Luminous Landscape Forum
Equipment & Techniques => Mirrorless Cameras => Topic started by: capital on February 05, 2015, 02:21:28 am
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In reference to Imaging Resource's samples, looking over the JPEG images of the multi-shot version (i.e. pixel shift), and comparing them to the Pentax 465D, it is remarkable how good this technology comes across. Apparently there is no color moire from this pixel shift tech, at least on the "Samuel Smith" green label which the D800E, D645 and Z645 all glitch on. I am curious to see some real world examples, especially foliage on trees, as this pixel shift tech is most likely going to let down here unless there is a dead calm.
One other question, did Olympus do the right thing by up sampling pixel shifted outputs as opposed to providing a true color native resolution raw file? (At least that's what it appears that they doing).
http://www.imaging-resource.com/PRODS/olympus-e-m5-ii/olympus-e-m5-iiA.HTM
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One other question, did Olympus do the right thing by up sampling pixel shifted outputs as opposed to providing a true color native resolution raw file? (At least that's what it appears that they doing).
http://blog.lexa.ru/2015/02/05/pro_olympus_e_m5_2_i_ee_63_megapikselya.html
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Never saw how this shifting sensor technologies works, I'm assuming this only works with static subjects, right?
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Never saw how this shifting sensor technologies works, I'm assuming this only works with static subjects, right?
If you watch The Camera Store's video, https://www.youtube.com/watch?v=0uQKYgQaNHQ (https://www.youtube.com/watch?v=0uQKYgQaNHQ), he shoots one of the city skyline. You can see motion blur in the heat exchangers, but it looks like Olympus did a fairly decent job of just making it look like motion blur, not weird artifacts.
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If you watch The Camera Store's video, https://www.youtube.com/watch?v=0uQKYgQaNHQ (https://www.youtube.com/watch?v=0uQKYgQaNHQ), he shoots one of the city skyline. You can see motion blur in the heat exchangers, but it looks like Olympus did a fairly decent job of just making it look like motion blur, not weird artifacts.
Many thanks for the link (I think I should subscribe to the camera store feed), I can not watch it now, but later today I will take a look...
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Interesting those tests at imaging-resource comparing it to the sharpness (and moiré) queens: the Nikon D810 and Sony A7R.
All three are native camera JPEG, downsampled from 40Mpx to obtain a similar output size in the case of the EM-5. Although the Olympus keeps up as good as the best of the others in sharpness (even after the image has been resampled twice, one in camera and then by the imaging-resource guys), it's the only one that manages to avoid moiré. It seems clear that although it has no AA filter, oversampling with photosites that overlap by 1/2 pixel act as an excellent AA filter. Can't wait to see the RAW files:
(http://www.guillermoluijk.com/misc/oly.png)
(http://www.guillermoluijk.com/misc/nikon.png)
(http://www.guillermoluijk.com/misc/sony.png)
Source: Olympus E-M5 II Review (http://www.imaging-resource.com/PRODS/olympus-e-m5-ii/olympus-e-m5-iiA.HTM) at imaging-resource.
Very important to find out if this mode can be used in applications that involve slight dynamism such as landscape, is to know how it behaves with moving subjects. A RAW file built from shifted captures could be prone to all kind of colour artifacts. From a test by Valentin Sama it seems that this mode handles very well subject motion, close to conventional motion blur:
Source: Olympus O-MD E-M5 MkII – Prueba de Campo (http://www.dslrmagazine.com/pruebas/pruebas-de-campo/olympus-o-md-e-m5-mkii-prueba-de-campo.html).
(http://www.guillermoluijk.com/misc/pajaro.jpg)
100% JPEG crop
(http://www.guillermoluijk.com/misc/pajaro2.jpg)
Regards
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Seems to me the E-M5ii will make a killer digitizer for film and other relatively flat subject matter. I can see getting one specifically to re-archive my & my dad's transparencies & negatives. I'm impressed by the improvement in tonal gradation & reduction of aliasing artifacts in the 40mp examples I've seen so far. For general use I have no more interest in the multi-shot mode than in stitching or HDR stuff with existing cameras—which is to say some interest, not much—but I expect other folks will put it to good use.
