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Messages - jrista

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1126
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 21, 2012, 11:19:47 AM »
jrista:
Quote
I definitely see differences in the highlights as well...there are much nicer transitions into the bright highlights reflecting on the water in the Canon image than in the D800 image.


If you look at the original D800 & 5DIII images (follow the link here: http://forums.dpreview.com/forums/read.asp?forum=1021&message=41012886), I don't think that's the case. I think the non-linear processing when lifting shadows makes comparisons of the highlights in the images where shadows been lifted meaningless. In the original images, the highlights on the D800 look just fine... actually, they look less intense.


They look about the same to me. They are just smaller in scale since the full-size images are scaled down. The lighthouse highlight demonstrates it well...it looks like a smooth falloff, then it suddenly jumps to blown. The canon shot has a continuous falloff that eventually results in a blown highlight.

Any comments, btw, on the link between sensorgen & DXO? Basically, what I'm saying is that you guys are saying that the higher read noise of the 5DIII at low ISO is the reason for the low DR, and I'm saying that the higher read noise calculated by sensorgen is due to DXO's numbers themselves... so it's all a bit of circular logic, no? In order to trust sensorgen, you must first trust DXO...? :)


I guess the Sensorgen.info page does claim they use DxO measurements for their curve fitting. I thought they also used information from Clarkvision.com, but perhaps that was only in the past and no longer. So, I dunno. I am not really sure that DxO takes the Canon bias offset into account correctly...and if they do not, that very well could account for the higher read noise/lower DR at ISO 100. A 33e- read noise is just friggin insane, in my opinion. I think the average is around 15e-, and newer cameras seem to have less than 10e-.

1127
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 21, 2012, 01:57:40 AM »
jrista et al.: speaking of highlight headroom...

I'll do the DR test I did with my Stouffer transmission wedge w/ my friend's D7000 this Sunday & post back. That'll give us some idea of real world DR. Since I got a number of 11.2 for my 5DIII, I'm somewhat confident this test might at least show if DXO's DR numbers are meaningful.

Looking forward to the results...

Also, do you know if the blinking highlights on the LCD display on the 5DII/III indicate blown highlights for a sRGB conversion? Or does it actually show pixels who's RAW values are at saturation?

The blinking highlights are based on JPEG conversion, be it AdobeRGB or sRGB (whatever you configure). They are fairly inaccurate as well...sometimes only small areas blink, but they turn out to be completely blown and entirely unrecoverable in post...often with that ugly gray halo around them of nearly-blown highlights. Other times, when processing RAW in post, there might not be any blown highlights at all despite the camera blinking half the image. Its kind of a useless feature, although personally whenever I see blinking highlights in the momentary preview after a sequence of shots, I'll bump exposure down by 1/3 to 2/3 of a stop and take another sequence just to be safe (assuming the moment isn't already gone...when it comes to birds in flight, you have to be pretty conservative with your ETTR...which often means none at all.)

In my Rizal Bridge shot tonight, I ETTR'd such that I got just very little blinking highlights -- most of those were recovered very well in LR though. So I'm wondering if I could've pushed it even more. A stop probably would've really helped clean up those dirty shadows in the buildings I was talking about...

I'd try pushing pretty far. I spent a lot of time photographing the moon, as it was the only subject I was really able to photograph for a while during the winter (we get some pretty short days here in Colorado during winter, and at the time my work schedule was pretty bad for afternoon photography.) I've taken photographs of the moon where it appeared almost entirely white, and the camera would blink quite a bit of it...but in post every last scrap of luminance data would be recoverable. Its pretty amazing how you can push highlight data around with a Canon camera. I think the moon might be a fairly unique subject though...it has a pretty low DR in general, so its not quite the same as a step wedge. (And I'm still getting used to my 7D's iFCL metering...when focus and color are taken into account, the histogram distributes differently. There are often very small amounts of disproportionately bright highlights that you can't really see on the histogram, and if you do see them, they might only register as a single red, green, or blue pixel in the corresponding channel very near the far right edge. If you ETTR without looking for that little bit of highlight, you can blow a surprising amount of highlights way beyond recovery.)

1128
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 21, 2012, 01:49:57 AM »
Quote
Apparently it takes Sensorgen for you to finally find someone you can trust , but now that even they say the same thing as myself, the DPR crowd and DxO and so on, I'm glad you finally see. 


Um... doesn't Sensorgen just fit the data from DXO to get their numbers? Look at the methodology on Sensorgen's site...

Quote
Because at base ISO it has slightly worse read noise vs saturation well size than the 5D2. The difference is so minor though. So it has a touch worse DR down there.


Again, if Sensorgen is just fitting DXO data, and you suspect that DXO is just looking at black/white frames from the cameras, especially with 5DIII's boosted black levels of 2048... do you even trust those read noise values in e- from Sensorgen?


