#10bit

🅴🆁🆄🅰 🇷🇺erua@hub.hubzilla.de
2026-01-22
Скрипт двоичные часы или же «binary clock», выводит в консоли:
Time: 22:20:54
10110
010100
110110
Соответственно в первой строке часы, во второй — минуты, третья — секунды.
Для расслабляющего медитативного наблюдения за тем, как секунды тикают.
while true; do
    clear
    current_time=$(date +%H:%M:%S)
    echo "Time: $current_time"
    hour=$(printf "%05d" $(echo "obase=2; $(date +%H)" | bc))
    minute=$(printf "%06d" $(echo "obase=2; $(date +%M)" | bc))
    second=$(printf "%06d" $(echo "obase=2; $(date +%S)" | bc))
    echo " $hour"
    echo "$minute"
    echo "$second"
    sleep 1
done

Есть для андройдов слегка иной вариант — без секунд и с отображением бит группами (OpenAPK и в Google Play).
А так, вполне наглядная демонстрация что может bash / shell за счёт обращения к «мини» тулзам сродни bc и printf.


#bash #shell #часы #clock #10-bit #lang_ru
Sami Lehtinensl@pleroma.envs.net
2024-09-03
Long discussion how much better 10 and 12 bit colors are. Here's easy 1 bit diff test for 8 bit colors. Should be easy. 10 bit is 4x harder and 12 bits 16x harder. #10bit #colors #test
Kevin Karhan :verified:kkarhan@mstdn.social
2023-06-22

@orowith2os @inexcode #Xorg is already basically #deprecated and all non-#Wayland applications should use #Xwaylamd for compatibility.

That being said shit changed quite a lot since Kernel 2.6.45 when I did #10bit for the first time...

2022-12-25

DELL AW3821DWで3840×1600 120Hz設定で10bit入力が可能だった #DELL #AW3821DW #Display #ディスプレイ #10bit

reviewdays.com/archives/68547

petapixel (unofficial)petapixel@ծմակուտ.հայ
2021-10-29

ProRes on iPhone 13 Pro Review: Great Smartphone Video Gets Better

The iPhone has been the best smartphone for video capture for some time, and the iPhone 13 Pro is no different -- it's currently our pick in that category. So, naturally, adding ProRes 4:2:2 10-bit capability only makes that better, right?

The short answer to that is yes: totally. The long answer is a bit more complicated than that.

What is ProRes, and Why Should I Shoot in It?

I've shot several clips with the iPhone 13 Pro in ProRes in the native camera app and have examined the files closely over the course of the last couple of weeks. What I have found is that, in most cases, those shooting video this way won't really notice a lot of differences between the standard video format and the new ProRes option. This is actually less of a knock on the ability to capture ProRes as it is an endorsement of the basic video capabilities of the iPhone 13 Pro.

ProRes is a file format that has a very high data rate that preserves the detail in high-dynamic-range imagery generated by the latest sensors. ProRes HQ preserves dynamic range several times greater than typical video files and has widespread adoption across the professional cinema landscape. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and re-encoding.

As a bit of background on why you should care what I think about this, I owned and operated a video production company out of San Francisco for the better part of eight years and have worked with pretty much every camera system that came out over that period of time. From Canon DSLRs through RED cinema cameras, my team and I used what was the best fit for a client's project.

In some cases, that absolutely meant an iPhone. In others, the Panasonic GH5. Suffice it to say, I've seen and worked with hundreds upon hundreds of hours of different video clips from every major manufacturer.

One thing that has always held constant across all cameras is that if I wasn't already shooting in RAW video, the only reason to shoot in 10-bit 4:2:2 was if I was also planning to color grade that footage, in which case I would shoot in log. A log profile, or logarithmic profile, is a gamma curve shooting profile on cameras that provides wider dynamic and tonal range.