Good to see a fully articulated rear screen too. A pity Olympus can't bring themselves to really beef up video capability…but maybe Panasonic has some say in that.
-Dave-
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No words:
(http://www.guillermoluijk.com/misc/em5iivsd810.jpg)
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A test to fix artifacts in moving objects: since the artifacts have exactly 1 pixel width (they are like diagonal lines), downscaling to 50% and back to the original size through 200% upscaling provides a soft image artifact-free that can easily replace the affected areas using a layer mask:
(http://www.guillermoluijk.com/misc/anti_artefactos.gif)
I wonder if doing such corrections is needed with fluids like water, smoke, clouds,... (soft shapes in uniform colours).
Regards
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Olympus Malaysia employee review = http://robinwong.blogspot.com/
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I'm impressed by the improvement in tonal gradation
Olympus EM5mkII it seems is using rolling electronic shutter in multishot mode, if it is the same panasonic sensor as in GH4/EM1 then it is 10bit raw = http://www.semicon.panasonic.co.jp/ds8/c3/IS00006AE.pdf
Electronic shutter (Full scan) = Full scan 10bit mode (22.5 fps) 1/22.5s~1/81300s (1/81300s step)
now firmware might present it differently, but
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Thank you Guillermo for showing this example, if there was a algorithm to detect this issue and minimize it, it would be better than trying to despot our own photos a myriad times over. Some photo editing is fun, this may become a bit tedious.
A test to fix artifacts in moving objects: since the artifacts have exactly 1 pixel width (they are like diagonal lines), downscaling to 50% and back to the original size through 200% upscaling provides a soft image artifact-free that can easily replace the affected areas using a layer mask:
(http://www.guillermoluijk.com/misc/anti_artefactos.gif)
I wonder if doing such corrections is needed with fluids like water, smoke, clouds,... (soft shapes in uniform colours).
Regards
Imaging Resource also added a blurb about native 64 MP raw files accessible via a Photoshop plugin. Though there is still no mention of why it is better to not offer a true color 16 MP raw file, and allow people the option to upscale if they so choose. After reflecting on it further, since they have half pixel steps too, the file no longer is a native 16 MP dimension, instead it inserts those half pixels on each side of the pixels, so you get double the pixels on each dimension? i.e. 16 MP x 2^2 = 64 MP.
Actually, this thought gets me thinking, why don't they also have a mode that just does true color 16 MP? They could reduce the capture time down to just two x and y shift cycles
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Olympus EM5mkII it seems is using rolling electronic shutter in multishot mode, if it is the same panasonic sensor as in GH4/EM1 then it is 10bit raw = http://www.semicon.panasonic.co.jp/ds8/c3/IS00006AE.pdf
What I was getting at was the lack of aliasing-induced tonal contamination in the E-M5ii samples. This isn't "gradation" in the sense of quantized dynamic range, but it's a disruption of tonality you can definitely see.
-Dave-
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... Though there is still no mention of why it is better to not offer a true color 16 MP raw file, and allow people the option to upscale if they so choose.
It seem that a 16MP raw is also there, in a new ".ORI" file format (to have three color values per location?); the Olympus America press release (http://www.olympusamerica.com/corporate/corp_presscenter_headline.asp?pressNo=1016) says:
"When shooting in RAW+JPEG mode, the camera will save a 40M JPEG file, a 64M RAW (ORF) file and a 16M RAW (ORI) file. 64M RAW images may be processed using Photoshop CS4 and later with a required plug-in."
... why don't they also have a mode that just does true color 16 MP? They could reduce the capture time down to just two x and y shift cycles.
Yes, the might be an interesting option ... and could probably be done with a firmware update, if enough people ask for it.
