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[器材使用] Z280与FS5画质比较

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发表于 2020-7-22 22:44 | 显示全部楼层 |阅读模式

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本帖最后由 不是小灵通 于 2020-7-22 23:26 编辑

说明:Z280的HDR效果以后再发帖子。HDR模式(2020色域,HLG /1/2/3)具有更大的宽容度,这个我知道,也有做过简单测试,但没有相应设备和软件,感觉颗粒太粗不能接受,特别是S-log3,目前未作深入测试。


这次使用的是SONY PXW-Z280与PXW-FS5M2,价格来说,前者略高
【初步比较结果供大家帮忙分析】
设备设置:
Z280相关参数:XAVC-L,SDR(色域709),AGC关,自动ND(当时大约1/128),自动快门1/50,增益0db,光圈自动(约5.6),噪点:中(“高”也没太大区别),其余默认
FS5M2相关参数:XAVC-L,SDR(色域709),AGC关,ND(未知,估计开了),快门(未知),增益0db,光圈(应该是手动),其余未知

Z280素材有:4K,1080p50,1080i50,1080i25,画面自动曝光,有少量高光过曝处
FS5M2素材有:1080p50和1080i25,手动光圈,全画面无高光过曝

画面均为原始素材,使用同样的播放器(PotPlayer),热键截图而来,比较图是PS按1:1像素,750宽度,1500高,不知道会不会被论坛后台压缩

【个人觉得】
从画质效果来看,Z280并没发现优势,甚至4K的噪点惨不忍睹,虚焦明暗过度地带颗粒较粗,感觉脏兮兮的
相比之下,FS5在虚焦明暗过度地带却显得很自然、精细

熟悉Z280的朋友麻烦帮忙分析一下,哪里需要怎么设置,才可以进一步改善画质?


(比较图)


PXW-Z280(4K)(少量区域过曝)


PXW-Z280(1080P50)(少量区域过曝)


PXW-Z280(1050i50)(少量区域过曝)


PXW-Z280(1080i25)(少量区域过曝)


PXW-FS5M2(1080P50)全画面未过曝


PXW-FS5M2(1080i25)全画面未过曝




[发帖际遇]:不是小灵通 买彩票中得鼓励奖,得到 1 枚 金币.