Here's the relevant image from that thread:


Once again, 5DIII gets pwned by D800, though not as badly as in the example LTRLI posted. Also, the sunstars are so much more pleasing on the Nikon image... even w/ a 1970s lens :-P Incidentally that's why the Nikon image is so soft... bad old lens. Regardless, Canon really needs to stop making 8-blade aperture lenses.


Ok, so the image there is more balanced. I definitely see differences in the highlights as well...there are much nicer transitions into the bright highlights reflecting on the water in the Canon image than in the D800 image. In the D800 image, there is a rather rapid and harsh transition into the maximal levels of the reflected lights on the water. The color rendition on the Canon also seems a lot better...the Nikon has a distinct pinkish tint to it, which feels rather unrealistic to me (sodium vapor street lamps are distinctly orange like in the Canon shot.)

I think at the very least the sample here does seem to indicate an earlier cutoff for highlights in Nikon cameras than in Canon cameras, though. The harsh transition from the halo reflection to the actual light source reflection really does seem to indicate that some highlight tonal range was trades for shadow tonal range in Exmor sensors. The Canon shot lends a bit more credence to ETTR with Canon cameras. You can probably eek more shadow detail out with ETTR and end up with a more Nikon-like highlight cutoff, although I still don't see how a Canon could compete with a Sony Exmor sensor in general even with some judiciously tight right histogram shifting.

1129
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 21, 2012, 01:10:14 AM »
There is really something interesting about those comparison photos from fredmiranda. Nikon seems to allocate FAR more levels to the shadows than most cameras. Generally I think the deep shadows are allocated the first few stops (bits), which would be about 12-32 discrete levels of luminance. Nikon seems to have far more than that. I'm not really sure how they do it...it can't simply be just the reduction in noise...that would be a difference of maybe 10 electrons. Unless there is a fractional gain at ISO 100...there are far more levels than that in those recovered shadows...I'd say there are at least a hundred or so discrete near-noiseless levels of luminance on the D800 version of the shot. I wonder, if that is indeed the case, how it affects their highlight DR. I wonder if Nikon cameras clip sooner? On the other hand, highlights generally to tend to have thousands of levels allocated to them, so trading a hundred or so levels from highlights to shadows is probably not really as huge an issue as it might sound...

1130
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 21, 2012, 12:37:10 AM »
Also for those who claim all the DxO charts and graphs are nonsense as all technical charts are since charts and numbers never have anything to do with reality ;) see here, some rather clear demonstrations of reality by an excellent professional photographer (brace yourself though since Canon really has be totally dusted for low ISO image quality, and this guy is not a troll, he an established pro and a long time Canon shooter):
http://www.fredmiranda.com/5DIII-D800/index_controlled-tests.html


HOLY SH_i_T!!

Original


5D III


D800


I still don't believe DxO's 14.4 Print DR results (I stand by my previous arguments, and still think the same of DxO in regards to their normalization)...but I do indeed believe that 13.2 stops of hardware DR is a SIGNIFICANT improvement over the 11.7 Canon is stuck at. I mean, the chroma noise in the Canon is almost a crime. If it was just luma noise, that would kind of be a different story...but wow. I'm happy to admit it now, with that visual evidence to back it up...Canon dropped the frackin ball.

1131
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 20, 2012, 11:29:08 PM »
Quote
(I was hoping for 12.7 stops at ISO 100, but it seems Canon opted for SNR improvements rather than DR improvements.)

Oh yeah. That reminds me. How does the 5D Mark III have SNR improvements (due to better QE/microlenses?), but worse DR than the 5D Mark II?

The QE improvements are part of it, which was facilitated by gapless microlenses. I think the other factor is weaker color filters in the CFA for red and blue pixels. Both pixels now let in more green light than they used to, and in the case of red, it lets in ever so slightly less red light. The filters were effectively made "more translucent" than they were previously. Greater transparency to light means more light overall, so you can achieve a higher SNR. I think the CFA thing is kind of a cheap trick, and I'm not really sure why the opted to go that route.

That said, Canon must REALLY have some major kind of roadblock to improving the noise efficiency of their CMOS sensor design. I checked sensorgen.info a short while ago, and the 5D III has even HIGHER ISO 100 read noise (33.1e-) than the 5D II, which in its own right had ridiculously high ISO 100 read noise (27.8e-). The 5D III has a higher saturation point, which is why at higher ISO's, SNR is better (read noise drops to 3-4e- beyond ISO 400 most of the time for most cameras), but Canon seems to have literally gone backwards in regards to low ISO.