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I think I will have to watch careful this camera, I was thinking to get something light for street photography (I tested the E-M1, lovely camera... ), but this could also work in some situations like a great landscape camera (in situations where you have no motion, I suppose waves in a beach will cause very strange patterns, or long exposures where you want grass moving or so on...)
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Seems to me the E-M5ii will make a killer digitizer for film and other relatively flat subject matter. I can see getting one specifically to re-archive my & my dad's transparencies & negatives. I'm impressed by the improvement in tonal gradation & reduction of aliasing artifacts in the 40mp examples I've seen so far. For general use I have no more interest in the multi-shot mode than in stitching or HDR stuff with existing cameras—which is to say some interest, not much—but I expect other folks will put it to good use.
Good to see a fully articulated rear screen too. A pity Olympus can't bring themselves to really beef up video capability…but maybe Panasonic has some say in that.
-Dave-
Plus the Oly 60mm macro is reputed to be wickedly sharp....
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Can anyone comment on this naive idea for handling subject motion is some parts of the scene (leafs, clouds), when the main subject is still:
1) Detect regions of unacceptable subject motion by comparison between the eight frames.
2) Blend between two versions (a) the high res composite and (b) the 16MP first frame:
use the former where there are no subject motion problems, but blending towards the latter where needed.
Maybe this would have to be a manual fix, but for extra points, some slick software automation would be nice.
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Can anyone comment on this naive idea for handling subject motion is some parts of the scene (leafs, clouds), when the main subject is still:
1) Detect regions of unacceptable subject motion by comparison between the eight frames.
2) Blend between two versions (a) the high res composite and (b) the 16MP first frame:
use the former where there are no subject motion problems, but blending towards the latter where needed.
Maybe this would have to be a manual fix, but for extra points, some slick software automation would be nice.
There was someone on a thread somewhere (maybe here?) who mentioned this is basically what they do with the Hasselblad MS backs. In essence, it has the same technical challenge.
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Can anyone comment on this naive idea for handling subject motion is some parts of the scene (leafs, clouds), when the main subject is still:
1) Detect regions of unacceptable subject motion by comparison between the eight frames.
2) Blend between two versions (a) the high res composite and (b) the 16MP first frame:
use the former where there are no subject motion problems, but blending towards the latter where needed.
Maybe this would have to be a manual fix, but for extra points, some slick software automation would be nice.
BJL, It is a good idea, I could see its implementation, though the reality is if only one consumer camera uses it, a la Foveon, then the likelihood of a commercial product that addresses this computational photography homework problem diminishes. As an aside, Guillermo mentioned above about a quick method: down scale, upscale and then blend as needed.
It would be of interest if Olympus will allow the export of any of the 8 individual 16 MP subsamples as a raw file.
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Can anyone comment on this naive idea for handling subject motion is some parts of the scene (leafs, clouds), when the main subject is still:
1) Detect regions of unacceptable subject motion by comparison between the eight frames.
2) Blend between two versions (a) the high res composite and (b) the 16MP first frame:
use the former where there are no subject motion problems, but blending towards the latter where needed.
Maybe this would have to be a manual fix, but for extra points, some slick software automation would be nice.
It's exactly what I had in mind when I did the manual correction over Dpreview's cars: detect moving areas by frame to frame comparision, and build the output image/RAW file differently for the two cases. But this should be fixed in firmware since there is no access to the eight single captures.
Regards
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Re-thinking about the new multishot mode, which blends 8 shots into a single output RAW in a rather complicated way prone to artifacts when moving subjects appear on the scene, I really wonder now why Olympus (or any other camera maker) doesn't implement a genuine HDR mode, i.e. multishot with diffent exposure levels ending in a single output RAW file with enhanced DR.
I thought this had never been done because camera makers didn't want to take risks in producing RAW files containing artifacts that could provoque criticism from users who didn't understand the limitations of the multishot concept. With this enhanced resolution multishot they make it clear this was not the problem.
