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Why the speed of Stacked CMOS is key to Nikon’s pro mirrorless camera

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Why the speed of Stacked CMOS is key to Nikon’s pro mirrorless camera

In an interview with DPReview, Nikon announced its next pro sports camera will be mirrorless. That in itself isn’t much of a surprise, perhaps, given how much investment has clearly been made in the Z-mount system. But the detail we didn’t expect to be revealed was that the camera will be based around a Stacked CMOS sensor.

What is Stacked CMOS?

Stacked CMOS chips are the next generation of chip designs after BSI (backside-illuminated) and provide the designers with greater flexibility, which in turn allows greater capability. BSI sensors are made by fabricating the sensor, then shaving off the silicon substrate upon which it was built. In effect, this allows the sensor to be turned round, and the ‘back side’ to be used for light collection. This means all the connection wiring ends up behind the light-sensitive part of the pixel, rather than getting in the way.

Stacked CMOS takes this process a step further: layers of sensor are fabricated, shaved off the substrate and then carefully aligned and joined together. This means the chip designers can build even more complex structures behind the pixels. In the case of the stacked CMOS chips we’ve seen so far, this includes building RAM directly into the sensor: supporting super-fast readout by providing nearby storage for large amounts of data.

It is this fast data readout and handling that we believe makes Stacked CMOS the enabling technology for post-DSLR sports cameras. The news that Sony’s camera division won’t be the only one with access to this technology in future is excellent news for competition within the industry.

What does Stacked CMOS offer?

The only large Stacked CMOS sensors we’ve seen so far come from Sony Semiconductor. So the question is, how similar will the chip in Nikon’s camera be to the one used in the Sony a1?

In the examples we’ve seen so far, the benefits of stacked sensors haven’t come in the terms of image quality (where, at best, they match the already very high standard of existing BSI chips), but in terms of speed.

Sensor readout speed helps define mirrorless camera performance more than it did in DSLRs. Because the imaging sensor is totally central to the operation of mirrorless cameras (acting as both autofocus sensor and also the means of live view image composition), fast readout boosts every aspect of camera performance, and particularly those areas in which sports cameras need to excel.

There are various tricks for squeezing the most performance out of existing sensors: using a lower resolution feed to provide faster AF updates or taking a dynamic range hit by dropping to lower bit-depth readout. But ultimately, the faster your sensor’s full-resolution, full-precision readout, the faster all these other modes become, too.

How readout speed underpins every aspect of performance

At its most basic, faster sensor readout boosts the camera’s maximum shooting rate. With no mirror to constantly move in and out of the way between exposures, mirrorless cameras have been pushing burst shooting rates upward for years.

Fast readout also means the camera’s autofocus system can be run faster. The more often the camera can take measurements from the scene, the more effectively it can react to changes in the subject it’s trying to focus on. This is a fundamental capability of a pro sports camera.

Interestingly, while the Stacked CMOS sensors from Sony Semiconductor are the ones setting the pace for readout speed, it’s worth noting how much Canon has managed to achieve without adopting such advanced (and expensive) techniques. The EOS R5 manages 20 fps shooting and 8K capture at up to 30p, which is pretty impressive. However, measuring the output of these modes suggests although it can deliver a very respectable readout time of ~16ms, it’s having to drop to 12-bit readout to do so. In other words, it’s enough to deliver a camera with strong specifications, but doesn’t provide as much of a boost to the camera’s capabilities as we’ve seen from the latest stacked sensors.

It also means the viewfinder can be refreshed more often and with less lag between something in the scene moving and that movement being detectable to the photographer with their eye to the finder. For professional photographers who need to anticipate how the action is going to unfold, this is an essential requirement if they’re going to move away from optical viewfinders.

As Sony’s Alpha 1 showed us, fast readout also improves rolling shutter performance, meaning that fully electronic shutters can be used with flash and can be used under a wider range of artificial lighting without having to worry about clashes between the flicker rate of the lights and the speed at which an exposure can be ended.

And, of course, Nikon also said its upcoming professional camera would offer a ‘high resolution’ sensor. Given Nikon’s history of using sensors from Sony Semiconductor Solutions, this raises the possibility that it will use a similar sensor to the a1 and that on top of all these performance improvements, it may be able to match that camera’s trick of providing sports camera speed, and landscape camera detail and image quality.

How fast will the Nikon camera be?

Beyond conventional stills photography, fast readout also underpins the ability to shoot high resolution video. Nikon mentioned 8K during our interview, which would immediately put the upcoming camera in a very select group. We’ll be even more excited if it’s got the processing power to downscale this 8K into super-detailed 4K (just because it keeps file sizes down and is arguably more useful) but for now we’re going to focus on what 8K means for the camera’s sports-shooting capabilities.

We’re going to resist the temptation to start thinking in terms of sideline shooters grabbing their best shots from video clips and argue that delivering 8K doesn’t tell us much about the camera’s prowess as a sports camera.

Canon achieved 8K video capture from the frontside-illuminated sensor in its EOS R5, but it had to drop to 12-bit readout to do so and it can’t match the readout speeds of the latest Stacked CMOS sensors.

