I appreciate you showing that the standard lens that comes with the X5s has a full 1.5 stop advantage on the M3. Most people that do these videos don’t take that into consideration. Actually you are showing just a 1 stop advantage but I understand some of those scenes would be overexposed if you unleashed the full low light power of the X5s. There are some lenses that would even give you a 2 stop advantage. Potentially you could use ISO 200 on the X5S when you have to use ISO 800 on the M3 to get the same apparent exposure.
You're right. Before the test, I thought for a long time about putting the 2.8 aperture on Inspire 2 or not. I put 2.0 because this is an undeniable advantage of Inspire 2. If you put less than 2.0, the picture is not clear.I appreciate you showing that the standard lens that comes with the X5s has a full 1.5 stop advantage on the M3. Most people that do these videos don’t take that into consideration. Actually you are showing just a 1 stop advantage but I understand some of those scenes would be overexposed if you unleashed the full low light power of the X5s. There are some lenses that would even give you a 2 stop advantage. Potentially you could use ISO 200 on the X5S when you have to use ISO 800 on the M3 to get the same apparent exposure.
Mavic 3 and X5S have the same matrix size.Far more interesting would be X5S and X7 vs. M3 Cine shooting same shutter and frame rate in ProRes. Results could be surprising.
The issue is with that is the I2 ProRes uses EI instead of ISO for gain calculations in D log so it’s not really apples to apples with the Mavic line. Not to mention the I2 can do 12 bit recording in ProRes 4444 XQ.Far more interesting would be X5S and X7 vs. M3 Cine shooting same shutter and frame rate in ProRes. Results could be surprising.
Well the other issue is if the X5s footage is softer and has more noise what would that tell us? All that could mean is that the video is less processed, more raw-like, which professionals would tell you is a good thing so noise reduction and sharpening can be tailored in post and more dynamic range extracted out of the noise floor that would otherwise be clipped. An interesting test none the less but I would fear the results would be misinterpreted.
Your table from X7Negative. The only 12 bit on X5S is via CDNG.
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I'm new on this forum but I'm not new to aerial cinematography.
I have three I2 setups. And I've been flying drones and RC helis on set before DJI was a glint in frank wang's eye.
That’s for the X7 and there’s lots of issues with the documentation that DJI gives. If you pull in a ProRes 4444XQ clip into Resolve you’ll see it shows as 12 bit.Negative. The only 12 bit on X5S is via CDNG.
View attachment 139283
I'm new on this forum but I'm not new to aerial cinematography.
I have three I2 setups. And I've been flying drones and RC helis on set before DJI was a glint in frank wang's eye.
I think QuickTime is just saying that ProRes 422 HQ can be up to 12 bit there. I don’t believe it is saying the footage is 12 bit. When I have tested this in the past I checked every resolution and every frame rate and didn’t see any ProRes 422 HQ that was 12 bit coming from the X5s.X5S ProRes HQ 12 Bit
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