Until I read the sensorgen.info data (which is derived from DxO RAW data), I wasn't too worried about 5D III low ISO...it seemed pretty much status quo (which would be fine...at least status quo is not a step backwards). And even despite the higher read noise, the 5D III images still appear consistently better than the 5D II images at all ISO's (nose appears far more random than it did before)...but its still a rather odd result, for Canon's latest and greatest to have that much read noise at a low ISO. Its a total difference of 5.3e-, or a 19% increase. Thats not just a margin of error thing there, thats a major mistake! In that respect, I'm entirely in line with LTRLI...Canon is seriously missing the ball in regards to low ISO performance. While I applaud their efforts to increase the range of usable native high ISO settings (which certainly caters to the kind of photography I do most of the time), and they have definitely produced a camera capable of some stellar high ISO performance, doing so at a 20% loss of efficiency on the other end is unacceptable. I figured things would stay pretty much the same and hoped they would get maybe 10% better...but now I'm actually concerned. If Canon releases a big-mp camera next year (something I have been looking forward to since I also do landscape photography alongside my wildlife and bird photography), that has the same low ISO read noise issues as the 5D III, then I might seriously have to consider a D800e and a 14-24mm lens for my landscape work.

Going 20% in the wrong direction is unacceptable, totally in line with you there, LTRLI! Canon needs to get their asses in gear and solve their read noise problem...which at this point seems to be a problem growing at an unmanageable rate. I was willing to forgive Canon for some things because they made so many other improvements to the 5D III, but now that the actual results are in, I have no option but to capitulate and agree...the low-ISO trend is very concerning. (And to that end, I intend to open up direct dialog with Canon about the issue, I as just discussing it on this forum is not going to actually have any kind of real impact on the issue at Canon.)

Those kinds of conclusions really make me wonder if they're actually doing DR measurements or just reading the black/white files... the Mark III this time suffering because it's black level has been raised from 1024 to 2048... Which I don't think should impact DR much...

And I agree that ISO sensitivity ratings don't make much sense either between the 5D Mark III, D800, & D4.

Well, they make sense if arbitrary "bonus points" are awarded to the ISO category. ;P I mean, the sensor doesn't ACTUALLY get bonus ISO points in reality, so such bonus points are 100% pure subjectivity in a test that is supposed to be objective. You don't reward hardware for being a "good boy". :P ISO is ISO...it shouldn't be changed in any way as part of computing a "score" or "rating".

1132
EOS Bodies / Re: Patent: New Diffractive Optic Patents
« on: April 20, 2012, 10:25:15 PM »
Oooh! That 600 f/4 DO sounds really intriguing! It seems diffractive optics lenses do take a bit of a hit to resolution, however even the 400 DO gets better resolution than most of the lenses in my current kit anyway. If a 600 f/4 DO lens had 4-stop IS, was compatible with teleconverters, and light enough to be hand-holdable, I'd SERIOUSLY consider one of them. I've been saving money for a 5D III, which for the time being I'm putting of, and I've considered putting the money saved for one towards a 600 f/4 L. If a 600 f/4 DO actually materializes and weighs in at around 5 pounds, and was cheaper than the 600 f/4 L, I'd buy one in a heartbeat!

Quote
  • Because there is a thick diffraction grating, and obliquely incident light, the diffraction efficiency is reduced
  • When the diffraction efficiency is reduced, flare, ghost, imaging performance deterioration, such as contrast degradation occurs

I'm guessing that isn't a problem with telephoto DO lenses, so long as you have the lens hood on? I don't see how you could get flare-causing oblique light otherwise. Perhaps the 14mm DO lens might have this problem, as it would need a lens hood akin to the 16-35mm (which barely blocks any light and doesn't do a whole lot to mitigate flare and ghosting.


1133
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 20, 2012, 10:05:08 PM »
I tend to agree w/ the idea that your DR should never exceed the max bit-depth of your ADC. Simply b/c at best your stdev of pixels in a black frame can at best be 1ADU, in which case the DR formula will give you, in EV, the bit-depth of your ADC. But someone somewhere mentioned that you can theoretically get 1.2EV, or something like that, more than the bit-depth of your ADC... somewhere on dpreview forums, can't remember where.

jrista: While I understand your points, I'm not sure I see this 'bias' you mention re: normalization for different brands. LTRLI I think rightly points out that it's just a matter of the magnitude of the effect increasing the greater the normalization needed (i.e. higher MP cameras will see better gains). For example, here are some normalizations (screen DR on left -> print DR on right):

11.37->12.5 (HD39)
11.35->12.7 (HD50)

11.85->12.2 (D700)
11.16->11.9 (5DII)

So you can see that the 39MP Hasselblad got a 0.8EV boost upon normalization, & the 50MP one got a 1.2EV boost, much like the Nikon D800 (13.2->14.4). The 5DII got a bigger boost than the D700, b/c of its higher MP count. So even though this formula may not be perfect, it seems somewhat consistent. But, yes, I still don't understand a DR greater than the bit-depth of the ADC.

