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Comment by Pentaxophile posted on Road map and 1.4x converter at 29/10/2013 - 14:13
Imaging Resource says
Quote:
Although the Pentax K-30's incorporates a sensor shift-type image stabilization system, this is disabled during video recording, in favor of what Pentax calls 'Movie SR'; in essence, digital image stabilization. Unlike a mechanical system, this allows completely silent operation, but there's no such thing as a free lunch. The system works by creating the video feed from a 'window' of pixels in one particular location on the sensor, with the location of the window moved around the sensor as needed to correct for motion. For this system to function, you need to leave a band of "spare" pixels around the periphery of the sensor, and in the process, the K-30 effectively increases the effective focal length crop significantly. While for telephoto videos this may in fact be desirable, it means that if you want the widest possible field of view, you'll want to disable image stabilization.
Likely due to the manner in which it operates, the K-30's Movie SR sometimes induced a slight "wobbling" in captured videos, visible as a slight squashing / stretching along the vertical axis. This is distinct from the "jello" effect caused by rolling shutter, although the two effects can be present in a single clip, making the distortion even more pronounced. We also noted that as you reach the limits of the corrective area available by panning the sensor window, the K-30 shows "hiccups" in video playback where your subject moves significantly further than it should in a single frame. On the plus side, the system is very stable, able to correct reasonably well even for motion from walking.
Note that even if you disable Movie SR, you don't recoup the wide-angle capabilities. The crop is increased at all times when in movie mode.
The last paragraph does seem to contradict the last sentence of the first...Although the Pentax K-30's incorporates a sensor shift-type image stabilization system, this is disabled during video recording, in favor of what Pentax calls 'Movie SR'; in essence, digital image stabilization. Unlike a mechanical system, this allows completely silent operation, but there's no such thing as a free lunch. The system works by creating the video feed from a 'window' of pixels in one particular location on the sensor, with the location of the window moved around the sensor as needed to correct for motion. For this system to function, you need to leave a band of "spare" pixels around the periphery of the sensor, and in the process, the K-30 effectively increases the effective focal length crop significantly. While for telephoto videos this may in fact be desirable, it means that if you want the widest possible field of view, you'll want to disable image stabilization.
Likely due to the manner in which it operates, the K-30's Movie SR sometimes induced a slight "wobbling" in captured videos, visible as a slight squashing / stretching along the vertical axis. This is distinct from the "jello" effect caused by rolling shutter, although the two effects can be present in a single clip, making the distortion even more pronounced. We also noted that as you reach the limits of the corrective area available by panning the sensor window, the K-30 shows "hiccups" in video playback where your subject moves significantly further than it should in a single frame. On the plus side, the system is very stable, able to correct reasonably well even for motion from walking.
Note that even if you disable Movie SR, you don't recoup the wide-angle capabilities. The crop is increased at all times when in movie mode.
Comment by Pentaxophile posted on Pentax for Video at 29/10/2013 - 10:24
McGregNi wrote:
So, its possible that what some of those who jumped ship really needed was in fact a bigger looking camera that their clients (who don't understand the technical differences between sensor sizes, photosites and megapixels) would easily identify at a glance as a proper professional grade model, which must have cost a huge amount and therefore they won't mind paying the photographer a high fee.
My point was that clients who don't know much about cameras tend to be impressed by a big expensive looking camera that looks far removed from their P&S or iPhone. Some people use grips with this in mind!So, its possible that what some of those who jumped ship really needed was in fact a bigger looking camera that their clients (who don't understand the technical differences between sensor sizes, photosites and megapixels) would easily identify at a glance as a proper professional grade model, which must have cost a huge amount and therefore they won't mind paying the photographer a high fee.
I'm not sure whether anyone has actually ever jumped ship for this reason though.... would seem a bit strange. It's not something that would really affect whether someone hired you, it's just about the perception on the day of the shoot.