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 楼主| 发表于 2020-8-9 19:03 | 显示全部楼层
【找了一篇国外的技术帖子】
觉得其思路很好,可将增益调整为-3db来减少噪点。还有一些其他心得,发出来给大家参考。
本人英语一般,所以将帖子简单百度翻译了一下,可以基本上看懂说的意思
--------------------------------------------------------------------
PICTURE PROFILE SETTINGS FOR THE PXW-Z280
PXW-Z280的图片配置文件设置
MARCH 12, 2019 19 COMMENTS
Sony’s new PXW-Z280 is a great compact camcorder. Having now spent even more time with one I have been looking at how to best optimise it.
索尼的新PXW-Z280是一个伟大的紧凑型摄像机。现在我花了更多的时间和一个,我一直在寻找如何最好地优化它。
It should be remembered that this is a 4K camcorder. So Sony are packing a lot of pixels onto the 3 sensors. As a result the camera does exhibit a little bit of noise at 0dB gain. No camera is noise free and we have become spoilt by the large sensor super 35mm cameras with big sensors, big pixels and very low noise levels.
应该记住这是一台4K摄像机。所以索尼在3个传感器上安装了很多像素。因此,相机在0dB增益时确实会显示出一点噪音。没有一款相机是无噪音的,我们已经被拥有大传感器、大像素和非常低噪音水平的超大传感器超35毫米相机所宠坏。
Use -3dB Gain to reduce noise.
使用-3dB增益来降低噪声。
So I did a little bit of work with various settings in the camera to see if I could minimise the noise. The first thing was to test the camera at -3dB gain. On many cameras using negative gain will reduce the cameras dynamic range due to a reduction in the highlight recording range. But on the Z280 using -3dB of gain does not seem to adversely effect the dynamic range, but it does significantly reduce the noise. I found the noise reduction to be much larger than I would normally expect from a -3dB gain reduction. So my advice is – where possible use -3dB gain. The Z280 is pretty sensitive anyway, especially in HD so -3dB (which is only half a stop) is not going to cause problems for most shoots.
所以我做了一点工作,在相机的各种设置,看看我能不能把噪音降到最低。第一件事是在-3dB增益下测试相机。在许多使用负增益的相机上,由于高光记录范围的减小,相机的动态范围会减小。但在Z280上使用-3dB的增益似乎不会对动态范围产生不利影响,但它确实显著降低了噪声。我发现噪声降低比我通常预期的a-3dB增益降低要大得多。所以我的建议是——在可能的情况下使用——3dB增益。Z280是相当敏感的无论如何,特别是在高清so-3dB(这只是半站)不会造成问题的大多数拍摄。
I fell that the cameras standard detail corrections result in some over sharpening of the image. This is particularly noticeable in HD where there is some ringing (over correction that gives a black or white overshoot) on high contrast edges. Dialling back the detail levels just a little helps produce a more natural looking image. It will appear a touch less “sharp” but in my opinion the images look a bit more natural, less processed and noise is very slightly reduced. Below are my suggested detail settings:
我觉得相机的标准细节校正会导致图像的一些过度锐化。这在高对比度的边缘有一些响铃(过度校正会产生黑色或白色的过冲)时尤其明显。回拨细节级别只是一点有助于产生一个更自然的形象。它会显得不那么“锐利”,但在我看来,图像看起来更自然,处理更少,噪音也非常轻微地减少。以下是我建议的详细设置:
Z280 Detail Settings For HD.
Detail -12, Crispening -15, Frequency +18 lower.
细节,沟边,频率
Z280 Detail Settings For UHD(QFHD).
Detail -5, Crispening -11, Frequency +16
White Clip and Knee.
白场和膝点
In the SDR mode the Z280 has a range of standard Rec-709 type gammas as well as Hypergammas 1 – 4. Like many modern digital camcorders, by default, all the SDR gammas except HG1 and HG2 record at up to 109%. This might cause problems for those going direct to air for broadcast TV. For direct to air applications you may need to consider changing the white clip setting. The default is 109% but for direct to air broadcast you should change this to 100%.
在SDR模式下,Z280有一系列的标准Rec-709型伽马以及超伽马1-4。像许多现代数码摄像机一样,默认情况下,除了HG1和HG2以外,所有的SDR gamma的记录率都高达109%。这可能会给那些直接收看广播电视的人带来麻烦。对于直飞应用,您可能需要考虑更改白色剪辑设置。默认值为109%,但对于直接广播,您应该将其更改为100%。
If working with the STD5 gamma (Rec-709) and a 100% clip point you will also want to modify the knee settings. You can either use the default auto knee or turn the auto knee off and change the knee point to 87 and slope to +25 to bring the highlights down to fit better with a 100% clip point. HG1 and HG2 are broadcast safe gammas, so these are another option for direct to air.