Shooting in log captures more data in the shadows and highlights so there is significantly more latitude when adjusting color and exposure in post. Shooting this way is a bad idea if you aren't capturing as much data as possible, hence why I always shot in 10-bit 4:2:2 any time I was shooting in log. You can sometimes get away with 10-bit 4:2:0, but I've seen log footage absolutely fall apart with very little post-production applied when captured in 8-bit 4:2:0.

Likewise, if I wasn't shooting in log, that meant I didn't plan to color grade and there was almost never a point in attempting to record that much data.

Is there an advantage to shooting in ProRes HQ 4:2:2 10-bit when not capturing log? Technically, yes, I suppose so. Some argue that regardless if you plan to color grade or not, the detail preservation in fine motion that comes with ProRes is worth it. However, I think that for most people outside of high-end cases, it's much less obvious and usually not worth the extra file sizes.

And boy, are those files sizes extra when it comes to ProRes on the iPhone.

More Data Always Means Better Video Quality

That brings us to the iPhone 13 Pro and its 10-bit 4:2:2 ProRes HQ codec. This is a beastly codec that chews through storage on high-end professional camcorders and that's no different when applied to the iPhone.

At 4K and 24p, the data rate is 704 MB/s and at 4K and 30p, it's 760 MB/s. A 4K file will require just under 6 GB of storage for each minute of footage captured. In Full HD 1080 at 30p, the storage rate is about 1.7GB per minute of video.

To put that in perspective, a 10 second 4K 24p clip shot in Apple's standard profile is 24.3 MB. The same 10-second clip shot on ProRes is 781.6 MB.

Comparing footage side by side in a variety of lighting conditions, I only saw a meaningful difference in what I would define as "complicated" lighting and color environments. In my examples below, both were color graded to push the files.

To start with, let's look at what I would call a "normal" scene captured outside. Below are two stills from clips I captured one after the other, and I challenge you to tell me the difference between the ProRes and the standard versions.

Standard ProRes

But complicate the set a bit, and ProRes does stand out as better.

Standard ProRes

In this second set, the nuance of color is more defined in the ProRes file, which is most obvious when you look at the gradations of color on the nebula on my left-side computer monitor. The shadows are also slightly improved on the ProRes side, though I imagine this would become even more pronounced had the iPhone's native app allowed me to capture both options in log.

Looking at single frames isn't the best way to gauge quality, and I recognize that. ProRes will actually capture fine motion better too, but you really have to be looking for it in order to see it. Falling rain, blades of grass blowing in the wind, or mud kicked up by tires all will have much better-defined pixels that will stand up to scrutiny. How often will iPhone footage of these kinds of things be subject to that level of scrutiny? I say rarely, but that's up to the creator to decide. If this kind of detail is important to you, ProRes is a must.

Another thing that ProRes did seem to give me are clips that are slightly less over-sharpened. I do mean slightly, but looking closely, I think the ProRes files generally look more natural and more like a dedicated video camera. That's not to say there still aren't problems that are endemic to tiny smartphone sensors though that will show up regardless of your format. Shadows and low-light environments get very noisy very quickly, and that's not something you can fix in post very easily.

Standard ProRes

Yearning for More

I mentioned log and that kind of connects to my overall wishes for the shooting experience: I found myself wanting more. Apple's interface is designed to be simple, but when I'm shooting footage I care about enough to capture ProRes, I want to have more options and more visibility.

Luckily, we have third-party apps for that. FiLMiC Pro, for example, gives a lot more professional of an interface with scopes, control over different frame rates and aspect ratios, and a lot more shooting options including multiple ProRes formats. It actually makes the iPhone feel like a dedicated video camera, which is awesome. The native iPhone camera app is fine, but it's very basic. You can do a lot with it, but it's not going to feel like shooting on a real camera does.

And that's kind of the conundrum. The people who would benefit most from ProRes aren't going to want to use Apple's native app because of that simple interface, and those who probably would be just fine using the native video codec won't really need the much more out of the camera app.