The most basic 8K capture demands a sensor that can read-out at least 33 million pixels in 41ms or less and under 33ms to deliver 30p footage. But those numbers only equate to readout rates of 1/24 and 1/30 sec, which is a long time in which a lot can change, if you’re shooting sports. The distortion created by rolling shutter could still be quite significant at those speeds

What Nikon’s camera is capable of will depend on how much quicker than this its sensor can go. Sony’s a1 uses groups of readout channels to read out its whole sensor in under 5ms (proven by its ability to sync with flashes at up to 1/200 sec). This sets the benchmark for what’s currently possible in terms of readout and all the performance benefits that come from it.

Consequently the key specification we’ll be looking for, once Nikon reveals more information, will be the flash sync speed in e-shutter mode, because that’s primarily limited by how quickly the sensor can be read. This single line in the spec sheet will give the clearest insight into whether the sensor is able to read out fast enough to provide the performance boosts we hope to see across the whole shooting experience.

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Most significant cameras and lenses of the last 25 years, according to the manufacturers

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Most significant cameras and lenses of the last 25 years, according to the manufacturers


As part of our twenty-fifth anniversary, we asked manufacturers to reflect on the most significant products of the past quarter century.

As you might imagine, all the senior executives picked one of their own products. But some patterns also emerged. Some simply named their current flagship as the pinnacle of the company’s R&D history so far. But we were also interested to hear about the products that have been significant for the company’s history, because they represented major challenges to develop, were risky expansions into new territory or ultimately moved the whole industry forward.

In each instance, we asked for a personal choice, rather than what might be the official company line. And, if they couldn’t narrow it down to one, we were happy to hear the rationale for other products they thought were significant.



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Fujifilm X100VI added to studio scene

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Fujifilm X100VI added to studio scene


As part of the work on our review of the Fujifilm X100VI, we’ve shot and processed our standard studio test images with the camera.

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Given the camera is based on a sensor we’ve seen before, there are few surprizes in terms of its performance. It produces more detail than the 26MP sensor in the X100V. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.

Lens performance

The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.

The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so not especially close-up. An aperture value of F5.6 means we’re not being especially challenging.

And the X100VI’s lens appears to acquit itself well in these circumstances. In the JPEGs it’s comparably detailed near the center as the X-H2’s results, using our standard 56mm F1.2 R testing lens (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit (easily corrected) lateral chromatic aberration and some vignetting in the Raw conversion, but overall the lens appears to be doing a good job in front of a high-resolution sensor.

As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn’t showing the same levels of contrast or sharpening that the camera’s own JPEGs do, so it’s worth downloading the Raw files to see whether your preferred software and processing workflow produce results you’re happier with. But overall, we feel it does well.



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iOS app mood.camera aims to recreate the experience of shooting film

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iOS app mood.camera aims to recreate the experience of shooting film


Image: mood.camera

A new camera app that wants to offer a film-like experience is now available. The mood.camera app (iOS only) targets fans of analog photography and consists of 14 film-like filters. I was given early access to the app to test it out and see if it offers anything different from similar apps on the market.

There’s been a resurgence in analog photography recently. Though many desire the look of film, they don’t necessarily enjoy the process (and time) of using analog cameras. mood.camera aims to bridge the gap between film and digital by offering filters that emulate film stocks such as Kodak Portra, CineStill and Chrome.

Inside the app, users can imitate a change in ISO (ranging from 100 to 3200) and will notice less detail and more grain the higher you go. There’s also a digital tonal range dial that impacts the amount of contrast and saturation in an image.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

This isn’t the first app trying to emulate the look of film photography. Other apps, such as 1998 Vintage Camera and VSCO, offer filters that provide a classic look, as does Hipstamatic, one of the first smartphone apps within this niche.

What sets mood.camera apart is how it provides an analog-esque process to image making. Whereas other apps provide a live preview of filters and simulations, mood.camera doesn’t.

The app’s developer said the intention was to “mirror the classic film camera experience.” To see how the images turn out, you must view the photos in Apple’s Photos app.

Image: Dan Ginn (made with mood.camera). Filter: Portra

Some obvious features are missing in the app. There’s no portrait mode, which the developer says is because “Apple does not let you capture ProRaw and depth data.” There’s no night mode either, which the developer claims is possible to add but isn’t interested in doing so at this time.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

Having used the app for a week, it did bring a new sense of enjoyment to mobile photography. I liked not having a live preview of my images. Its absence allowed me to worry less about the outcome and focus more on the process of creating photographs.

There was a distinct difference in each of the filters, and while they’ll never be 100 percent like stock film, they’re close. Unlike some apps I have tried before, I found it easy to navigate through the different filters in mood.camera, and the app itself was quick and responsive.

Image: Dan Ginn (made with mood.camera). Filter: Cine

If you want to adapt your smartphone photography workflow and like the classic look, then mood.camera is worth trying. There’s a seven-day free trial available before committing to a paid subscription.

mood. camera is now available on the App Store and costs $1.99 per month or $14.99 as a one-time purchase. A free trial is available to evaluate the app.



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