Comment by Pentaxophile posted on Why do we stay with Pentax? at 29/10/2013 - 09:20
I did this yonks ago on tke K7 - Come Into Our Room
I have only done some showreel stuff on the K30, way too cringey to share; but on this one you can see the shake reduction of the K30 being tested by me walking with the camera hand held, and also the loud screwdrive AF at one point (0:47): Out-take
I have only done some showreel stuff on the K30, way too cringey to share; but on this one you can see the shake reduction of the K30 being tested by me walking with the camera hand held, and also the loud screwdrive AF at one point (0:47): Out-take
Comment by Pentaxophile posted on Pentax for Video at 28/10/2013 - 21:58
McGregNi wrote:
or are you suggesting thaat they really only appreciate seeing a big camera with one of two names on the front.
This, I'm afraid, is probably accurate in a lot of cases! More so the size than what's written on the front or are you suggesting thaat they really only appreciate seeing a big camera with one of two names on the front.
Comment by Pentaxophile posted on Why do we stay with Pentax? at 28/10/2013 - 20:44
Sugar-Multi-Coated
Comment by Pentaxophile posted on Next pentax?...tasty topic? at 28/10/2013 - 16:30
As an aside, the 81% factor I mentioned above is the factor which you need to resize K3 files to get them down to 16mp... hopefully this might save someone some time if they want to have a quick go at this
Comment by Pentaxophile posted on The new standard of performance - K3 shoot. at 28/10/2013 - 16:25
If they go down the adapter route though, that still leaves the door open for new, reduced distance lenses for an even more compact system, which many people desire, while maintaining decent compatibility with the older FA ltds (no crippling please!)
Make the lenses and FA adapters compatible with Sony NEX full frame, and they could start selling lenses and adapters to NEX users. If you want to build in a bit of deliberate crippling, do it there, so when they're hooked on the Pentax lenses, they eventually decide to switch to a Ricoh-Pentax made body too.
Make the lenses and FA adapters compatible with Sony NEX full frame, and they could start selling lenses and adapters to NEX users. If you want to build in a bit of deliberate crippling, do it there, so when they're hooked on the Pentax lenses, they eventually decide to switch to a Ricoh-Pentax made body too.
Comment by Pentaxophile posted on Full Frame (again) at 28/10/2013 - 14:08
Quote:
the new retro-Pentax LX-D will adopt a whole new shorter flange A-mount (A for Ace, after K and Q), which will allow two adapters for legacy K mount lens - one for manual focus with metering etc, and a more expensive motorised adapter for auto focussing as well.
Hmmm.the new retro-Pentax LX-D will adopt a whole new shorter flange A-mount (A for Ace, after K and Q), which will allow two adapters for legacy K mount lens - one for manual focus with metering etc, and a more expensive motorised adapter for auto focussing as well.
A mount makes me think of those new Sony Alpha mirrorless cameras. Suppose Ricoh decided to make their cameras compatible with Sony's FF NEX lenses... and therefore their lenses, and lens adapters, compatible with Sony's. By sharing the mount, Sony would benefit from Pentax's lens range including the FA ltds (via a dedicated adapter), and Pentax would benefit from a bigger market for their lenses/adapters.
Comment by Pentaxophile posted on Full Frame (again) at 28/10/2013 - 13:00
Here it is reduced to 81%
And compared to the (unresized) runner up on the left
I presume that owing to the greater resolution and lack of AA filter, you could also blast it with a bit more luminance NR and then sharpen it after resizing. A lot of effort to go through but you could store a Lightroom Preset or Photoshop Action for it. Who sees images at 100% anyway?
And compared to the (unresized) runner up on the left
I presume that owing to the greater resolution and lack of AA filter, you could also blast it with a bit more luminance NR and then sharpen it after resizing. A lot of effort to go through but you could store a Lightroom Preset or Photoshop Action for it. Who sees images at 100% anyway?
Comment by Pentaxophile posted on The new standard of performance - K3 shoot. at 28/10/2013 - 11:58
My Jessops 1.7x never comes off the 55-300mm
with the K-5.
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