FiLMiC Pro

I guess what I'm saying is that the folks who benefit the most from Apple enabling ProRes are FiLMiC Pro -- who made a great video capture app even better now -- and its customers.

As mentioned, FiLMiC offers the ability to shoot in several different ProRes formats, including ProRes Proxy which offers 90% of the benefits at one-fifth the storage capacity of ProRes HQ. I think that's probably worth it, especially compared to the bear that is ProRes HQ. FiLMiC is also working on enabling its iPhone log profile in ProRes, which I think would be a great addition.

Workflow Needs Work

If you're shooting and editing entirely on your iPhone, you're probably not going to have any issues with the workflow. If you're planning to edit on your computer, however, it's not the best experience. First of all, most people will want to turn off HDR video capture if they aren't editing in an HDR-friendly system. Premiere Pro is a pain in this regard, but Final Cut makes it a bit easier.

The main issue for me is the bottleneck that happens when you try and move footage off the iPhone. You can use a Lightning connection, but the transfer rates are pretty slow: it caps out at USB 2.0 speeds. You could also passively upload footage using iCloud, but I don't know many editors who shoot footage and are willing to wait a day to get to a place where they could download them on top of the time that download would take.

The other option is to use AirDrop, and while I found this to be very stable even with a bunch of files, it bogged down my WiFi connection so my computer was pretty useless during the transfer process and it took a very long time: about 10 minutes to transfer 8.5GB of footage. In contrast, it took 12 seconds to move that same batch of files onto my Thunderbolt hard drive array after they were AirDropped onto my iMac.

USB-C would have been a boon here, and I found myself quite jealous of the iPads that have already ditched Lightning for it.

A Great Camera for Video is Even Better

I want to make two things clear:

  1. I don't think most people really need to shoot in ProRes HQ on the iPhone.
  2. I think adding ProRes HQ to the iPhone is a great thing.

Confusing, right? I can't fault Apple for adding an outstanding video profile to the iPhone. Quite the contrary, actually, I give them a lot of praise for it because it legitimately makes the iPhone better. Even if most people won't have any use for it, those who make content in FiLMiC Pro are going to absolutely love having access to this format. That's not to say shooting ProRes on the native app doesn't have its advantages, they're just a lot less apparent and often not worth the data rate tradeoff.

Are There Alternatives?

Right now the iPhone is pretty much it when it comes to having access to this high-quality of a codec. As mentioned, the experience is actually better when using FiLMiC Pro because you can shoot in ProRes Proxy, but FiLMiC required Apple's hardware acceleration in order to offer ProRes as a capture format to begin with; so applause for everyone.

Should You Use It?

Yes, if you're shooting through a third-party app that supports ProRes LT or ProRes Proxy. A log profile would be nice, too. If you're planning to just capture ProRes HQ footage using the camera app, the standard video files are already pretty darn good and ProRes doesn't often make that much of an appreciable difference that is worth the tradeoff of massive file sizes.

#equipment #mobile #reviews #10bit #422 #4k #4kvideo #bitdepth #codecs #iphone #iphone13pro #iphone13promax #prores #proreshq #proresoniphone #review #software #video

image
petapixel (unofficial)petapixel@ծմակուտ.հայ
2021-08-09

Dell U4021QW Review: The Premiere Ultra-Wide Monitor for Photo Editing

The Dell U4021QW is, quite literally, one of a kind. It's the world's first 40-inch curved ultra-wide WUHD 5K2K monitor -- a 21:9 aspect ratio monster that boasts a color-accurate 10-bit panel. In our testing, it's performed beautifully. But while it's definitely the premiere ultra-wide monitor for photo editing, it's not the best photo editing monitor overall.

Compared to many other ultra-wide monitors on the market, the Dell delivers a more well-rounded experience. Most ultra-wides focus all of their attention on either productivity or gaming, putting little-to-no emphasis on color accuracy. Despite the fact that many photo and video editors find it downright necessary to work on multiple monitors side-by-side, there are precious few color-accurate panels in the 21:9 aspect ratio, which translates into precious few color-accurate ultra-wide monitors.