You mention the highlight headroom of the Hasselblad MF cameras. While this may be true, if the read noise is high, then the DR is limited by the poor performance on the lower end. Put another way, sure the headroom of the Hasselblad may be higher than that of the D800; however, with the D800, you just underexpose your image (say by 2 stops), and then pull detail out of the shadows b/c the read noise is so low (not the case for the Hasselblad, or Canon sensors, hehe).

So while it's weird to hear that the D800 has higher DR than a MF camera, it's theoretically possible, IF the read noise on the MF camera is significantly poorer than that on the D800. Yes?

What I'm saying is: I'm allowing for the possibility that DXO's scores *are* valid :) I just wish they published their protocols explicitly.

Is it true that the D800 uses Exmor technology but the D4 doesn't? That'd be weird.

Thanks for the numbers for each of those cameras. I guess I'm still not entirely convinced though. The HD50 has 50% more pixels (which is a LOT!) than the D800, and it has half the read noise of the 5D II and III. I'd expect it to realize better gains than the D800, despite the fact that its read noise is higher, yet it realizes apparently the same exact gain from downsampling. In all honesty, I don't really see the same bias for most of the rest of Nikon's cameras...its primarily the D800 that seems to be so out of wack. The D4 seems to be pretty spot on with what I expected before the cameras were tested by DxO, the 5D III is a touch worse than I expected and about a stop worse than I hoped for (I was hoping for 12.7 stops at ISO 100, but it seems Canon opted for SNR improvements rather than DR improvements.)

I find the results for the D800 to be very odd, and the Print DR results, which seem to be what DxO camera scores are primarily computed from, seem to be way off. The DR seems literally impossible at 0.4 stops higher than the hardware is capable of, and the low light ISO rating seems to be significantly skewed relative to that of the 5D III, when the actual data for both cameras doesn't seem to actually indicate that much of a difference...and visual comparisons of the 5D III at higher ISO definitely seem to give it the edge (even when normalized.) I'm suspicious that is the result of bonus points (a ridiculous concept, if your trying to produce objective results) offered to the D800 for barely falling within a certain region while the 5D III barely falls without, and perhaps its just their rating system that is skewing the results, not intentional bias.

Either way...the D800 score and results seem to be unduly skewed, making pretty much all the competition (including $40,000 digital medium format cameras) sound "crappy" in comparison, when the reality is so very far from that.

1134
EOS Bodies / Re: More colors
« on: April 20, 2012, 09:45:17 PM »
Silicon is naturally less sensitive to blue and violet wavelengths of light than it is to green, and it is most sensitive to red. I am not really sure that adding additional pixel types with, say, a violet filter, will really improve the quality of violet in digital photos taken with such a sensor. Current bayer CFA's use fairly broad filter ranges for blue, green, and red pixels. Blue filters allow in light down to around 380nm (very violet), while red filters allow in light up to and beyond 700nm. Green overlaps both just a tad.

Assuming you did actually involve say violet, blue, cyan, green, yellow, orange, red, deep red CFA pixels in some "advanced" sensor design. One way or another, you still need to "coalesce" that greater variety of colors into RGB image pixels in the end anyway. You would have to do some weighted mathematical averaging of blue with violet and cyan, green with cyan and yellow, and red with deep red, orange and yellow. There are a few drawbacks to such an approach, and potentially no real benefits:

 - You need to be extremely careful about how you lay each color out in the CFA to ensure that color distribution is effective to capture enough luminance per pixel and still be capable of interpolating an output pixel (today most interpolation is based on 2x2 quads of bayer pixels with slightly weighted algorithms to eliminate color artifacts, zippering, etc.) Fuji's mew X Pro-1 uses 6x6 blocks of pixels to produce an output pixel, and it still only uses RGB albeit with less pattern repetition.
 - You need a more complex RAW file format to acomodate the increase in various CFA pixel color types.
 - You need considerably more complex interpolation algorithms to convert larger blocks of input CFA pixels into output RGB pixels.
 - You need more advanced logic to convert multiple input colors into fewer output channels per output pixel with appropriate color accuracy.
 - When working RAW, you need to reprocess the bayer pixels and send them through your entire pipeline of edits to render the image on screen, so more complex interpolation and color conversion will impact the performance of post-process workflows

I think more can be done by moving to a Foveon X-3 style sensor, where each color channel is stacked at a single photosite. Silicon is naturally sensitive to most of the visible wavelengths of light, and considerably more sensitive to near infrared than it is to UV. As such, it also naturally filters light the deeper it penetrates into a silicon well, making it pretty easy to capture blue at the surface, green in the middle, and red deep into the well (which is exactly what Foveon sensors do.) By eliminating an alternating pattern of RGB pixels, you improve a LOT of the characteristics of the sensor directly, and since you have full color data at every single pixel, you also have full color fidelity. Foveon sensors are fairly well known for having richer blues than bayer-type sensors, without the need for a lot of complexity. You also eliminate color moire, minimize monochrome moire, reduce noise in the blue channel, etc.