ZERO NOISE VIRTUAL RAW (http://www.guillermoluijk.com/article/virtualraw/index_en.htm)
Regards
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Re-thinking about the new multishot mode, which blends 8 shots into a single output RAW in a rather complicated way prone to artifacts when moving subjects appear on the scene, I really wonder now why Olympus (or any other camera maker) doesn't implement a genuine HDR mode, i.e. multishot with diffent exposure levels ending in a single output RAW file with enhanced DR.
Hi Guillermo,
I've also been wondering about that for years already. Even just using multiple read-outs (which are non-destructive on CMOS devices) from the same capture, would allow to average and reduce random (read)noise, and thereby improve the S/N ratio. Combining that with different exposures (with the risk of subject movement) would also allow to improve the shot noise performance. Averaging 4 read-outs would cut read noise in half, and each quadrupling of the exposure would cut shot noise in half.
Cheers,
Bart
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It would be of interest if Olympus will allow the export of any of the 8 individual 16 MP subsamples as a raw file.
I think you can export not only the 8 indivudal files but also a combined 'raw' file.
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Shoot in multi-shot mode first, then shoot a single shot. In post, you can paint out the artifacts on the top layer mask to reveal the single shot image below. That is how to workaround artifact issues. Multi-shot photography isn't a big deal once you "get it."
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This is an interesting overview:
http://robinwong.blogspot.co.uk/2015/02/olympus-om-d-e-m5-mark-ii-review_10.html
Contrary to my earlier post "You do NOT get to keep all the indvidual images, you get either 40MP JPEG or 64MP RAW (or both), with a backup of first frame of 16MP RAW if high resolution shot is used. "
It is impossible (in practice) to use the 40MP for portraits - which makes me wonder in what circumstancs it will be useful in practice.
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This is an interesting overview:
http://robinwong.blogspot.co.uk/2015/02/olympus-om-d-e-m5-mark-ii-review_10.html
Contrary to my earlier post "You do NOT get to keep all the indvidual images, you get either 40MP JPEG or 64MP RAW (or both), with a backup of first frame of 16MP RAW if high resolution shot is used. "
It is impossible (in practice) to use the 40MP for portraits - which makes me wonder in what circumstancs it will be useful in practice.
My ideas: Still Lifes (studio or other), Architecture, and landscapes with long shutter speeds. In all honesty, I see lots of use for the feature in the ways I currently shoot.
And an area that is a little less common, but one I have, duplicating negatives/slides.
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This is what artifacts can look like in a moving seascape:
(http://www.guillermoluijk.com/misc/em2_artifacts_large.png)
200% crop:
(http://www.guillermoluijk.com/misc/em2_artifacts.png)
Picture by diegogm.es (http://www.diegogm.es/)
Since artifacts always seem to follow a pattern in diagonal lines, I don't think it must be difficult to write a routine to automate the correction in those areas by using the 16Mpx shot upscaled to 64Mpx, or simply blur the image with 1 pixel radius.
Regards
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Hello,
Is this shot with the new EM5II using multishot? Would you be willing to make a full resolution file available for download?
Many thanks, Neil
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This is what artifacts can look like in a moving seascape:
Thank you again for the links to these images, Guillermo.
In some ways this jagged effect reminds me of heavily compressed JPEG artifacts, of course the multi shot effect isn't due to the jpeg rendering.
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Hello,
Is this shot with the new EM5II using multishot? Would you be willing to make a full resolution file available for download?
Many thanks, Neil
It is the 40Mpx JPEG
http://dl.dropboxusercontent.com/u/12069587/Foros/_1140051.JPG
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It is the 40Mpx JPEG
http://dl.dropboxusercontent.com/u/12069587/Foros/_1140051.JPG
Thanks for the link and the test shot!
So, I did a quick bit of experimenting, and since the vertical lines appear to be about one pixel, you can downsize it by 50% and the artifacts completely disappear. And with how high a quality that 50% is, you could probably print it very large. So, just think of the 40MP as super-sampling and downsize, and you still have some incredible imagery.
Just my 2 cents though.
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So my math is a little funny, 50% downsizing creates a 10MP image. Hmmm..... maybe not as impressive as I thought. That said, I am also having good luck with another technique on your image. But, it isn't without it's drawbacks, and a very manual process.