More than anything else we'll talk about, that's what makes the Dell U4021QW special. Not only is it large and high resolution -- 40-inches and 5K2K resolution is nothing to scoff at -- it uses a true 10-bit panel with a (claimed) DCI-P3 gamut coverage of 98% and a Delta E of less than 2. What's special about the Dell U4021QW is that it exists at all, and with a price of $1,700, it's quite a bit cheaper than picking up two similarly accurate 4K monitors and placing them side-by-side.

Design and Build Quality

My first impression upon unboxing and setting up the Dell U4021QW was, " I am overwhelmed." I typically work off of one 32-inch or 27-inch 16:9 monitor (depending on what we're currently reviewing at PetaPixel ) and the switch to an ultra-wide was a bit staggering at first.

You can comfortably set up three windows side-by-side-by-side without anything feeling cramped. If you're feeling especially masochistic, you could break the monitor into 6 sections and put a window in each -- there really is enough resolution to accommodate it. But personally, it took me about a day of regular use before I filled up the entirety to do anything at all.

Setup was a breeze. The monitor "clicks in" to the stand while it's still in the box, and then you use the stand to lift it out and set it on your desk. Ideally, you'd have a little help with this, because it is not a small monitor, but this easy-to-unbox setup is appreciated by those of us who live alone… or, in my case, with a dog who really wasn't much help at all.

The stand itself is sturdy, with a reasonably small footprint and lots of positioning control. You can tilt, swivel, and adjust the height of the monitor with a single hand no problem, and the little hole for cable management is a nice touch. Bezels are minimal, about 0.4 inches (1cm), and the 2500R curve is just enough to eliminate any off-axis color shift at the edges when you're sitting right in the middle of the screen.

In terms of controls, there's only a power button and a joystick, the latter of which you press to access both the quick-access menus and the full settings of your display. The full menu is extensive, but the quick-access menus are all you'll need most of the time. That includes Brightness/Contrast, Input, Volume, Preset Color Modes, and the Picture-in-Picture (PIP) and Picture-by-Picture (PBP) modes that are available only when you have two devices connected at the same time.

The U4021QW includes a USB-A and USB-C port on the bottom of the monitor, allowing you to charge small electronics like headphones or a smartphone.

Speaking of connectivity, the monitor comes with plenty of ports to suit whatever laptop or desktop you'd like to hook up. There are two HDMI 2.0 ports, one DisplayPort 1.4, one Thunderbolt 3 USB Type-C with 90W power delivery, an Ethernet port, a headphone jack, and a USB Type-B upstream port that powers four USB Type-A ports and one USB Type-C downstream, all of which can transfer data at 10Gbps. Two of these ports -- the USB Type-C downstream and one of those USB Type-A ports -- are found under the display for easy access, and these two ports also feature power delivery.

It's worth mentioning the built-in dual 9W speakers, which were surprisingly powerful and a nice touch for users who don't have a set of monitors or computer speakers handy. They certainly made the built-in speaker on my Mac mini sound like trash, which it is, although they obviously can't compete with even a cheap set of proper desktop speakers.

Overall, the Dell U4021QW delivered all of the features that I want from a monitor like this. The main things I look for are Thunderbolt connectivity so that I can use a single cable for audio/video/data, sufficient power delivery to charge most laptops (90W is plenty), and a few easy-access convenience ports when I need to plug in a phone or charge my wireless keyboard and mouse. The Dell delivers all of this and more, wrapped up in classic Dell styling that really hasn't changed much over the past several years.

If you like Dell's monitors, you'll like this one. If you hate them, Dell hasn't given you any compelling reason to like the U4021QW's design and build quality any better.

Gamut Coverage and Uniformity

In our testing, the Dell U4021QW managed to cover 95% of DCI-P3 (left) and 88.5% of AdobeRGB (right).

