PMW-F3 Aliasing Update: Not the issue I feared it might be!

A further update. Sony have requested the original clips with the moire, and I have provided them with these. I have not been able to reproduce the effect with any other brickwork, roof tiles or other repeating patterns other than charts. There seems to be something about the particularly dark shade of bricks with very bright mortar (cement) that the F3 doesn’t like. In addition I have not heard from anyone else using an F3 out in the wild that is having any issues. At least now I know what to watch out for. The moire was only slight and my wife didn’t spot it until I pointed it out to her.

I am very pleased with the images I’m getting from my F3 having just finished my first paying job with it. It was nothing exciting, just a corporate shoot, but the shallow DoF and reduced amount of lighting required has resulted in some really nice footage of an otherwise dull subject. I can’t show you the clips due to client confidentiality, but the client likes the look a lot and it was easier to achieve than it would have been with a DSLR thanks to the proper video camera ergonomics.

PMW-F3 and EX1R aliasing comparison.

PMW-F3(top) and PMW-EX1R(bottom)

Here is a roughly done (sorry) comparison of the aliasing from an EX1R at the bottom and my F3 at the top. The F3 had a Nikon 18-135mm zoom, both cameras were set to default settings, 25P. The F3 clearly shows a lot more chroma aliasing appearing as coloured moire rings in both the horizontal, vertical and diagonal axis. The EX1R is not alias free. The chroma aliasing from the F3 is not entirely unexpected as it has a bayer sensor and there is always a trade off between luma resolution and chroma resolution and the point where you set the optical low pass filter. Frankly I find this performance a little disappointing. More real world test are needed to see how much of a problem this is (or is not). To put it in to some perspective the F35 aliases pretty badly too, but that camera is well known for producing beautiful images. I hope I’m being over critical of this particular aspect of the F3’s performance, because in every other respect I think the camera is fantastic.

UPDATE: I’ve taken a look at the MTF curves for the F3 and they are quite revealing showing that an OLPF is in use which is giving an MTF50 of around 800 LW/PH V and 950 LW/PH H. This is not quite as high as an EX1 and are quite reasonable figures for a 1920×1080 camcorder.  This suggests that the aliasing is largely limited to the chroma sampling of the sensor. As this is a bayer (or similar) type sensor the chroma is sampled at a reduced rate compare to luma, which is why coloured moire is not entirely unusual.

Tests performed with a Tokina ATX-Pro 28-70mm lens at 25P

Feeling a bit better about my F3 now 🙂

PMW-F3 Horizontal MTF
PMW-F3 Vertical MTF

PMW-F3 Aliasing and Moire.

I’ve been testing and playing with my F3 and first off let me say this… I love this camera, it produces amazing images and I can play with lots of lenses!

But, it’s not all roses. The F3 suffers from aliasing. A zone plate shows extensive aliasing. Until today this had not caused any concerns as I had seen little evidence of it in actual footage, but when shooting some brick houses this afternoon I came across some coloured moire patterns appearing as faint coloured stripes across the brickwork in the footage. It’s not anywhere near as bad as a DSLR, my wife looked at the footage and didn’t notice it until I pointed it out to her, but it’s certainly there. This is disappointing on a camera at this price level, my EX1 doesn’t do this. Now the zone plate shows this to be an issue with the cut off of the optical low pass filter, so I doubt that there is much that can be done in the firmware, but then Sony have done some clever stuff in the past with firmware updates. When working on my picture profile settings I did find that increasing detail above -15 would increase the visibility of the aliases on the zone plate, however when I tested various detail settings with the brickwork there was little difference. I think Nigel Cooper has also seen this, but I’ve not seen it mentioned anywhere else. Has anyone else observed this?

PMW-F3 Picture Profiles. First Batch.

OK here we go. Here are some notes from testing my PMW-F3. First thing is… aliasing… a zone plate looks pretty bad with a fair amount of aliasing. I had heard rumours of this from others with pre-production units, but in the field I had not seen anything that would worry me. While the zone plate is not pretty, real world aliasing looks acceptable. I usually use brickwork and roof tiles to test for moire and these look clean on my F3. I think a fine patterned shirt could cause concern and I need to look into this further. I am surprised that there is not more about this on the web!