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Replacing affected areas shouldn't de an issue since they are moving parts, so a blurred version should suffice.
The interesting part is to automate the detection of the zones to be fixed. On individual RAW data (i.e. firmware) this should be quite easy just by detecting changes. On the blended file (RAW or JPEG) other strategies should apply to correlate with the artifacts.
Regards
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http://robinwong.blogspot.co.uk/2015/02/olympus-om-d-e-m5-mark-ii-review_10.html
"...you get either 40MP JPEG or 64MP RAW (or both), with a backup of first frame of 16MP RAW if high resolution shot is used. "
Robin Wong implies that the 16MP raw that you get along with the 64MP raw and 40MP JPEG files in "raw+JPEG" mode is simply the first frame. That's good news if true, since one can then have the option of using a special "motion effect healing brush" to use that first frame data in parts of the image that are Affected adversely by motion, while keeping the higher resolution elsewhere.
I would still like someone to automate this, based in data analysis to detect motion artifacts!
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Robin Wong implies that the 16MP raw that you get along with the 64MP raw and 40MP JPEG files in "raw+JPEG" mode is simply the first frame. That's good news if true, since one can then have the option of using a special "motion effect healing brush" to use that first frame data in parts of the image that are effected adversely by motion, while keeping the higher resolution elsewhere.
I would still like someone to automate this, based in data analysis to detect motion artifacts!
Wouldn't the difference between 'the upsampled version' and the higher resolution version show the highest modulation in the motion affected regions?
Whether one uses the smaller first exposure companion, or a down-sampled/upsampled (or just properly blurred) version of the full resolution file for the difference is another matter. Technically one could use a properly blurred version of the full resolution result as a difference file, and look for the highest difference amplitudes as most likely regions needing to be addressed.
If the pattern is mostly diagonal, one could make a custom filter to either amplify it or suppress it.
Cheers,
Bart
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My understanding of a jpg is that it is just an array of pixel data. Hypothetically, you could loop through the array and look for patterns in that data (oversimplified version of the actual programming). When you found the matching patterns, you could average the pixel data to make that spot "blurred". That said, I could see patterns, say feathers on a close up of a bird, possibly screwing with this.
However, and maybe it will be baked into the converter for Photoshop, if you have the original images, you should be able to look for the anomalies, then see how they compare to the originals, and if the pattern doesn't exist in the originals, smooth it out in the combined images. Keeping all of these arrays in memory, however, will be very memory intensive.
Of course, this all involves math much beyond my skills.
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CameraLabs has a nice write up explaining the raw files associated with High Res. mode and has some sample photos on a variety of subjects in this mode. The camera outputs a 40mp JPEG because Olympus believes it is not a true 64 MP worth of image data. When you shoot in high res. raw mode the camera delivers the 64 MP raw and an .ORI 16 MP raw image based upon on the first position in the 8 frame shift sequence. Apparently Olympus is down playing this mode and its use cases, so I am unsure if they will natively support corrections needed for the shift aliasing.
http://www.cameralabs.com/reviews/Olympus_OMD_EM5_Mark_II/
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It appears this is just the first salvo from Oly. Based on this interview I think we can expect further refinements in this hi-res approach. I wonder if we'll see this system adopted for the OMD E-M1?
http://www.dpreview.com/articles/5476551037/interview-with-setsuya-kataoka-from-olympus-om-d-high-resolution-mode
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It appears this is just the first salvo from Oly. Based on this interview I think we can expect further refinements in this hi-res approach. I wonder if we'll see this system adopted for the OMD E-M1?
http://www.dpreview.com/articles/5476551037/interview-with-setsuya-kataoka-from-olympus-om-d-high-resolution-mode
Probably. Rumor is that Pentax is also looking at it for their DSLRs.