When it came time to test the Dell's color accuracy, I came in with a healthy dose of skepticism. Unless you're going to use a direct backlight and charge an exorbitant amount for special in-monitor sensors that can help with uniformity (see our NEC PA311D review), it's very difficult to evenly illuminate this much screen. The distance from the corner of the screen to the center is approximately 20-inches, and I suspected that uniformity would be an issue.

Spoiler: I was right.

But first, let's talk color accuracy and gamut coverage. While the Dell U4021QW does NOT have a built-in LUT or any support for hardware calibration, it does allow you to adjust the Gain and Offset of your RGB primaries, as well as the Hue and Saturation in six axes: Red, Green, Blue, Cyan, Yellow, and Magenta.

This turned out to be necessary because none of the presets were particularly good out of the box. In order to get my white point to D65, I had to switch the monitor to "Custom Color," turn down the gain on the Green channel to 95% and give up a little bit of overall brightness. Once I did, the monitor performed admirably, clocking in 99.9% coverage of sRGB, 95% coverage of DCI-P3, and 88.5% coverage of AdobeRGB, at a Delta E 2000 of just 1.23.

That's solid coverage at an excellent Delta E, but you'll remember that Dell claims 98% DCI-P3 coverage, so it was a little bit disappointing to see the monitor fall short of the spec sheet. We've asked Dell why this might be, and will update the review if and when we hear back. Until then, we'll just assume it's a matter of variation from panel to panel. The colorimeter I used, an i1Display Pro Plus (that was recently rebranded…), is the same we've used to evaluate every other display reviewed on PetaPixel to date, so we have no reason to believe it's gone wonky now.

Still, a few percentage points here or there are within a reasonable margin of error, and we were very happy with the monitor's Delta E.

What was less impressive was the uniformity, which is indeed an issue as expected with a panel this size. When we ran our 9 x 5 patch test in DisplayCAL, the monitor failed "Nominal" tolerance on 9 of the 44 patches (the center patch is used for reference), with most of the bad patches appearing on the left-hand side of the display. It only passed "Recommended" tolerance on 10 of the patches, leaving us with 25 patches that only passed "Nominal" tolerance.

From the results below, you can see that we're mostly fading in brightness as we move up and out to the edges of the display (click to open the full resolution image), which makes me think this monitor might be edge-lit from the bottom, but that's pure speculation:

This kind of uniformity (or lack thereof) is pretty normal for monitors that don't explicitly correct for it with some sort of built-in sensor, but it's unfortunate when you're dealing with such a nice panel. True 10-bit monitors (as opposed to 8-bit + FRC) are still somewhat rare under $2,000, and we've never seen a 40-inch, 21:9 ultra-wide option.

Ultimately, we'd classify the Dell U4021QW's color performance as "enthusiast-grade," with sufficient color accuracy, color depth, and gamut coverage to satisfy most photo and video editors. But for creative professionals looking for an ultra-wide with true professional-grade performance, Dell hasn't quite cracked it. You'll have to wait a little while longer.

Best in Its Class, But Could Still Be Better

My thoughts on the Dell U4021QW are similar to my thoughts on the M1 iPad we reviewed a couple of months ago. The best iPad is still an iPad, and the best ultra-wide monitor is still an ultra-wide monitor, with all the challenges inherent to that form factor.

There's a reason why most ultra-wide displays focus on productivity and not color performance.

Let's be clear: the Dell U4021QW is a phenomenal ultra-wide. It is one of the best on the market and the premiere ultra-wide monitor for photo editing thanks to its dynamite combination of size, aspect ratio, resolution, color accuracy, and gamut coverage. But it falls short of the performance of smaller, more focused "creator" monitors that don't have quite so much screen with which to contend.