I think I'd have to generally agree with much this.
Anyway it's complicated stuff.

I'm glad we can agree on something. :)

1135
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 20, 2012, 04:10:00 PM »
Something that should also be pointed out is that image comparisons on a normal basis only make sense if that is actually how you are going to use the images. If you only print at 8x10 size, then comparing all images at that size makes sense. However one of the primary reasons you buy a higher resolution camera is to help facilitate the need to print at a higher resolution, or crop to a greater degree and print at a lower resolution. In either of those cases, comparing normalized results at 8x10 size is not going to tell you much about how the camera will perform for your needs, which might require you to print at 13x19, 17x22, or even higher. If you regularly scale your images up to immense sizes, say 30x40 or greater, then the IQ of your camera at its native resolution will be paramount, and not properly  reflected by the 8x10 results.

1136
EOS Bodies - For Stills / Re: DxO results out for 5D3
« on: April 20, 2012, 03:53:45 PM »
Right, sorry. I know LTRLI's formula is not a downsampling formula, what I was trying to say is I don't think it takes into account the realities of downsampling properly. To put it another way, I think it produces a result without context, which is why it seems to produce much higher numbers for DR than would seem realistic when computing DR for a downsampled image. In its own right, taken at face value (without any context) its certainly not an invalid formula...but do the results produced by it have real-world applicability? Do they represent something real, or is the formula too simplistic? I used to believe that DxO's Print DR numbers, which are derived the same way, were simply demonstrating that once you eliminate noise, you are then realizing the sensors full potential. Kind of tough to keep believing that, though, when the D800's Print DR numbers are BETTER than the sensors full potential...its not quite like a star trek warp drive...you don't get 120% of maximum out of a 14-bit sensor. ;)

Imagine you have 32MP sensor and you then averaged every 16 pixels into 1 and got 2MP output. And you then measure the Std Dev of the black frame. It's measure lower from the 2MP version than from the 32MP version but the white frame max saturation will measure the same in both cases. Plug into the DR formula and it goes up. It's not magic because the 2MP file also shows a heck of a lot less detail than the original 32MP file did so you traded that detail away for the higher score on the other aspect in a sense, what you are really trying to do it just compare the two files at the same scale. Even if the simplistic normalization didn't quite match in practice and over-stated something a little, the thing is in practice used use advanced NR to equalize them which would be doing better anyway, so there would be no problem there at all.

I understand the nature of scaling, that wasn't in question. Perhaps we just need to qualify what we mean by DR when we discuss these things. When it comes to "hardware DR"...I consider that a fixed constant, and an intrinsic attribute of the camera. If a camera has 14-bit hardware and X amount of overhead, it is going to be capable of a fixed, unchanging amount of "hardware DR"...or lets call it "true DR". If you saturate pixels beyond the True DR, say 15000 ADU, no amount of software-based tuning will be able to recover what you lost.

When we normalize two source images to a common image size, were affecting what I'd like to term "perceptual DR", or perhaps "virtual DR". You are not actually changing the characteristics of the hardware...there is still a hard limit on what a 14-bit camera can do. Virtual DR can only help you fully realize what that hardware is capable of, up to, but not exceeding the limits of, the hardware itself. I don't have a problem with the idea that with normalization of LOTS of pixels into FEW pixels, you might be able to fully realize 13.2 stops of DR, and possibly get a little bit more than that because your mitigating noise. I wouldn't be surprised if Virtual DR for a 13.2 stop sensor ended up being 13.8 stops, and if you had some REALLY GOOD algorithms to handle your normalization for you, I'd be ok, albeit surprised, if your normalized results achieved exactly 14.0 stops...but ok, fine...your making more effective use of data in the "noise floor" of your dynamic range. To achieve 14.4 tops, your somehow creating information...additional levels of luminance (over 5000 of them) to achieve a higher dynamic range than your sensor is capable of. Your adding information above and beyond the maximum number of ADU the ADC is capable of producing for a single pixel at maximum saturation.