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Some thoughts from this multishot sample from focus-numerique.com (http://img1.focus-numerique.com/focus/articles/2150/e-m5-m2-exemple2.jpg):
- Each single shot from the bird is sharp so shutter speed was very quick
- The absence of rolling shutter artifacts makes think the electronic shutter on the E-M5 is also fast enough
- Putting all that together means the delay in re-positioning the sensor for each shot is the place Olympus must be looking for improvement right now to allow multishot handheld
(http://www.guillermoluijk.com/misc/paloma.png)
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I used Hasselblad multishot cameras for fine art repro and table top photography. With the Blad and Sinar multishot setups, the camera must be tethered to a computer. Depending on the setup, it sometimes takes around a minute to capture all of the images.
Multishot files have a few notable advantages: no Bayer pattern interpolation, better micro-contrast, and more accurate color rendering.
Multishot is not just about resolution. Heck, I wish the new Oly would have a feature allowing a 4-shot mode for 16mp files.
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Here's something interesting that we might all be able to test out....
http://petapixel.com/2015/02/21/a-practical-guide-to-creating-superresolution-photos-with-photoshop/
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Here's something interesting that we might all be able to test out....
http://petapixel.com/2015/02/21/a-practical-guide-to-creating-superresolution-photos-with-photoshop/
or you can just use a specialized software like photoacute ( http://www.photoacute.com/ ) to save time & effort instead of DIY
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or you can just use a specialized software like photoacute ( http://www.photoacute.com/ ) to save time & effort instead of DIY
The list of camera/lens profiles is somewhat limiting but if your combinations are there its worth a try.
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Here is an attempt using PhotoAcute3 with my 16 MP Fuji X-T1 to emulate the 40 MP Olympus output from the E-M5 II. Eight shots , fired in a high speed continuous mode burst using the 18-55 kit lens at 55mm, ISO 2000. Images imported into PhotoAcute, processed for "Super Resolution", exported as a 64 MP DNG file to LR and then downsized to a 40 MP JPG to Flickr.
(https://farm9.staticflickr.com/8674/16451371279_5d1997061d_b.jpg)
40 MP Original file (https://www.flickr.com/photos/11615119@N05/16451371279/sizes/l) can be downloaded here.
I think that the Olympus can produce a sharper image with fewer artifacts and certainly much quicker, but PhotoAcute can also produce files suitable for large prints if needed.
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Thanks, Scho. I tried to download the 40 MP file but Flickr said its private.
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Sorry, I think that it is fixed and now designated "public" so anyone can view and download.
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Thanks, Scho! Everything's working now.
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I'm late to this thread, but it looks very interesting for my purposes. Can these techniques be used so that the images are deliberately out of register? In other words, they will look impressionistic or abstract because they are stacked and out of register . Some cameras already do this in-camera, but are all limited to 9 or ten images. From what I have read it should be possible to stack at least 20 images. Does anyone know if this can be done?
JR
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John, you can stack without aligning the individual pics. That should give you the sort of look you're going for. Make sure not to hold your camera too steady. :)
-Dave-
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The very complete full review at Dpreview (http://www.dpreview.com/reviews/olympus-om-d-e-m5-ii/12) provides samples of the expected noise reduction (DR enhancement) for the same output/print size the Hires mode achieves because of statistical averaging:
(http://www.guillermoluijk.com/misc/ruido_multishot.jpg)
4 shots divide noise by 2 with standard averaging, so the noise improvement of the Hires 8-shots must be around log4( 8 )=1,5 stops vs a single 16Mpx shot.
This gets closer to Sony FF sensor's DR and surely outperforms any Canon FF sensor's DR at base ISO. Of course this is nothing one couldn't achieve with any sensor shooting several times and averaging in PP.
Regards
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Of course this is nothing one couldn't achieve with any sensor shooting several times and averaging in PP.
Not so much.
The Olympus method is based on shifting the sensor in a specific pattern. The first four shots shift 1 full pixel each, which allows for better color rendition. It then shifts 0.5 pixels to improve details. Neither a fixed sensor, nor standard techniques in post, will be able to make such precise and predictable shifts.
