Highlight rolloff too abrupt?

[frame-it]

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3 hours ago, hansvons said:

The dual ISO thing, however, remains to me a myth that somewhat seems to be real but needs some more understanding on my side. 

a nice explanation is here >

https://youtu.be/g8hHFt3ChZ8

 

Edited June 6, 2021 by frame-it

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[FlashGordonPhotography]

13 hours ago, hansvons said:

Digital Cinema cameras typically have their "native" ISO between ISO 400 to ISO 800, delivering the most extensive dynamic range. Why should that be different with still cameras? On the SL2-S, I figure that at ISO 800, I get the most out of the sensor without introducing distracting noise. I would never expect the camera to deliver great dynamic range at ISO 100, let alone ISO 50. The sensor will receive too much light at such low ISO, making it hard to compensate since its native sensitivity is about 3

-4 stops higher. As Jono pointed out, there's tons of information buried in the shadows, which can easily be lifted to the desired level. The same can be said about the highlights. That way, one takes advantage of the vast dynamic range the sensor offers. 

Sensors for cinema cameras can't really be directly compared to those made for still/video hybrids. Too many differences. If all imaging sensors are the same may as well say that the SL2 can also be compared to a sensor in a telescope. Cinema sensors can be produced to be far more specialised than our hybrid cameras can so they can really get everything right in a narrower range of needs. Even ignoring that you can have different base ISO's just by modifying the stack on the same sensor. For example Fuji Xtrans sensors typically have a base ISO half a stop higher than the same silicon with a normal bayer array.

Apples, oranges and all that.

Gordon

[BernardC]

18 hours ago, FlashGordonPhotography said:

For example Fuji Xtrans sensors typically have a base ISO half a stop higher than the same silicon with a normal bayer array.

The extra X-Trans sensitivity isn't a mystery. They use a higher proportion of green pixels, which are slightly more light-sensitive. BlackMagic uses a slightly different technique with their non-Bayer 12k cinema sensor: they have some clear filters.

In a similar vein, Leica sensors are often 1/2 to a full stop "slower" than the same sensors in other cameras. That's because they use colour filters that are more saturated, and therefore more accurate.

That being said, there isn't such a big difference between modern still and cine sensors. Contrary to popular belief, very few cine sensors have a global shutter, and those that do are mostly special-purpose high-frame-rate cameras. Sony shares some sensors between still and cine models. Panasonic sells one cine/hybrid camera that uses a very similar sensor to the SL2-s' and Sigma fp.

The real differences are that cine cameras have much more available power (both processing power and electrical power), active cooling, and the ability to be calibrated.