如果使用STD5 gamma(Rec-709)和100%剪辑点,您还需要修改膝部设置。您可以使用默认的自动膝部,也可以禁用自动膝部并将膝部点更改为87,将坡度更改为+25,以降低高光以更好地适应100%剪辑点。HG1和HG2是广播安全的gammas,所以这是另一个直接对空的选择。
Hypergamma.
高伽玛。
As well as Rec-709 gamma the camera has Sony’s Hypergammas. If using the Hypergammas it should be noted that the optimum exposure will result in a slightly darker image than you would have with normal 709. As a guide you should have skin tones around 60% and a white card would be around 75% for the best results. Exposing skin tones at 70% or brighter can result in flat looking faces with reduced texture and detail, so watch your skin tones when shooting with the Hypergammas.
除了Rec-709gamma外,这款相机还有索尼的超级伽马。如果使用超伽马,应该注意,最佳曝光将导致图像比普通709稍微暗一些。作为一个指导,你应该有60%左右的肤色和一张白卡将是75%左右的最佳结果。将肤色暴露在70%或更亮的地方,会导致脸部看起来平坦,纹理和细节都会减少,所以在用超光速拍摄时要注意你的肤色。
The Z280 has four Hypergammas.
Z280有四个超级伽马。
HG1 3250G36. This takes a brightness range the equivalent to 325% and compresses it down to 100% (clips at 100%). Middle grey would be exposed at 36% (G36). This gives a nice reasonably contrasty image with bright mid range and a moderate extension of the highlight range.
HG1 3250G36。这需要相当于325%的亮度范围,并将其压缩到100%(剪辑为100%)。中灰色暴露在36%(G36)。这给了一个相当好的对比度的图像明亮的中等范围和一个适度的高光范围的扩展。
HG2 4600G30. Takes a brightness range of 460% and compresses down to 100% (clips at 100%). Middle grey is exposed at 30% (G30). This has a darker mid range than HG1 but further extends the highlights. Generally HG1 works better for less challenging scenes or darker scenes while HG2 works for high contrast, bright scenes. Both HG1 and HG2 are broadcast safe.
HG2 4600G30。亮度范围为460%,压缩到100%(剪辑为100%)。中灰色暴露在30%(G30)。这有一个黑暗的中间范围比HG1,但进一步扩大了高光。一般来说,HG1适用于难度较小的场景或较暗的场景,而HG2适用于高对比度、明亮的场景。HG1和HG2都是广播安全的。
HG3 3259G40. This takes a brightness range the equivalent to 325% and compresses it down to 109% (clips at 109%). Middle grey would be exposed at 409% (G40). This gives a nice contrasty image with reasonably bright mid range and a moderate extension of the highlight range.
HG3 3259G40。这将获得相当于325%的亮度范围,并将其压缩到109%(剪辑为109%)。中灰色暴露在409%(G40)。这给了一个很好的对比图像与相当明亮的中间范围和一个适度的高光范围的扩展。
HG4 4609G33. Takes a brightness range of 460% and compresses down to 109% (clips at 109%). Middle grey is exposed at 33% (G33). This has a darker mid range than HG3 but further extends the highlights. Generally HG3 works better for less challenging scenes or darker scenes while HG4 works for high contrast, bright scenes.
HG4 4609G33。亮度范围为460%,压缩到109%(剪辑为109%)。中灰色暴露在33%(G33)。这有一个黑暗的中间范围比HG3,但进一步扩大了高光。一般来说,HG3适用于难度较小的场景或较暗的场景,而HG4适用于高对比度、明亮的场景。
Color and The Matrix.
颜色和矩阵。
If you don’t like the standard Sony colors and want warmer skin tones do try using the SMPTE-240M color matrix. You will find skin tones a bit warmer with more red than the 709 matrix.
如果你不喜欢标准的索尼颜色,想要更温暖的肤色,请尝试使用SMPTE-240M颜色矩阵。你会发现肤色比709矩阵更红一点。
To change the saturation (amount of color) you need to turn on the User Matrix and then you can use the User Matrix Level control to increase or decrease the saturation.
要更改饱和度(颜色量),您需要打开“用户矩阵”,然后可以使用“用户矩阵级别”控件来增加或减少饱和度。
Many people find the standard Sony look to be a little on the yellow side. So I have come up with some settings for the user matrix that reduces the yellow and warms the image just a touch.
很多人觉得索尼的标准外观有点偏黄。所以我为用户矩阵设计了一些设置,减少了黄色,只需轻轻一点就能使图像变热。
AC NATURAL COLOR SETTINGS:
AC自然色设置:
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. Level: 0. Phase: 0.
矩阵:开。自适应矩阵:禁用。预设矩阵:启用。预设选择:ITU-709。用户矩阵:开。级别:0。阶段:0。
R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.
So here are some suggested Z280 Picture Profile settings for different looks:
以下是一些针对不同外观的Z280图片配置文件设置建议:
Note that these picture profile are similar to some of my FS7 profiles, so they will help match the two cameras in a multi-camera shoot. Use each of the setting below with either the HD or UHD(QFHD) detail settings given above if you wish to reduce the sharpening.
请注意,这些图片配置文件与我的一些FS7配置文件相似,因此它们将有助于在多摄像头拍摄中匹配两个摄像头。如果您希望减少锐化,请使用下面的每一个设置以及上面给出的HD或UHD(QFHD)详细设置。
AC-Neutral-HG3.
AC-中性-HG3。
Designed as a pleasing general purpose look for medium to high contrast scenes. Provides a neutral look with slightly less yellow than the standard Sony settings. I recommend setting zebras to 60% for skin tones or exposing a white card at 72-78% for the best results.
设计为一个令人愉快的通用外观中高对比度的场景。提供一个中性的外观,比标准的索尼设置略显黄色。我建议将斑马的肤色设置为60%,或者在72-78%的范围内暴露一张白卡,以获得最佳效果。
Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 0. Phase: 0.
R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.
AC-Neutral-HG4.
AC-中性-HG4。
Designed as a pleasing general purpose look for high contrast scenes. Provides a neutral look with slightly less yellow than the standard Sony settings. I recommend setting zebras to 58% for skin tones or exposing a white card at 70-75% for the best results.
为高对比度场景设计的一种令人愉悦的通用外观。提供一个中性的外观,比标准的索尼设置略显黄色。我建议将斑马的肤色设置为58%,或者在70-75%的范围内暴露一张白卡,以获得最佳效果。
Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 0. Phase: 0.
R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.
AC-FILMLIKE1
A high dynamic range look with film like color. Will produce a slightly flat looking image. Colours are tuned to be more film like with a very slight warm tint. I recommend settings zebras to 57% for skin tones and recording white at 70-75% for the most “filmic” look.
高动态范围的外观与电影一样的颜色。会产生一个稍微平坦的图像。颜色被调得更像电影,带有轻微的暖色。我建议设置斑马为57%的肤色和录制白色在70-75%为最“电影”的外观。
Black: Master Black: -3.  Gamma: HG3 .  White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: SMPTE WIDE. User Matrix: ON. User Matrix Level: +5. Phase: 0.
R-G: +11. R-B: +8. G-R: -12. G-B: -9. B-R: -3. B-G: -12.
AC-VIBRANT-HG3
These setting increase dynamic range over the standard settings but also increase the colour and vibrance. Designed to be used for when a good dynamic range and strong colours are needed direct from the camera. Suggested zebra level for skin tones is 63% and white at approx 72-78%.
这些设置增加了标准设置的动态范围,但也增加了颜色和振动。设计用于当需要一个良好的动态范围和强烈的颜色直接从相机。建议的斑马肤色水平为63%,白色约为72-78%。
Black: Master Black: -3.  Gamma: HG3.  White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: +25. Phase: -5.
R-G: +12. R-B: +8. G-R: -11. G-B: -7. B-R: -5. B-G: -17.
AC-VIBRANT-HG4
These setting increase dynamic range over the standard settings but also increase the colour and vibrance. HG4 has greater dynamic range than HG3 but is less bright, so this variation is best for brighter high dynamic range scenes. Designed to be used for when a good dynamic range and strong colours are needed direct from the camera. Suggested zebra level for skin tones is 60% and white at approx 70-75%.
这些设置增加了标准设置的动态范围,但也增加了颜色和振动。HG4比HG3具有更大的动态范围,但亮度较低,因此这种变化最适合于亮度更高的动态范围场景。设计用于当需要一个良好的动态范围和强烈的颜色直接从相机。建议的斑马肤色水平为60%,白色约为70-75%。
Black: Master Black: -3.  Gamma: HG4.  White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: +25. Phase: -5.
R-G: +12. R-B: +8. G-R: -11. G-B: -7. B-R: -5. B-G: -17.
AC-Punchy Pop Video.
A punchy, contrasty look with strong but neutral colors. Maybe useful for a music video, party or celebration.
强烈对比的外观,强烈但中性的颜色。可能对音乐录影带、派对或庆祝活动有用。
Black: Master Black: -3.  Gamma: STD5 .  Auto Knee Off. Knee level 87. White Clip: OFF.
Matrix: ON. Adaptive Matrix: Off. Preset Matrix: ON. Preset Select: ITU-709. User Matrix: ON. User Matrix Level: 20. Phase: 0.
R-G: +10. R-B: +8. G-R: -15. G-B: -9. B-R: -5. B-G: -15.