PhotoAcute is a software post solution that also adds HDR capability. However, results are not consistent, it takes a lot more processing time (using a standard computer), and requires alterations to your workflow. It's also not going to work well if you have to process a large number of images, e.g. if you're shooting a catalog.
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Not so much
I was specifically talking about noise reduction here, not about the superresolution.
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I was specifically talking about noise reduction here, not about the superresolution.
My bad ;)
However, the answer is still pretty much the same. You'd still need a specialized algorithm or software to know what is noise and what is not, which could mean you end up with similar results to existing NR software. Knocking down noise with multiple similar exposures still means an increase in storage and post processing; it won't be consistent; it may alter your workflow; it's going to be difficult if you deal with a large number of images.
On a side note, if it was easy, I'd think it would already be included in HDR software. I do very little HDR, so I'm not sure if this is routine now.
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Assuming the estimated noise improvement of 1,5 stops is correct, and looking at Dpreview's sample image I think it's quite a realistic figure, the new E-M5 II HiRes's dynamic range can compete with the very top:
(http://www.guillermoluijk.com/misc/em5ii_hires.png)
Again, improving DR with a tripod (a must in HiRes mode) is nothing other cameras couldn't achieve through exposure bracketing, gaining one stop of DR for every bracketed 1-stop interval. It is completely true though that the Oly provides a single RAW file with the dynamic range improvement without needing to blend images out of the camera.
Nikon FF at base ISO remains unbeaten, but the Canon FF loses both in resolution and dynamic range vs the HiRes mode Oly.
Regards
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Things are going to get interesting when Sony release a new 50MP camera that has the same DR as the D810 and can add multishot like the Olympus. At that point the MF camera makers will really feel the heat.
Edmund
Assuming the estimated noise improvement of 1,5 stops is correct, and looking at Dpreview's sample image I think it's quite a realistic figure, the new E-M5 II HiRes's dynamic range can compete with the very top:
(http://www.guillermoluijk.com/misc/em5ii_hires.png)
Again, improving DR with a tripod (a must in HiRes mode) is nothing other cameras couldn't achieve through exposure bracketing, gaining one stop of DR for every bracketed 1-stop interval. It is completely true though that the Oly provides a single RAW file with the dynamic range improvement without needing to blend images out of the camera.
Nikon FF at base ISO remains unbeaten, but the Canon FF loses both in resolution and dynamic range vs the HiRes mode Oly.
Regards
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Things are going to get interesting when Sony release a new 50MP camera that has the same DR as the D810 and can add multishot like the Olympus. At that point the MF camera makers will really feel the heat.
what prevents MF camera/back makers from making a multishot camera with new Sony MF sensor to respond ?
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what prevents MF camera/back makers from making a multishot camera with new Sony MF sensor to respond ?
In my opinion, real world application needs and real world lens capabilities.
Human eyes are not becoming sharper, so as long as capture and display devices outperform human vision, adding more Mpx just becomes marketing. Time runs against bigger formats. In fact this has already begun (most people takes pictures with tiny sensors on their smartphones because that is good enough for them).
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most people takes pictures with tiny sensors on their smartphones because that is good enough for them
those were never not the customers of bigger formats like MF in the first place (we are not talking about digital APS-C or film FF here)
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It's exactly the same concept: users not upgrading (or voluntarily "downgrading"), because the "upper" system has nothing to offer for them.
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The broad long-term trend in serious photography is towards ever smaller imager sizes. Julia Margaret Cameron, for example, used 12x10" & 15x12" wet collodion plates. Later we got 8x10", 5x7" & 4x5" sheet film. Then 120/220 & 127 roll film. Then the 35mm miniature format, reborn electronically as "full frame" (bit of a self-esteem issue there IMO). Medium format seems now to be leaning in the 44x33mm direction rather than ~57x43mm. The vast majority of D-SLRs along with (many if not) most mirrorless cameras use ~15x23mm "APS-C" sensors. 4/3rds and 1" (12.8x9.6mm) sensors perform plenty well enough for enthusiast & pro use. So it goes.
