In some sensors, the photosensitive area is recessed slightly, at the bottom of a depression. Non-telecentric lenses can require optical correction to satisfy sensors (Courtesy MTF Services). It can be considerably more objectionable on digital sensors, mainly because the physical construction can exacerbate the sensitivity of the sensor to non-perpendicular light. The various colour-sensitive layers were stacked up and have a finite thickness, but any microscopic misalignment due to that generally wasn't objectionable. This wasn't much of a problem on film in the days when these older lenses were developed. Certain types of lens, particularly old ones, may not be image-space telecentric that is, the rays of light don't all come out of the lens in parallel. Experienced people, on seeing these images, will tend toward what seems to be the correct conclusion: that there's an interaction between certain types of lenses and the sensor in the 4.6K camera. It's easy to find images from this camera which show magenta fringing in the corners of the frame. With well-established standards for grip equipment. 4.6K fringing explained The Ursa Mini's shoulder kit provides for superb ergonomics and compatibility There's every reason to believe that similar things are happening again with regard to Blackmagic's Ursa Mini 4.6K. The point is, though, that the issue was being discussed in terms massively in excess of its real import. The speed with which the updates were made available suggests that they had been underway for some time before the furore began. Perhaps Sony would have altered this behaviour anyway. A 100% crop of a 4K frame from the FS5 showing a comparison between V1.10 and 1.11 firmware. Noise reduction and compression create artifacts. The word "taste" is crucial: while the codec setup could occasionally produce banding in the graduated skies, for instance, it was a choice and not a fault. Additionally, the setup of the codec, which in some circumstances prioritised retention of detail over the avoidance of compression artifacts, was not to everyone's taste. At very high gain settings, provoking a lot of noise, there could be noticeable noise-reduction artifacts.
A survey of internet opinion might have suggested serious problems with noise handling, but in reality it there was nothing fundamentally wrong with the camera. We discussed this once a few months ago (at the time of original publication in 2017) with respect to the changes made to the codec and noise reduction settings on the Sony FS5.
It's also the reason that online debates about camera equipment, particularly perceived faults, can become so polarised, so quickly. This is the somewhat dubious motivation that can cause people to become so amazingly attached to the products of one particular manufacturer, whether it's cinema cameras or tomato soup. Politics and religion are the most well-known "avoid" subjects, of course, but it's amazing how touchy people can get when they've just made, say, a major investment in camera equipment. While most people are completely familiar with this maxim, there's a number of ways in which the public resistance to online balderdash is easily weakened. Replay: Opinions about new cameras vary, and sometimes percieved "faults" aren't faults at all.ĭon't believe everything you hear on the internet.
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