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 楼主| 发表于 2020-8-9 19:03 | 显示全部楼层
19 THOUGHTS ON “PICTURE PROFILE SETTINGS FOR THE PXW-Z280”
1.         Tony
MARCH 13, 2019 AT 11:34 AM
In AC-VIBRANT-HG4 you say use gamma HG3. Is this a typo?
I’ve heard that with HG4 you should set zebra 2 to 93%. You say set whites to 70-75%. Are you talking about zebra 2? If so I am confused why you set it so much lower than what I have heard. I would be grateful for your opinion on Zebra 2 levels, especially with your profiles above. Many thanks.
在AC-VIBRANT-HG4中,您说使用gamma HG3。这是打字错误吗?
我听说HG4应该把斑马2设为93%。你说把白色调成70-75%。你在说斑马2吗?如果是这样的话,我很困惑你为什么把它定得比我听到的低得多。我很感激你对斑马2级的意见,尤其是你的个人资料。非常感谢。
REPLY
1.         alisterchapman
MARCH 13, 2019 AT 1:03 PM
Thanks for pointing out the typo. I have corrected it now and yes it should have been HG4.
谢谢你指出了错别字。我现在已经纠正了,是的,应该是HG4。
There is, understandably, a lot of confusion over the term “white”. The white that I refer to is a 90% reflectivity white card, the standard white reference used for photography and exposure control. A piece of white paper will be a fraction brighter at about 93% reflectivity. However many people use the term white to mean the very brightest thing in the image, I would normally refer to this as the peak level or maximum brightness.
可以理解,人们对“白人”这个词有很多困惑。我指的白色是一张90%反射率的白卡,用于摄影和曝光控制的标准白色基准。一张白纸在大约93%的反射率下会亮一小部分。然而许多人用白色这个词来表示图像中最亮的东西,我通常会把它称为峰值或最大亮度。
It must be understood that exposure is not brightness. Exposure is putting the correct amount of light on to the sensor. Different gamma curves will produce different brightness levels when exposed correctly. They are not all the same and they should have different brightness levels. White is a critical exposure value because anything brighter than white must be a direct light source or specular reflection, so anything brighter than that white card or white piece of paper is normally considered a highlight.
必须明白,曝光不是亮度。曝光是将正确数量的光照到传感器上。正确曝光时,不同的伽马曲线将产生不同的亮度级别。它们并不都一样,它们应该具有不同的亮度级别。白色是一个关键的曝光值,因为任何比白色亮的东西都必须是直接光源或镜面反射,所以任何比白色卡片或白色纸张更亮的东西通常都被认为是高光。
Below white are all the important tones, skin tones, plants, buildings etc.
白色下方是所有重要色调、肤色、植物、建筑物等。
So white becomes a tipping point. Below white you keep good contrast, above white you can reduce contrast to roll of highlights. In Rec 709 white is reproduced at 90% leaving only a very small range between 90% and clipping all of a scenes highlights. This is part of the reason why 709 struggles in high contrast situations. If you want a bigger dynamic range you have to move white to a lower recording value to make space for the increased highlight range. So the Hypergammas move white down to around 70% so there is a much larger recording range available for extra highlights.
所以白色就成了一个转折点。下面的白色你保持很好的对比度,上面的白色你可以降低对比度的卷高光。在Rec 709中,白色在90%时被复制,只留下一个非常小的范围,介于90%和剪辑所有场景的高光。这也是709人在高对比度情况下挣扎的部分原因。如果你想要一个更大的动态范围,你必须移动白色到一个较低的记录值,为增加的高光范围腾出空间。因此,超级伽玛会将白色移到70%左右,这样就有了更大的记录范围,可以用于额外的高光。