Pros

  • True 10-bit panel
  • 5K2K resolution makes 21:9 aspect ratio far more usable
  • 95% DCI-P3 and 99.9%% sRGB coverage is good enough for the vast majority of people
  • Good color control through on-screen menus
  • Single-cable connectivity through USB-C with 90W power delivery
  • Extra ports under the display are super convenient
  • Good built-in speakers
  • Relatively affordable ($1,700) for what you get

Cons

  • Gamut coverage falls slightly short of manufacturer claims
  • Uniformity is poor at the edges
  • No support for hardware calibration
  • Peak brightness is not suitable for HDR workflows

The cons list is quite short, but the few things that the Dell U4021QW misses are going to be particularly important to you all: top-shelf gamut coverage, good uniformity, and support for hardware calibration are all important features that photo and video editors look for in their displays. The Dell mostly checks the first box, but misses the second and third entirely.

That puts serious enthusiasts in a tight spot, where they need to decide what they would prefer. Do you want to prioritize the seamless productivity experience of an ultra-wide and content yourself with color performance that is good enough, but not excellent, or would you rather spend a little more to purchase two [ultra-accurate 4K monitors](https://www.adorama.com/as02ccb023b0.html?kbid=67085” rel=“norewrite sponsored”) and set them side-by-side? There is no obvious right answer, just the right answer for you.

Are There Alternatives?

As I said at the top, the Dell U4021QW is quite literally "one of a kind." There are other ultra-wide monitors out there, there are even color-accurate ultra-wide monitors that are aimed at creatives, but none match Dell's combination of size, resolution, color depth, and color accuracy. The closest you'll get is a 34-inch 5K2K ultra-wide with similar color accuracy out of a cheaper 8-bit + FRC panel, like the [MSI Prestige PS341WU](https://www.adorama.com/msipps341wu.html?kbid=67085” rel=“norewrite sponsored”).

The question, then, is not: "is there a better ultra-wide for photo editing?" There isn't. The correct question, therefore, is: "what could I buy instead?"

If you're willing to spend more, you can outperform the Dell in terms of both resolution and color accuracy by picking up two 27-inch or 32-inch 4K monitors. Both the [ASUS ProArt PA329C](https://www.adorama.com/as02ccb023b0.html?kbid=67085” rel=“norewrite sponsored”) and Dell's own UP2720Q feature 10-bit panels, AdobeRGB coverage over 98%, support for hardware calibration and, if you go with the Dell, you even get a built-in colorimeter.

To save a bit of money, prioritize color over resolution and pick up two 27-inch QHD (2K resolution) color-accurate monitors. [BenQ's SW270C](https://www.adorama.com/bqsw270c.html?kbid=67085” rel=“norewrite sponsored”) is a popular choice, or you could try to pick up a couple of used [NEC MultiSync PA271Q](https://www.adorama.com/us1197360.html?kbid=67085” rel=“norewrite sponsored”)'s, which are available for a steal at $750.

Should You Buy It?

As usual, the answer isn't a clear-cut "yes" or "no." There is nuance to consider.

If you are an enthusiast who wants to trade in a dual-monitor setup for an ultra-wide that will offer you enough resolution and color accuracy to make that switch worthwhile, I can wholeheartedly recommend the Dell U4021QW. At 40-inches with a 5K2K 10-bit panel with 95% coverage of DCI-P3, it can tackle all but the most demanding color-critical workflows. For me, it's been a productivity dream, and I'm not looking forward to sending it back.

However, if you're a professional whose livelihood quite literally revolves around color accuracy or you're looking to invest in a monitor for HDR video editing, look elsewhere.

For less money, you can pick up a 32-inch monitor with a 4K 10-bit panel that will offer better overall gamut coverage, better uniformity, and other key features like hardware calibration or even a built-in colorimeter. These are not an absolute necessity for all users, but pros looking to spend over $1,500 on a high-end photo and video editing monitor can expect (and should demand) them.