Saying the D800 is capable of 14.4 stops, even though that is based on "normalized" data, is misleading. The camera itself is NOT capable of 14.4 stops...its capable of 13.2. Sure, it still wins the DR contest even with 13.2, but were were talking about over a full stop here...thats not within the margin of error. There is something wrong with the methodology here...something extremely UNrealistic about the way DR is being calculated from normalized data. Its not even remotely realistic when your claiming the D800 is capable of more than DOUBLE the dynamic range it ACTUALLY IS capable of at a hardware level. This also begs the question why a mere 36.3mp sensor from Nikon gains SO MUCH MORE than say a 60mp sensor from Hasselblad when downscaling. According to the approach you and DxO use, the more megapixels you start out with, the better the ultimate results when you downscale to an 8mp image. There is obviously a serious disconnect when a FF DSLR sensor with half the resolution as a MF sensor achieves several stops better results, when if the key factor that determines normalized results is how much information you started with. The hassy should win hands down every time, even against a D800, if that was the case...and in visual comparisons even a 40mp hasselblad offers far more highlight recovery room and far better color rendition than a D800. There is a disconnect somewhere in the approach DxO uses and real-world results...and its not an insignificant disconnect.... I'm not sure if I'm portraying my point well enough here... I think sarangiman gets it, but I'm not sure if anyone else does.

As for SNR stuff they want to compare at the same noise scale otherwise you might be comparing a 32MP file that has lots of high frequency noise to a 2MP file that all the higher powers of noise automatically clipped away so it's not fair to compare the two images as if they were at the same noise scale. So they are really just normalizing the power scale of the noise between the two to not unfairly make the higher MP cameras look worse.  You are reducing noise and signal so it's not like the image really improves any, it's actually a worse output really, yeah but you are just trying to do relative noise comparisons here and to compare it to the other file fairly that already had all the high frequency noise clipped away otherwise you are comparing the total noise over a larger frequency range than for the other one where the upper end of the range was hard clipped off which isn't fair. To do it well (not talking in terms of processing images for use but just for this relative comparison) you want to first gaussian blur away the high freq noise and then downsample to the scale you blurred it away to. or maybe more simply upscale the lower MP cam to the match the higher. Or you could just look at both at 100% on a monitor but stand back farther from the screen for the higher MP camera whatever distance is needed to make it's detail the same as what the lower one can capture. i think i garbled that a bit

I get your meaning there. I think, however DxO is doing it, that their "normalization" overcompensates for higher resolution and undercompensates for lower resolution, thereby unfairly making the lower MP cameras look worse than they really are. You effectively apply noise reduction to the higher MP camera, and none to the lower MP camera. I completely understand the value of normalized comparisons, but is the process of normalization valid? Scaling a smaller image up is actually not the same as scaling a larger image down. The former would actually leave noise characteristics largely in-tact for both images, without giving either of them a clear advantage. The problem with that is its harder to keep things consistent, as with each new higher resolution sensor, you need to reprocess old data to the new larger size and recompute the results. I get that, however I also believe it would still be more accurate...it would eliminate a lot of bias towards higher megapixel sensors (assuming that is the only bias...as I mentioned before, if the normalization process caters to higher resolution sensors because your factoring multiple source pixels into each output pixel of an 8mp target image, then medium format cameras should be trouncing everything else...as they well should...but there is clearly something else far less obvious going on with the D800's results.)

Do you think the D700 has much better ISO1600 than the 5D2? Because if you don't normalize, and you now seem to say that normalization doesn't make sense and isn't fair, then the D700 will stomp your 5D2, when the reality is it isn't fair to say that it does.

At a hardware level, I would say the D700 and 5D II have roughly the same performance at ISO 1600. I think the D700 wins by about 1/4 of a stop. That doesn't surprise me, and sensitivity and dynamic range are strongly correlated with larger pixel area. Both cameras are full-frame, so the D700 certainly has a lot more area per pixel than the 5D II. I would EXPECT the D700 to offer more DR at any given ISO setting, since DR is closely linked to maximum saturation and standard deviation of read noise. (Barring any other improvements, making a pixel's total area larger will always allow for a larger maximum saturation level, and assuming all other things remain equal, I would expect the noise characteristics of two identical sensors with differing pixel sizes to be the same.)

Now, from a NOISE standpoint, which is obviously something we regularly correct with software, normalizing the two images to the same dimensions makes sense, and will help the 5D II's standing from a post-processing standpoint...we all use software to clean up noise after we've imported our photos from our camera. But any side effect in terms of improved DR or color fidelity or anything else that you might get, at least according to the log(base2)(maxSaturation-stdevReadNoise) formula, is not reflecting a hardware capability in any way. Actually, the improvement in noise achieved by downsampling is also not reflecting a hardware capability in any way. None of the results gleaned from a software-normalized 8mp image will tell you anything about what the hardware itself is physically capable of...all it will tell you is what the software your using to perform the image normalization is capable of. DxO Analyze is apparently capable of doing amazing things with Nikon RAW files...but the fact that DxO Analyze is capable of doing amazing things with Nikon RAW files doesn't tell me anything about the Nikon cameras itself...its just telling me that DxO Analyze is amazing for processing Nikon RAW files.