Personally I never use Zebra 2. Zebra 2 used to be used as a way to tell when you were close to clipping. That’s why it comes on at a preset value but stays on no matter how bright the image gets. Zebra 1 operates over a narrow range of values to help you pin point a particular exposure level. With modern high dynamic range cameras it makes no sense to expose for the highlights. Who cares about the highlights? What’s important is the mid range, skin tones etc, that’s what the audience will notice if it isn’t right.
我个人从不使用斑马2。斑马2曾经被用来告诉你什么时候接近剪接。这就是为什么它会在预设值下亮起,但不管图像有多亮都会一直亮着。Zebra 1在一个很窄的值范围内工作,以帮助您确定特定的曝光级别。现代高动态范围相机,曝光高光是没有意义的。谁在乎亮点?重要的是中音、肤色等,如果不对,观众会注意到。
What you do need to watch with Hypergammas, Cinegammas and most other high dynamic range curves with a big highlight roll off is that if you expose skin tones at 70% your brighter tones will end up with flat, washed out and unnatural looking. This is because with most of these curves (including HLG) white is placed around 70% and from 70% and up the image will have reduced contrast due to the highlight roll off.
你需要注意的是,当你暴露70%的肤色时,你会发现你的亮色调会变得平淡、褪色和不自然。这是因为大多数曲线(包括HLG)的白色被放置在70%左右,从70%到70%以上,由于高光衰减,图像的对比度会降低。
With Rec 709 Zebras at 93% makes no sense. This is brighter than white should be but still some way from clipping. Modern cameras don’t clip until they get to at least 104% if not 109%, so a value of 100% would be more appropriate as a clipping warning.
在Rec 709斑马93%的情况下没有意义。这比白色应该要亮,但离剪裁仍有一段距离。现代相机在达到至少104%(如果不是109%)之前不会剪辑,因此100%的值更适合作为剪辑警告。
REPLY
1.         Tony
MARCH 13, 2019 AT 5:32 PM
Hi Alistar.
Many thanks for your detailed reply.
非常感谢你的详细答复。
So are you saying for good exposure, in practical terms, to set Zebra 1 (not 2)to 70-75% and use a standard reference white card to be just zebrad before start shooting the scene.
所以你是说为了获得好的曝光率,在实际操作中,把斑马1号(不是2号)设置为70-75%,并在开始拍摄场景之前使用一张标准参考白卡,使其成为斑马线。
REPLY
2.         Bertrand
MARCH 13, 2019 AT 6:44 PM
Thank you Alister
I already customized those of the PXW X200 with yours.
There with those there is something to do.
A specific point to this Z280, the difficulty of achieving a correct Focus.
Without exceeding the iris at f 5.6 (if not in UHD we lose the definition)
Did you find the same thing?
If the focus is not accurate the picture is too soft
谢谢你,阿利斯特
我已经为你定制了pxwx200。
有了这些就有事情要做。
具体到这个Z280点,实现正确对焦的难度。
不超过f5.6的虹膜(如果不是超高密度,我们就失去了定义)
你发现了同样的东西吗?
如果焦距不准确,照片就太软了
REPLY
1.         alisterchapman
MARCH 13, 2019 AT 6:54 PM
Diffraction – this is a problem with small sensors with 4K of pixels. Once the aperture closes more than f5.6 you will hit the diffraction limit. This is simply down to the laws of physics and optics. Very small pixels and small apertures don’t mix. Thats where the variable ND is a huge help.
衍射——这是4K像素的小型传感器的问题。一旦光圈关闭超过f5.6,你将达到衍射极限。这只是物理和光学定律。非常小的像素和小的光圈不能混合。这就是变量ND是一个巨大的帮助。
REPLY
1.         A.Ravichandran
MARCH 17, 2019 AT 5:57 PM
thanks for profile setting of pxw z280,
now pl tell how to do streaming setup and di live streaming in pxw z280
