That's a great question. So many talk about color and warmth etc. Has anyone played with settings to see which ones bring out the best in the GF1 - there are so many choices - almost too many - any how will they play out in Raw anyways.Can you tell the difference when looking at the pic?
I can't so i don't even think about it.
This is great - just what I wanted - I will try that - shoot JPEG and Raw simultaneously .... I'll try out your settings....Your right—I'm sure you'll get as many different answers as people that reply. :smile: I've settled (at least for now) with jpgs set at Dynamic color, with contrast, sharpness, and noise reduction all at -1. Then on AWB, I have that set to +2 towards green, and -1 towards amber. This looks about right to me. On the rare picture that I like, I end up working with the RAW that I capture simultaneously.
The RAW files are not affected by any of this as far as I can tell. (I did test the film settings and know they do not affect the RAW, but didn't check the AWB settings. These should not either, at least according to "RAW."
Actually it is indirectly related to colour range. What you say is true in recovering details in what otherwise looks like black or white on jpegs, but the problem comes into play when you want to see the full proper range of shades.The bit depth is not related to the color range but to the intensity information. With 8 bit you've got 256 steps, with 12 bit more than 4000. For example, if you have an image with dark areas (e.g. shadow), you can recovery much more details during raw conversion than out of an 8 bit jpg.
Alan, 14-bit AD means that for example bright zone in the photo will have 8192 levels (brighter parts of the picture "take" much more levels), while 12-bit would take only 2048. This brightest zone of the photo can take 50% of all levels in the photo. That tells you how the photo is TAKEN. However once you get the photo on your computer, the information is written differently. The same brightest part of the photo that was taken with 50% of all available levels now takes 25-30% of all levels. Instead of 8192 possible levels (2048 with 12bit AD) the SAME brightness range will use only around 70 levels in an 3 x 8-bit photo. That is of course a huge drop. If the information is however stored as 3 x 16-bit, maximum number of levels in that zone is over 17000. So no information is lost.What this doesn't explain to me is what happens in the camera; the better dSLRs (EOS 1, Nikon 3x) list their AD converters as 14 bit. Typically, good AD design specifies 2 bits in excess of the final bit rate (sometimes more) to allow for anomalies. Yet these cameras have 48 bit RAW files (at least in terms of their color depth) which I think implies 16 bit depth in each of the 3 channels. Can anyone explain this or send a link to a good site?
I was talking about RAW files, they use 48bit color info. As far as I know, there are 24bit and 48bit RAW files and 30/36/42/48 bit AD converters. I have never seen anything in between 24 and 48 (which doesn't mean it doesn't exist, but I have never seen it). If you open a photo in a 48bit editing program it will say either 8 or 16 bits per channel and there are no other values in between.> GF1 RAW file size with same size of the sensor is what - 14MB? It looks like it has to be 48bit?
no there is no 48 bit camera available (?)
Ok, filesize does vary though, depending on the photograph. Canon does use lossless compression as far as I know and for GF1 file it could be tested in a 48bit editing program.some manufacturer use loss less compression, other do not. I think the filesize cannot be used to find out the bit depth.
GF1 raw filesize is 12,5MB
That doesn't say much. 12 bit is AD converter, but it doesn't say how is info stored in RAW file. Useful information nevertheless, AD converter is 12 bit, the same as Nikon D200 (Nikon D300 already 14bit) and Canon 30D (Canon 40D already 14 bit)Hi,
check this site:
All information I got so far show, that the GF1 offers 3x12 bit in raw! Just Panasonic insists on 3x8 bit also in raw. weird