RustyBug
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 p.2 #11 · Just tried out the Q3 Monochrom at the Leica store, I now get it and need $8K :) | |
Carlo_M wrote:
So basically I need to limit continuous shooting to either 2, 4 or 7fps. And again, I don't plan on using this camera like that, I have the Canon 30fps for jobs where I need that. In my everyday, walk-around life,
I anticipate using the Q3M primarily as a single shot with rare exceptions.
I wouldn't concern myself with the 14 bit vs. 12 bit aspect ... UNLESS you are really cranking things HARD in post processing. The mathematical differences (particularly with monochrome). Same conversation applies with the difference between 16 bit vs. 14 bit ... when pushing HARD in post, those mathematical differences CAN reveal themselves. And, by hard, I mean things like stacking 4 stops of EV push + Dehaze + Clarity + Contrast + Curves + high ISO ... where you are using exponential mathematical operators on top of other exponential mathematical operations, on top of yet other exponential mathematical operations ... and in large doses.
If you are keeping things relatively simple in post, then 16K bit starts you off with around 14K tonal range, and 12 bit starts you off around 4K tonal range. Both are below human detection, given that (RGB at 0-255) where 8 bit (256) resides. Just a matter of how hard you crank things in post if 12 bit will cause you any grief. But, you'll have to push it really hard, and even then, mono is just so much more forgiving to work with. Note the relationship of 12 bit vs. 8 bit = 4 bit diff. Anything less than a 4EV push for 12 bit (both are terms of exponential math), and you remain above the 8 bit territory. Even then, you can still push 4 EV and it be just fine. But, it isn't until you cross that 4 EV threshold that you POTENTIALLY get some issues to show. Part of the beauty of this camera is that you can push, and it holds really well.
Again, I would NOT be concerned by it with monochrome. For 12 bit COLOR, it might incur some channel banding when you push a given channel harder to pull out the color, but we aren't doing that with mono. I understand the point both for bits and for single shot ... but, I wouldn't factor that in as a limitation concern. Particularly, I would NOT have that be part of my purchasing decision concern for mono files.
As to my earlier comment about rolling shutter ... the only time that I experience anything with it is when dealing with higher speed motions, and when I'm operating from a moving platform, with strong linear things. For normal use, not an issue ... I only mentioned it as an awareness of its existence. With my Hassy where the readout was 1/3s for 16 bit, it was an issue. 1/6s at 14 bit was an issue. With cameras that have readouts of 1/9s ... imo, this is kinda the break point for normal things where it isn't much of an issue. I'm not sure what the readout speed is of the Q3M, but I think it is closer to 1/27s ... so, it takes a more exaggerated scenario for it to reveal. My main point, was that with the leaf shutter (which I dig for how smooth and quiet it is), it taps out at 1/2000s and flips over to e-shutter sooner than focal plane shutter cameras that can hit 1/4000 or 1/8000 before flipping to e-shutter. You're buying a niche camera (i.e. with a leaf shutter), and that's just the awareness of what that quid pro quo niche involves. Again, only for awareness (just in case your plans involved much high SS) ... so, no surprise. 
I don't see it as rearing its head, except for extreme niche scenarios. Just something to be aware of ... I mean, if you're gonna spend that $$$$ on a camera, it would stink for that to come as a surprise after purchasing. Again, awareness only, in the event you had plans for regular use of the higher shutter speeds.
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