I am very proud to use my own
sony 4k pxw z280 camera
感谢pxw z280的配置文件设置,
现在pl告诉您如何在pxwz280中进行流媒体设置和di直播
我很自豪能用我自己的
索尼4k pxw z280摄像头
REPLY
3.         Paul Seidel
MARCH 15, 2019 AT 2:35 AM
Can these various profiles be saved ? Should it be on the “Scene File” or “All File” ? Can it live on the camera or needs an SD ?
可以保存这些不同的配置文件吗?是在“场景文件”还是“所有文件”上?它能在摄像机上直播还是需要SD?
REPLY
1.         alisterchapman
MARCH 31, 2019 AT 1:07 PM
Yes, either way. Best to save to an SD card.
是的,不管怎样。最好保存到SD卡。
REPLY
4.         ramses the king
MARCH 31, 2019 AT 10:49 AM
no, he said who cares about the highlights
expose the midtones and the skin tones correctly
check the zebra settings for those and use them as zebra 1
so, for rec 709 zebra should be 70 for skin tones and 44 for midtones
for hlg, 55 for skin tones and 38 for midtones
forget about highlights, that what he said
不,他说谁在乎亮点
正确暴露中间色调和肤色
请检查这些斑纹设置,并将其用作zebra 1
因此,对于rec 709,斑马的肤色应该是70,中间色调应该是44
对于hlg,55代表肤色,38代表中间色调
忘了亮点,他说的
REPLY
5.         Scott Wagner
APRIL 9, 2019 AT 1:53 AM
Hi Alister,
Thanks for the in depth post on how to set up the Z280 for best color and image quality. One big question I have about this camcorder that I have noticed – On the wider angles, at brighter apertures such as f4 and brighter, there seems to be a massive amount of softness all over the image. At UHD this is very evident and in HD it is definitely there. The images are basically unusable im my opinion. Other Z280 owners have made similar comments about their lenses as well.
感谢您的深入帖子如何设置最好的颜色和图像质量的Z280。关于这台摄像机,我有一个很大的问题,我注意到了——在更宽的角度上,在更明亮的光圈,比如f4和更亮,整个图像似乎都有大量的柔和。在超高清这是非常明显的,在高清这是肯定的。在我看来,这些图像基本上是不能用的。其他Z280的用户也对他们的镜头发表了类似的评论。
Have you noticed this with your Z280? I have performed the back-focus calibration many times and have yet to see any improvement with the lens. To be clear, this is most evident when zooming in and backing out to the widest angle. On the telephoto end it is nice and sharp. The image then starts to get horribly soft 50% of the way back to the widest angle. I have also tried static wide shots and when punching in to check focus, the image looks very distorted and very soft.
你注意到你的Z280了吗?我已经做了很多次后焦点校准,但还没有看到镜头的任何改进。要清楚地说,这在放大和缩小到最大角度时最明显。在长焦镜头的一端,它又漂亮又锐利。然后图像开始变得非常柔软50%的方式回到最宽的角度。我也试过静态广角镜头,当我冲进去检查焦距时,图像看起来非常扭曲和柔和。
I really like this camera for my work but the wide angle needs to be sharp for me to continue using it. Is this an issue that you are aware of? Does your copy exhibit anything like I have stated above? I have contacted Sony but it seems that they are not that interested in hearing what I have to say. Any help you could provide would be greatly appreciated.
我真的很喜欢我的工作相机,但广角需要锐利,我才能继续使用它。你知道这个问题吗?你的复制品有没有像我上面说的那样?我已经联系过索尼,但他们似乎对听我说的话不感兴趣。如能提供任何帮助,我们将不胜感激。
REPLY
6.         stefan flos
MAY 5, 2019 AT 7:48 AM
Hi Alister,
Thanks for the tip about -0.3 gain. I have the Z90 (after your excellent review) and just discovered this feature. Will test more.
