RSS
 

Posts Tagged ‘Similar’

Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

10 Jan

Battle of the high-res mirrorless IS systems

Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).

Nikon Z7 vs a7R III IS test results:

24mm 55mm 200mm
Nikon Z7 2.3-stops 4-stops 4-stops
Sony a7 R III 2.6-stops 3.3-stops 4.6-stops

These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.

How we test and why

Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.

We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:

Excellent Some softness
Noticeable blur Unusable

1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible

After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.

Our results compared to CIPA

CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.

Nikon results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.

At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.

With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.

At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.

Sony results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.

At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).

At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.

Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

Posted in Uncategorized

 

Nikon Z6’s 4K video footage outshines Z7’s, is similar to Sony a7 III’s

15 Nov

You can download our sample video right here.

The Nikon Z6 is a supremely capable video camera that comes with a 24MP full-frame sensor and captures oversampled 4K footage with no crop. It can also shoot 1080/120p footage for slow motion clips. The above sample footage was all shot hand-held with in-body IS turned on using the Auto AF area mode and Fulltime autofocus (AF-F).

Clips were recorded in-camera using Nikon’s Flat Picture profile. While not quite as workable as 10-bit N-log footage available over HDMI, a little time spent tweaking Flat Picture footage can lead to very nice results. This footage was edited in Final Cut 10.4.

Video still

Below please find our video still for comparing the Z6’s various video modes to those of its peers, including its most direct competitor, the Sony a7 III.

$ (document).ready(function() { ImageComparisonWidget({“containerId”:”reviewImageComparisonWidget-53236343″,”widgetId”:644,”initialStateId”:null}) })

4K

The Z6 and a7 III are taking different approaches to their oversampled 4K output with the Sony doing a better job capturing fine detail$ (document).ready(function() { $ (“#icl-4310-731235669”).click(function() { ImageComparisonWidgetLink(4310); }); }). The Z6 on the other hand looks to be using larger-radius sharpening$ (document).ready(function() { $ (“#icl-4311–410966151”).click(function() { ImageComparisonWidgetLink(4311); }); }) (by default) which results in a punchier look$ (document).ready(function() { $ (“#icl-4312-553981737”).click(function() { ImageComparisonWidgetLink(4312); }); }) out of camera. As expected, the Z6’s full-frame 4K looks better than the Z7’s full-frame 4K$ (document).ready(function() { $ (“#icl-4309-910283880”).click(function() { ImageComparisonWidgetLink(4309); }); }), which doesn’t use all its pixel rows, reducing both resolution and low-light performance.

The Z6’s cropped 4K$ (document).ready(function() { $ (“#icl-4319-1546915030”).click(function() { ImageComparisonWidgetLink(4319); }); }) also appears to use larger-radius sharpening than the Sony’s and looks similar (but still slightly better) when compared to the Z7’s$ (document).ready(function() { $ (“#icl-4313–2140375960”).click(function() { ImageComparisonWidgetLink(4313); }); }). Interestingly the Z6’s 4K full-frame footage looks very similar$ (document).ready(function() { $ (“#icl-4314–395951683”).click(function() { ImageComparisonWidgetLink(4314); }); }) to its 4K APS-C cropped footage. There may be a bit of a noise penalty $ (document).ready(function() { $ (“#icl-4315-911523642”).click(function() { ImageComparisonWidgetLink(4315); }); }) using the later, but detail is broadly similar.

1080p

The Z6’s full-frame 1080/24p looks better both than the Z7’s full-frame 1080/24p$ (document).ready(function() { $ (“#icl-4316–282793192”).click(function() { ImageComparisonWidgetLink(4316); }); }) and than the a7 III’s 1080/24p$ (document).ready(function() { $ (“#icl-4317–2139838496”).click(function() { ImageComparisonWidgetLink(4317); }); }). As a whole, the Z6’s HD footage has much more sharpening applied than the a7 III’s, but it doesn’t necessarily show much more tangible detail. This is also the case when comparing the Z6’s 1080/120p$ (document).ready(function() { $ (“#icl-4318–805046091”).click(function() { ImageComparisonWidgetLink(4318); }); }) to the a7 III’s.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Z6’s 4K video footage outshines Z7’s, is similar to Sony a7 III’s

Posted in Uncategorized

 

Terrapattern: Satellite Image Search Engine Matches Similar Places

31 May

terrapattern shipyard

A powerful tool for artists, designers and researchers, Terrapattern lets users seek out similar-looking locations from an aerial perspective, finding connections and patterns between disparate landscapes and built environments.

terrapattern culs de sac

The premise is simple: start with a single place, be it a park or street, stadium or shipyard, then let the tool work its magic. The results are uncanny: colors, textures and shapes tied together by computer vision and clever algorithms. The broader use cases are infinite, but specific ones are possible too, like: a user could look for abandoned ships floating around the island of Manhattan.

terrapattern abandoned ships

The system works by looking at its subjects in layers, looking for identifying features like curves, edges and shadows that indicate height. In a way, its task is similar than some pattern recognition software since it is not called upon to identify the subject, just match it.

terrapattern street grids

“For our purposes,” explain the creators, “‘interesting’ features are anthropogenic or natural phenomena that are not only socially or scientifically meaningful, but also visually distinctive—thus lending themselves ideally to machine recognition. Examples could include things like animal herds, methane blowholes, factories, destroyed homes, or logging roads. Many other patterns await discovery.”

terrapattern buses

The system draws on data from OpenStreetMap, combing through hundreds of thousands of images looking for something like whatever you submitted. Researchers can use tools like this to monitor natural habitats or make archaeological finds, but ordinary people can employ this tool to create art or make inquiries about the cities they live in. Even a quick tour around the engine reveals emergent macro-patterns from individual tiles, some worthy of wall art treatment.

terrapattern golf courses

Terrapattern’s creators are indeed excited for more non-standard and unexpected uses: “Terrapattern is ideal for discovering, locating and labeling typologies that aren’t customarily indicated on maps. These might include ephemeral or temporally-contingent features (such as vehicles or construction sites), or the sorts of banal infrastructure (like fracking wells or smokestacks) that only appear on specialist blueprints, if they appear at all.”


WebUrbanist

 
Comments Off on Terrapattern: Satellite Image Search Engine Matches Similar Places

Posted in Creativity

 

Similar, but not copied, image found to breach copyright

25 Jan

Routemaster.jpg

Amateur Photographer magazine has published an interesting story about a copyright infringement case of similar, but not directly copied, images. The issue of copyright is thorny, contentious and often misunderstood but this case sheds some light on the current attitude of courts in the UK. Despite significant differences between the two images (there was no implication that the second image was a duplicate of the first), the court found that the second image copied substantially from the ‘creative expression’ of the first (that is the elements that can be protected by copyright in the original image, including a consideration of the composition, lighting and processing of the image).

News: Digital Photography Review (dpreview.com)

 
Comments Off on Similar, but not copied, image found to breach copyright

Posted in Uncategorized