/post/40595269). A fully-electronic shutter can cause rolling shutter motion artifacts and frequency banding under artificial lighting (example: http://www.dpreview.com/forums/post/53921251). These potential side effects are outlined in Sony's manuals.
The A7rII has a fully electronic mode where both curtains are simulated. It still uses a rolling shutter but according to Sony one that is 3.5x faster than the A7r. So there's a total of three shutter modes: fully mechanical, electronic first curtain, fully electronic.
James Dean is turning over in his grave.
Candy causes tooth decay :)
What your originally wrote is how MILCs work for both with and without an EFCS. There is no "open" vs "close" on a given shutter curtain - it only moves across the focal plane and is either moving or cocked+ready to move.
Can you be more specific on where you see a contradiction in what I wrote?
This is the behavior of all MILC cameras irrespective of whether they have an electronic first curtain shutter (EFCS) or not. The difference with EFCS is that the first curtain remains open at the start of an exposure, with the sensor reset electronically. Without EFCS the second curtain is first closed, the sensor reset, and then the first curtain reopened to start the exposure. For both EFCS and non-EFCS the second mechanical shutter curtain is still used to block off light at the end of the exposure.
Without EFCS, when shutter is pressed:<< First curtain is already open to support Live View >>* Second curtain closed* Sensor reset* First mechanical curtain opened as exposure starts* Second mechanical curtain closed as exposure ends
With EFCS:<< First curtain is already open to support Live View >>* Exposure starts* Second mechanical curtain closed as exposure ends
In both scenarios, once the exposure is done/recorded the first mech curtain is reopened for LV.
"MW: We wanted to overcome the idea that has been prevalent since as long as there have been digital cameras, that you can have one virtue [resolution] or the other [sensitivity] but you can never have both. Look at the Canon EOS 5DS. A maximum ISO sensitivity of 6400, and crippled movie capability. Canon says that it intentionally created the camera to fit the requirements of certain photographers, and [has thereby demonstrated] that the material science of their device technology [cannot] accomplish both objectives."
Removing any doubt that Sony is gunning for the 5DS/R. That and the fact that they announced the A7rII and its fast EF-lens focusing ability just two days before the 5DS/R preorders started shipping :)
johnsmith404: Please stop that compressed vs uncompressed nonsense. What people are really asking for is lossless compressed files (even if they claim otherwise), not some gigantic 100MB RAW files, save for a few specialilsts.If data compression itself was the issue, no audiophile would ever consider listening to FLACs. Compression is not a bad thing, does no harm to data and is 100% reversible when done correctly. The issue is lossless vs lossy and you should make that clear.
The issue isn't even lossless vs lossy because there are better lossy raw implementations that don't exhibit any artifacts or material differences in image quality.
RedFox88: Author: you need to reexamine your thought process if you really think a barely noticeable rock is very important to the image. I did not notice it until I read your mention of it being "important".
The foreground is dead fish not a dark, little, and barely noticeable rock!
I agree the rock is a bit too small and dark to balance the mountain. But I still think the composition is balanced - to my eye the dense herring in the center of the foreground balances the remote mountain on the left quite nicely.
tinternaut: As an occasional dabbler with ETTR, I'd take issue with the idea the raw file is poor. You had a good, basic composition and you'd collected plenty of data :). There's not a lot more you could have done with the conditions you were given. I enjoyed the ACR/Photoshop lesson that followed. The end result speaks for itself.
Agreed, claiming the raw file was bad is a red herring :)