Canon EOS R1 to have a version of a DGO sensor?

#8
jam05 said:
Aint sh

Nothing is split at all. Just some bs excuse. It's called "purchase justification". I got more or less signal? Duh, I can't see it. Nobody wishes to be told, well you got less signal than the previous model after you paid......$xxxx
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Yep! Where are the blind tests indicating that people can or cannot see the difference? Until I see those, I think the best conclusion is that buyers are trying to justify to themselves and to others that they weren't stupid.
 
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#9
Canon Rumors Guy said:
Yeah, it's one of those things that is split.
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On the one hand, more of any 'feature' is usually better...more MP, faster frame rate, more DR, etc. Typically, such things can be dialed back if the consequences are undesirable (files too large, too many images in a burst, etc.). But more isn't always necessary, and some people know that.

During the DRone Wars of the early 2010's, I didn't argue against the importance of more DR, but rather against the significance of an additional 1-2 stops. Sure, there are some shots where that can make all the difference. But there are many situations where the scene DR is not so high that 10 stops can't capture it, and many others where the scene DR is too far great for a single image even at 16 stops.

If we're talking about going from 12 stops of real, usable DR ('photographic DR' as opposed to 'engineering DR') up to 16 stops, that's a meaningful difference that will have a positive impact for many people. But I'm not holding my breath in the hopes that we get a 4-stop increase in either the R5II or the R1.
 
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#10
Dynamic range is certainly important. But not if it is an incremental improvement. If Canon managed a real-world 17+ stops this camera would be the stuff of legend. Canon has the technology to do this and more… That would match the Arri Alexa 35. However, it would probably need to be more than 12-bits to be usable. If they could also match or beat the 12 stops of exposure latitude that the Alexa 35 manages… just wow! That said, it would be great to see Canon take the lead.
 
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#11
More DR is always useful unless it comes to the detriment of other qualities. But, assuming everything else is equal, then the more DR the merrier. Even if it has some detrimental impact somewhere else, as long as we are given the option to choose between more DR and some compromise vs less DR and no other compromise, then I\'d say bring it on!

Having said that, from a subjective artistic perspective, I do believe that too much DR can lead to photos that may look \"fake\" or \"boring\", at least IMHO. Same with HDR that can be easily abused. I like having a lot of DR latitude when I work on an image, but I most frequently end up dialing contrast back up for the final result, even if that results in less DR than was available in the RAW file.
 
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#13
roby17269 said:
More DR is always useful unless it comes to the detriment of other qualities. But, assuming everything else is equal, then the more DR the merrier. Even if it has some detrimental impact somewhere else, as long as we are given the option to choose between more DR and some compromise vs less DR and no other compromise, then I\'d say bring it on!

Having said that, from a subjective artistic perspective, I do believe that too much DR can lead to photos that may look \"fake\" or \"boring\", at least IMHO. Same with HDR that can be easily abused. I like having a lot of DR latitude when I work on an image, but I most frequently end up dialing contrast back up for the final result, even if that results in less DR than was available in the RAW file.
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That sounds more like a problem with tone-mapping done by the RAW converter than with DR itself. And it could be solved with a custom profile or even a preset, it depends on the amount of effort you want to spend and how consistent the issue is.
 
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#14
DBounce said:
Dynamic range is certainly important. But not if it is an incremental improvement. If Canon managed a real-world 17+ stops this camera would be the stuff of legend. Canon has the technology to do this and more… That would match the Arri Alexa 35. However, it would probably need to be more than 12-bits to be usable. If they could also match or beat the 12 stops of exposure latitude that the Alexa 35 manages… just wow! That said, it would be great to see Canon take the lead.
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Nitpicking, but CR3 RAW files are 14-bits. R5 downsamples to 12-bit in electronic shutter, but is otherwise 14-bit, as with all the other canon cameras.
 
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#15
Might make sense in combination with the earlier rumor of an increased (16-bit) bitrate using mechanical shutter. That might give it enough time to process the dual gain at slower shutter speeds, but enough bit depth to record all nuances in the data.

At this point I'll just wait for the official announcement. I'm very curious if the sensor resolution is indeed going to be "only" 24MPx, and if so, what features (such as this) it might have to make it worthy of a flagship camera.
 
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#16
Guys, we're less than a week away now, and there's little to no information on this thing and lots of "it may be this, but might not be" going on. Anyone on the internet can take some shots with asterisks. What's going on? I am getting messages in my inbox from random people that I may or may not trust, as well. You guys have been very timid and overly cautious lately with little to offer. Also, you said weeks ago you'd be publishing an article about what's going on at Canon and continue to just ignore questions about that.
 
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#17
koenkooi said:
That sounds more like a problem with tone-mapping done by the RAW converter than with DR itself. And it could be solved with a custom profile or even a preset, it depends on the amount of effort you want to spend and how consistent the issue is.
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I'm not saying it's an unsolvable issue, just that having more DR does not necessarily automagically result in better images. IMHO
 
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#20
FF DGO would be huge for video, think about nuclear white clipped highlights for example, similar situations where super expensive cine cameras like the Alexa 35 or the V raptor X (and the C70) are pretty much the only ones solving that.
On some situations pulling down the highlights or exposure in general can get that highlight information but it still affects the general appearance of the overall image, by having a dual gain output combined in one frame it looks more natural.
What a dream if if it's true, specially if it has a 14 bit readout.
 
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