1137
EOS Bodies / Re: More colors
« on: April 20, 2012, 03:08:45 PM »
It'd be neat if you could have a Foveon-type sensor where the first layer is white, then followed by the colors.  You'd record 100% of the photons coming in, rather than screening them out with a color filter up front.  B&W shooters would benefit from this too.

Well, white is simply the presence of all visible wavelengths of light. If the "first layer" recorded white, there wouldn't be any other colors left for the BGR layers below to record. (Note that there are no color filters in a foveon sensor...the pixels themselves do the filtering simply by the way they are designed.) Technically speaking, a foveon sensor IS good for B&W shooters...you get full luminance and chrominance data at every photosite just like a monochrome sensor would. All a B&W shooter would need to do is convert in post.

1138
EOS Bodies / Re: More colors
« on: April 20, 2012, 02:46:03 PM »
Assuming you did actually involve say violet, blue, cyan, green, yellow, orange, red, deep red CFA pixels in some "advanced" sensor design. One way or another, you still need to "coalesce" that greater variety of colors into RGB image pixels in the end anyway. You would have to do some weighted mathematical averaging of blue with violet and cyan, green with cyan and yellow, and red with deep red, orange and yellow. There are a few drawbacks to such an approach, and potentially no real benefits:

There are benefits. You're starting with better information, which you then dissolve down into whatever RGB colorspace that the final image has. The same goes for higher dynamic range. What's the point, if you don't have an HDR monitor? The point is, it gives you more to work with before having to fit it into the final restrictions.

Possibly. I'm not really sure you do start with better information. The greater variety of color filter types is going to mean your filtering out more light per pixel, over a greater area of pixels than with a standard RGB CFA. That is going to reduce your overall luminance information...so at least in one sense, your starting off with "less".

In terms of better...how do you define better in this context? With a greater variety of color filter types, you have to be more careful about exactly what range of wavelengths each filter allows to pass, and about how much overlap there is between the allowed wavelengths for each type of filter. A greater diversification of colors will probably also increase photon shot noise more than even reducing pixel size would. With less luminance to start with, the sensor is going to have to be more sensitive to compensate, so photon shot noise will likely be enhanced more so than if you have fewer color filter types. You also still have to mathematically average the "more accurate" color distribution into fewer output color channels, and there is usually a loss of accuracy when computing the values of multiple discrete inputs into a discrete output. You might be able to mitigate that by converting to floating point values rather than integer values, thereby preserving as much original precision as possible, but you still have a finite amount of precision that you can use to represent pixel values without increasing the complexity of the math such that it makes editing such a RAW file impractical.

Of course, even putting the image on your monitor, it's already missing much of the information collected by the sensor, but as you move your sliders around, it could use the additional information rather than guess.

Of course, this is all a flight of fancy. The cost vs benefit would be obscenely out of proportion.

Yup. ;)

1139
EOS Bodies / Re: More colors
« on: April 20, 2012, 02:26:50 PM »
Silicon is naturally less sensitive to blue and violet wavelengths of light than it is to green, and it is most sensitive to red. I am not really sure that adding additional pixel types with, say, a violet filter, will really improve the quality of violet in digital photos taken with such a sensor. Current bayer CFA's use fairly broad filter ranges for blue, green, and red pixels. Blue filters allow in light down to around 380nm (very violet), while red filters allow in light up to and beyond 700nm. Green overlaps both just a tad.

Assuming you did actually involve say violet, blue, cyan, green, yellow, orange, red, deep red CFA pixels in some "advanced" sensor design. One way or another, you still need to "coalesce" that greater variety of colors into RGB image pixels in the end anyway. You would have to do some weighted mathematical averaging of blue with violet and cyan, green with cyan and yellow, and red with deep red, orange and yellow. There are a few drawbacks to such an approach, and potentially no real benefits:

 - You need to be extremely careful about how you lay each color out in the CFA to ensure that color distribution is effective to capture enough luminance per pixel and still be capable of interpolating an output pixel (today most interpolation is based on 2x2 quads of bayer pixels with slightly weighted algorithms to eliminate color artifacts, zippering, etc.) Fuji's mew X Pro-1 uses 6x6 blocks of pixels to produce an output pixel, and it still only uses RGB albeit with less pattern repetition.
 - You need a more complex RAW file format to acomodate the increase in various CFA pixel color types.
 - You need considerably more complex interpolation algorithms to convert larger blocks of input CFA pixels into output RGB pixels.
 - You need more advanced logic to convert multiple input colors into fewer output channels per output pixel with appropriate color accuracy.
 - When working RAW, you need to reprocess the bayer pixels and send them through your entire pipeline of edits to render the image on screen, so more complex interpolation and color conversion will impact the performance of post-process workflows