Excessive detail correction does increase the aliasing, however turning detail and aperture off does not reduce the aliasing significantly. Keep the detail level below -15 to avoid increasing the strength of the aliases. Above -15 the aliasing artefacts are more noticeable. Detail “Off” appears to be the same as Detail -25. Below -25 the image softens, below -45 very noticeably and there are some strange increases in aliasing below -50. For the moment I will be using detail at -17 or off.

The aperture setting can be used to add a little sharpness to the image to compensate for not using detail or a low detail setting. Aperture does not increase the appearance of the aliasing artefacts as strongly as the detail correction. I like the added crispness I can get with Aperture set to +30 combined with detail at -17. I would strongly recommend against using a raised aperture setting if you have detail higher than -15 as this will add sharpness to any detail corrected aliases and lead to twittering edges on horizontal and vertical lines.

Colours have that usual Sony look. Not bad and pretty natural looking, but for me a little on the green side. For a more natural 1:1 look I quite like these Matrix settings:
R-G +10, R-B +4, G-R 0, G-B +14, B-R +3, B-G -3, Std Matrix.

For a more Canon like look with Rec-709 Matrix I came up with these:
R-G -2, R-B +9, G-R -11, G-B +2, B-R -16, B-G -10, Std Matrix, level +14, Blk Gamma -20

For use with Cinegamma 1 I use the above with Matrix Level +25, Blk Gamma -36. Highlights are a little washy, but as with any Cinegamma the best results are obtained by grading in post production.

Download and print your own test charts.

Clearly these will never be as good as, or as accurate as properly produced charts. Most home printers just don’t have the ability to produce true blacks with razor sharp edges and the paper you use is unlikely to be optimum. But, the link below takes you to a nice collection of zone plates and resolution charts that are useful for A/B comparisons. I split them up into quarters and then print each quarter on a sheet of A4 paper, joining them all back together to produce a nice large chart.
http://www.bealecorner.org/red/test-patterns/

Hurricane Rig Update. Available via Manfrotto.

My 3D rig will be available in many countries via Manfrotto from the 1st of March. Production has been in full swing for the last few weeks and we now have finished rigs in stock at the factory. In the UK rigs will be available from Manfrotto or from the Hurricane-Rig.com website (approx €6700 euros, £6000 GBP plus VAT, price TBC). In the USA select Manfrotto Dealers will be selling the rig for $7995 USD.

We are working on a range of add ons for the rig which include a motorisation kit that will add motorised Interaxial only, interaxial plus convergence as well as dual focus and zoom options. These will options will fit all Hurricane rigs so there is no need to wait for these options to become available. Pricing TBA, but it will be very competitive and you can pick and choose the modules that you need.

Canon XF105, using OIS to correct zoom axis shift. (3D applications)

While I was in Singapore last week I got to play with a pair of Canon’s XF105’s on a Genus Hurricane 3D rig. We were able to use the programmable axis shift function to compensate for the way the zoom lenses don’t remain centred as you change focal length. Zooming in 3D with two cameras is very hard to do because of this shift, normally requiring very expensive matched lenses. With the 105’s and and a few minutes of adjusting we were able to do synchronised zooms (using the IR remote) that retained very good tracking and accuracy. This really is quite remarkable at this price point!

Are Cosmic Rays Damaging my camera and flash memory?

Earth is being constantly bombarded by charged particles from outer space. Many of these cosmic rays come from exploding stars in distant galaxies. Despite being incredibly small some of these particles are travelling very fast and contain a lot of energy for their size. Every now and then one of these particles will pass through your camcorder.  What happens to both CMOS and CCD sensors as well as flash memory is that the energetic particle punches a small hole through the insulator of the pixel or memory cell. In practice what then happens is that charge can leak from the pixel to the substrate or from the substrate to the pixel. In the dark part of an image the amount of photons hitting the sensor is extremely small, each photon (in a perfect sensor) gets turn into an electron. It doesn’t take much of a leak for enough additional electrons to seep through the hole in the insulation to the pixel and give a false, bright readout. With a very small leak, the pixel may still be useable simply be adding an offset to to the read out to account for the elevated black level. In a more severe cases the pixel will be flooded with leaked electrons and appear white, in this case the masking circuits should read out the adjacent pixel.