-Dave-
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The broad long-term trend in serious photography is towards ever smaller imager sizes. ... Medium format seems now to be leaning in the 44x33mm direction rather than ~57x43mm.
No dispute that the century-long trend of the "central tendency" is to downsizing, as resolution and sensitivity improve, but the upper levels can have their own trends, and one major factor there seems to be the standardization, already in the film era, on two dominant formats for high quality autofocus lens systems: 36x24mm ("miniature format" as you charmingly put it) and 56x42.5mm ("645 medium format").
So far, the trend I see at the higher levels of price and quality is for camera systems and sensor development to gravitate towards those two "legacy" formats, perhaps partly for the sake of getting the most out of substantial investments and "sunk capital" in lens systems and designs. So I do not see 44x33 (or Leica's 45x30) displacing 645, even if they continue to coexist with it. Maybe the force of backward compatibility will fade with time, but if so, it is very slow in coming.
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Medium format seems now to be leaning
MF will be leaning towards what CMOS sensor Sony Semi will produce, that's it...
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Just an FYI: Adobe DNG Converter Version 8.8 Supports conversion of the Olympus Multishot High Resolution .ORF files.
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Pentax's new K3 II has multi shot, they use 4 shots to create full color 24 MP raw files
Preview found here:
http://www.imaging-resource.com/PRODS/pentax-k3-ii/pentax-k3-iiA.HTM
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I compiled both cameras multishot differences in a table:
(http://www.guillermoluijk.com/misc/multishotcomparison.png)
I wonder why the Olympus guys didn't implement the Foveon-like multishot mode found in the Pentax in addition to their 8-shot. They have the technology and the approach is much simpler than the 8-shot multishot.
Regards
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Things get officially ridiculous for the Sigma Foveon proprietary full color raw format, as the new Pentax K3II shoots the full color raw files to DNG, in camera.
Imaging resource has posted their standard test shots, with DNG samples in the pixel shift mode included.
http://www.imaging-resource.com/PRODS/pentax-k3-ii/pentax-k3-iiA7.HTM
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Things get officially ridiculous for the Sigma Foveon proprietary full color raw format, as the new Pentax K3II shoots the full color raw files to DNG, in camera.
Imaging resource has posted their standard test shots, with DNG samples in the pixel shift mode included.
http://www.imaging-resource.com/PRODS/pentax-k3-ii/pentax-k3-iiA7.HTM
I'm not sure Sigma can generate a Raw which is "really" raw in DNG format, ie if the variables for adjustment can be reduced to those in a Bayer raw.
The underlying physics are simply not the same, and image recovery complex.
Edmund
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Hi Edmund, I might not be following what you are saying, but my thought is the 3 foveon channels could be stored in a similar fashion that Pentax does. The DNG for the x3f file could still need special handling, but why has Sigma been so quiet about their raw spec, they mishandled the raw data from the Quattro when it came out, and they still have some areas that need improvement, innovation on SPP has ground to a halt recently.
I am actually interested to know how short a time Pentax's 4 shots need, and what kind of artifacts are generated in moving objects. Unfortunately the imaging resource review lacks these basic details, and at present no manual is available to download.
I was able to rent the OMDEM5II and use it in the field, I was not really able to make good use of the HR mode simply because things in compositions tended to move more than expected, even with something of a 1/200th of a second, the artifacts rob the resolution quite a bit in foliage and branches. Even wind buffeting the tripod was problematic at times, or required extra waiting intervals for longer wind lulls. Substituting in lower resolution components, there is a mismatch in detail transitions and noise.
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Hmm, sounds like from early adopters of the K3II are saying the pixel-shifted DNG files do not open as full color raws under Lightroom. Instead Lightroom takes the first out of the four raw layers as the source. No holy grail, yet.
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Adobe may have a thing about non-interpolated color. Can ACR process RAW data from any camera such that each four-photosite Bayer array results in one full-color pixel? Not that I'm aware of.
-Dave-