I think more can be done by moving to a Foveon X-3 style sensor, where each color channel is stacked at a single photosite. Silicon is naturally sensitive to most of the visible wavelengths of light, and considerably more sensitive to near infrared than it is to UV. As such, it also naturally filters light the deeper it penetrates into a silicon well, making it pretty easy to capture blue at the surface, green in the middle, and red deep into the well (which is exactly what Foveon sensors do.) By eliminating an alternating pattern of RGB pixels, you improve a LOT of the characteristics of the sensor directly, and since you have full color data at every single pixel, you also have full color fidelity. Foveon sensors are fairly well known for having richer blues than bayer-type sensors, without the need for a lot of complexity. You also eliminate color moire, minimize monochrome moire, reduce noise in the blue channel, etc.

1140
EOS Bodies / Re: Canon 650D - sensor size?
« on: April 20, 2012, 01:36:44 PM »
Any rumours on the sensor Mp size for this next body in the popular APS-C range - and when it is due out?

The 450D had 12.2 Mp sensor

500D had 15.1 Mp

550D/600D have 18.0 Mp

650D - 22 or 24 Mp?

If you are shooting smallish targets requiring cropping then increasing pixel density on the same sensor must be beneficial to image quality - same size image but more pixels covering it?

Well, there are issues of spatial resolution to take into account. A 24mp sensor is going to be pushing 130lp/mm. Modern camera lenses can only achieve such resolutions at middle apertures. At f/5.6, you only have 123lp/mm due to the effects of diffraction. Anything smaller than f/5.6 will produce increasingly less spatial resolution due to greater and greater effects of diffraction. At around f/4...perhaps as low as f/3.5 or so, in most cases for professional quality glass, optical aberrations and diffraction normalize, and you reach your maximum spatial resolution. I find f/4 to be a safe bet for maximum spatial resolution, which would be 173lp/mm. At larger apertures than that, optical aberrations will quickly dominate, and affect spatial resolution more than diffraction does at f/5.6 and on, often reducing spatial resolution to as low as 30-40lp/mm wide open (depending on the lens.)

There are a very few lenses that achieve near-perfect resolution at very wide apertures, but they are less common than the average DSLR lens. Zeiss has a lens or two capable of around 400lp/mm at around what I suspect is probably f/1.5. Some of Canon and Nikon's top-end supertelephoto lenses are probably capable of nearly 173lp/mm at their maximum apertures of f/4, and for top-end telephoto lenses like 300 and 400 f/2.8's, your probably capable of a couple hundred lp/mm. Those are all extremely expensive lenses (i.e. ten thousand dollars give or take a couple thousand) that few people who are going to be using either a D3200 or 650D entry level DSLR would be using.

There are also the issues of total system spatial resolution, which is effectively a mean of the spatial resolution of each component in the system. In this case, if the sensor is capable of 120-130lp/mm, and the lens is capable of 173lp/mm at f/4, your actual total system resolution is going to be a lot lower. You can certainly keep gaining improvement by continued increase in pixel density, but your going to encounter diminishing returns. The more you push sensor spatial resolution towards 170lp/mm, the narrower and narrower the aperture range is going to be where you can actually maximize your sensors potential. You might also run into other consequences...such as images that look fairly soft @ 1:1 crop at apertures outside of that narrow band of maximum system spatial resolution (this is part of the problem the 7D with its 18mp sensor has...its 116lp/mm spatial resolution is only viable at a relatively narrow band of apertures around maybe f/3.5 to f/6.

I think Canon may be at its limits with spatial resolution until it can make some of the same sensor improvements Sony has made to their Exmor sensors. Noise is a bit of a problem at ISO 100 and 200, and SNR is a bit of a problem at higher ISO's. At the very least they will need to migrate the 1D X and 5D III sensor improvements into their APS-C manufacturing. They might also gain from the use of backlit sensor technology as well. Nikon is probably in a better position to make a 24mp APS-C sensor produce better images that don't look as soft because of the very low read noise in Sony sensors...but there is still the question of whether it will actually improve things all that much for someone who is looking for an entry-level DSLR and is less likely to be using professional glass. Entry-level glass is unlikely to achieve maximum optical spatial resolution at any aperture, diminishing the value of having a sensor capable of 125-130lp/mm.

There is limited room to grow sensor resolution in APS-C formats, and far more room to grow spatial resolution in FF formats. Outside of also producing new entry-level lenses that approach perfection at wider apertures, with significantly reduced optical aberrations as wide as f/2.8, higher pixel density won't offer nearly as much benefit as better glass.

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