For a computer running with big voltage/charge swings between 1’s and 0’s this small leakage current is largely inconsequential, but it does not take much to upset the readout of a sensor when your only talking of a handful of electrons. CMOS sensors are easier to mask as each pixel is addressed individually and during the camera start up it is normal to scan the sensor looking for excessively “hot” pixels. In addition many CMOS sensors incorporate pixel level noise reduction that takes a snapshot of the pixels dark voltage and subtracts it from the exposed voltage to reduce noise. A side effect of this is it masks hot pixels quite effectively. Due to the way a CCD’s output is pulled down through the entire sensor, masking is harder to do, so you often have to run a special masking routine to detect and mask hot pixels.

It may not sound much getting a single hot pixel, but if it’s right in the middle of the frame, every time that part of your scene is not brightly illuminated you see it winking away at you and on dark scenes it will stick out like a sore thumb, thankfully masking circuits are very effective at either zeroing out the raised signal level or reading out an adjacent pixel.

Flash memory can also experience these same insulation holes. There are two common types of Flash Memory, SLC and MLC. Single Level Cells have two states, on or off. Any charge means on and no charge means off. A small amount of leakage, in the short term, would have minimal impact as it could take months or years for the cell to full discharge, even then there is a 50/50 chance that the empty cell will still be giving an accurate ouput as it may have been empty to start with. Even so, long term you could loose data and a big insulation leak could discharge a cell quite quickly. MLC or Multi Level Cells are much more problematic, as the name suggests these cells can have several states, each state defined by a specific charge range, so one cell can store several bits of data. A small leak in a MLC cell can quickly alter the state of the cell form one level to the next, corrupting the data by changing the voltage.

The earths magnetic field concentrates these cosmic rays towards the north and south pole. Our atmosphere does provide some protection from them, but some of these particles can actually pass right through the earth, so lead shielding etc has no significant effect unless it is several feet thick. Your camera is at most risk when flying on polar routes. On an HD camera you can expect to have 3 or 4 pixels damaged during a year at sea level, with a CMOS camera you may never see them, with a CCD camera you may only see them with gain switched in.

SxS Pro cards (blue ones) are SLC, SxS-1 (Orange cards) use MLC as MLC works out cheaper as fewer cells are required to store the same amount of data. Most consumer flash memory is MLC. So be warned, storing data long term on flash memory may not be as safe as you might think!

Can you use a 2/3″ Zoom on a 35mm camera??

Can you use a 2/3″ B4 broadcast zoom on a 35mm camera. Well yesterday I would have said “no”, but having seen this video on the AbelCine web site, now I’m not so sure. UPDATE: OK Should have read the specs…. it’s only suitable for smaller sensors as it has a 22mm image circle, the F3 has a 27mm diagonal. It’s still a viable option for the AF100 however.

http://blog.abelcine.com/2011/02/11/using-23-lenses-on-the-panasonic-af100/

The HDx2 adapter magnifies the image to fill a 35mm sensor, doubling the focal length at the same time. This is very intriguing as 35mm zooms are few and far between and very expensive. There is a 2 stop light loss (well if you expand the image 2 times that’s what happens) but most broadcast zooms are pretty fast lenses to start with. I can’t help but think that the pictures might be a little soft, but if you already have decent 2/3″ glass then the $5,500 for the adapter might make a lot of sense. Anyone out there with experience of one of these? I’d love to know how it performs.

Can you use a 2/3″ Zoom on a 35mm camera??

Can you use a 2/3″ B4 broadcast zoom on a 35mm camera. Well yesterday I would have said “no”, but having seen this video on the AbelCine web site, now I’m not so sure. UPDATE: OK Should have read the specs…. it’s only suitable for smaller sensors as it has a 22mm image circle, the F3 has a 27mm diagonal. It’s still a viable option for the AF100 however.

http://blog.abelcine.com/2011/02/11/using-23-lenses-on-the-panasonic-af100/

The HDx2 adapter magnifies the image to fill a 35mm sensor, doubling the focal length at the same time. This is very intriguing as 35mm zooms are few and far between and very expensive. There is a 2 stop light loss (well if you expand the image 2 times that’s what happens) but most broadcast zooms are pretty fast lenses to start with. I can’t help but think that the pictures might be a little soft, but if you already have decent 2/3″ glass then the $5,500 for the adapter might make a lot of sense. Anyone out there with experience of one of these? I’d love to know how it performs.

Cinematographer and film maker Alister Chapman's Personal Website