#equipment #reviews #10bit #adobergb #coloraccuracy #dcip3 #dell #dellu4021qw #dellultrawide #display #monitor #monitorreview #panel #photoediting #postprocessing #postproduction #productivity #srgb #ultrawidemonitor #videoediting

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petapixel (unofficial)petapixel@ծմակուտ.հայ
2021-04-21

Kandao’s Obsidian Pro 12K 360 Camera is Loaded with 8 APS-C Sensors

Kandao is going all-in on high-quality, VR-ready, 360-degree video with its newly-announced Obsidian Pro. The company is calling it the "world's-first cinematic 360-degree camera with 8 APS-C sensors" to offer 24 million pixels of high-resolution 12K capture.

As noted by Fstoppers, Kandao announced the camera on April 15 and says it can capture 12K by 12K video at up to 30 frames per second in 12-bit RAW (DNG8) or 10-bit All-I 4:2:2. Instead of each of the eight cameras needing its own storage system, the Kandao is able to send all the footage to what it describes as an 8-in-1 SSD that comes in 4, 8, and 16 terabyte configurations. For reference, a 16TB SSD can hold up to 90 minutes of RAW video and 100 minutes of All-I footage.

The Obsidian Pro camera weighs 11,160 grams (~24.6 pounds) and has a build size of 369.2 × 369.2 × 236.8mm (~14.5 x 14.5 x 9.3 inches).

Each of the 8 cameras offers 130 degrees of horizontal field of view and 195 degrees of vertical field of view. When overlapped, the eigh-lens structure "ensures that every single angle can be covered by three lenses so that capturing cover can reach 300%." Each lens array is constructed of 14 elements in 10 groups with a triplet of achromatic lenses and 18 layers of anti-reflective coating.

The Obsidian Pro also has a built-in "nine-axis gyroscope" that the company promises to precisely synchronize and achieve "excellent image stability" and eliminated rolling shutter.

The large APS-C sensors are a significant upgrade from the Micro Four Thirds sensors available in the next closest competitor, the Insta360 Titan. With them, Kandao says each of the 8 cameras has 14 stops of dynamic range. The company also claims that it is the first panoramic camera that is equipped with lenses that have adjustable apertures from f/2.8 to f/16. As such, it has up to 16 stops of adjustable exposure that Kandao says will allow for precise control of depth of field and for creative motion blur capture.

The camera also offers adjustable electronic focus control between "near" and "normal" as the two options:

Near Normal

The camera can be controlled both from the Kandao Obsidian Pro App or via the LCD touchscreen located on the Obsidian Pro device itself. It supports 10-gigabit ethernet as well as Wi-Fi 6 and Bluetooth 5 and also comes equipped with a built-in GPS module.

For audio, the Obsidian Pro has a standard 3.5mm audio input as well as a USB audio device input on top of its built-in omnidirectional microphones to realize full directional sound around the camera array. The camera system can be powered by a wall outlet or with a V-mount battery using a battery power supply module.

Currently, all models of the Obsidian Pro camera are on backorder, but the "Standard" version retails for $24,500 which does not appear to come with an SSD. Adding a 4TB SSD increases the price to $26,700, and currently the 8TB version comes with a free upgrade to 16TB for $29,000. When the free upgrade is no longer available, the 16TB version will cost $35,000. Those prices include shipping cost and shipping insurance, but does not cover VAT or customs expenses.

#equipment #news #10bit #12bitraw #12kcamera #360camera #360degree #360degreecamera #alli10bit #apsc #cinematic #kandao #kandaoobsidianpro #rawvideo #virtualreality #vrcamera

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heise online (inoffiziell)heiseonline@squeet.me
2017-10-24
Der AOC Q3279VWF zeigt 1,07 Milliarden Farben, bietet eine große Bildfläche und eine laut AOC gute Blickwinkelstabilität. www.heise.de/newsticker/meldun #10Bit #AoC #Bildschirm #Computermonitor #Display #MVA #Monitor #WQHD
heise online (inoffiziell)heiseonline@squeet.me
2017-09-08

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