A different point of view:
DPAF cannot, with its post proc, make the image sharper than it was when the shutter closed. You do not create information if it was not there to start with.
You can use double-size RAW to increase blur in parts of the image out of the focus, much alike to comparing two photos taken at f2.8 and f5.6. But, instead of depth map being fixed, as it would be the case for a single-size RAW, you can push blurred pixels respecting all optics laws and taking into account how far are they from the focus plane, and not just blindly softening the whole image. Beautiful, 2.8 L-series bokeh for masses.
Further, a 2:1 anamorphic lens can use DP RAW file to achieve full horizontal resolution, just convert each DP into 2x1 (two horizontal, one vertical), improve on your debayer, and 8:3 will be right there as you are starting from an apparent 9:3 image. Old film anamorphic technology had, in theory, different vertical and horizontal resolution as the grain did could not care less.
Gone with the Wind, anyone?
DPAF cannot, with its post proc, make the image sharper than it was when the shutter closed. You do not create information if it was not there to start with.
You can use double-size RAW to increase blur in parts of the image out of the focus, much alike to comparing two photos taken at f2.8 and f5.6. But, instead of depth map being fixed, as it would be the case for a single-size RAW, you can push blurred pixels respecting all optics laws and taking into account how far are they from the focus plane, and not just blindly softening the whole image. Beautiful, 2.8 L-series bokeh for masses.
Further, a 2:1 anamorphic lens can use DP RAW file to achieve full horizontal resolution, just convert each DP into 2x1 (two horizontal, one vertical), improve on your debayer, and 8:3 will be right there as you are starting from an apparent 9:3 image. Old film anamorphic technology had, in theory, different vertical and horizontal resolution as the grain did could not care less.
Gone with the Wind, anyone?
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