Talking about the Z90 – how does this camera compare to the Z280 and also money wise: you can buy more than 2 Z90 for the price of 1 Z280
Would really appreciate your comment on pointing out the differences.
Stefan
你好,阿利斯特,
谢谢你的提示-0.3增益。我有Z90(在你的优秀评论后)和刚刚发现这个功能。会考验更多。
谈到Z90–这台相机与Z280相比如何,而且在金钱方面:你可以用1 Z280的价格购买2台以上的Z90
如果您能指出这些差异,我将不胜感激。
斯特凡
REPLY
1.         alisterchapman
MAY 7, 2019 AT 9:06 AM
The Z280 and Z90 are two very different cameras. I really like the Z90 for it’s compact size and great autofocus. It would be a camera of choice where I need a very easy to use, simple camera. The Z280 is more of a workhorse camera for news and documentary production. It needs a bit more effort to get the very best from it, but when used correctly it can produce really good images, better than the Z90. The Z280 has more audio and streaming options, a bigger zoom range, a wider range of codecs and it records at higher quality levels. But if you don’t need all that then the Z90 is a simpler and lower cost option.
谢谢你的提示-0.3增益。我有Z90(在你的优秀评论后)和刚刚发现这个功能。会考验更多。
谈到Z90–这台相机与Z280相比如何,而且在金钱方面:你可以用1 Z280的价格购买2台以上的Z90
如果您能指出这些差异,我将不胜感激。
斯特凡
REPLY
7.         Michael
MAY 22, 2019 AT 4:30 PM
I just got my hands on the z280 and am working to get the best image quality for my workflow. I’ve been recording with the Sony A7sii and hope to work the z280 in as a run-and-gun camera. I’ve also noticed the softness and noise others have mentioned. I’m looking forward to trying your profiles and seeing how hard I can push this.
Thanks!
我刚刚得到我的手上的z280和工作,以获得最好的图像质量为我的工作流程。我一直在与索尼A7sii录音,并希望在z280作为一个运行和枪相机。我也注意到其他人提到的柔和和噪音。我期待着尝试你的个人资料,看看我能有多努力。
谢谢!
REPLY
8.         Andras Nagy
DECEMBER 11, 2019 AT 11:49 AM
Hi Alister,
I’ve set up my z280 as you suggested above – great settings, however, I found that the picture now a bit too much on the red side. Could you pls tell me how I can reset to factory settings? I need to start this all over.
Thanks a lot for your help,
Andras
我已经设置了我的z280,正如你在上面建议-伟大的设置,然而,我发现图片现在有点太多在红色的一面。你能告诉我怎样才能恢复出厂设置吗?我要从头开始。
非常感谢你的帮助,
安得拉斯
REPLY
1.         alisterchapman
DECEMBER 16, 2019 AT 4:58 PM
Just load the default scene file into the camera using the files section of the menus, this will reset the scene file.
只需使用菜单的“文件”部分将默认场景文件加载到摄影机中,这将重置场景文件。
REPLY
1.         Andras
DECEMBER 17, 2019 AT 8:55 PM
Thank you
REPLY
9.         David Robinson
JANUARY 21, 2020 AT 1:18 PM
Alister
Thanks for this.
Can I use these settings with the Z190?
Regards
David
阿利斯特
谢谢你。
我可以在Z190上使用这些设置吗?
当做
大卫
REPLY
1.         alisterchapman
FEBRUARY 12, 2020 AT 8:42 AM
No, they are very different cameras and behave differently.
不,它们是完全不同的摄像机,行为也不同。
REPLY
1.         David Robinson
FEBRUARY 15, 2020 AT 11:51 AM
Thank you
REPLY
Zhang
AUGUST 9, 2020 AT 10:13 AM
Your comment is awaiting moderation. This is a preview, your comment will be visible after it has been approved.
你的评论正在等待缓和。这是一个预览,您的评论在被批准后将可见。
Thank you Alister
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