大華商店 wrote:
還一個重大原因......(恕刪)
奇怪，N家的廣大用戶不是期待全幅機很久很久了嗎？水貨七萬三還嫌太貴？
wingman wrote:
http://www...(恕刪)
蒸的嗎？
小弟我到現在還是搞不清楚那個DXO葫蘆裡賣的是甚麼藥說，很奇怪說，怎麼會有人會不去用Canon的DPP去解RAW檔，然後還號稱自己寫的軟體有代表性？傑克，這太神奇了吧？他們知道倫家Canon是如何定義RAW檔的嗎？他們知道如何解出正確的Canon的RAW檔嗎？他們知道Canon是怎麼把色彩資訊放在RAW檔的嗎？我看喔......如果Canon不說，DXO那堆活寶當然也不會知道說。
啊.....看來看企.....原來DXO那個網站還有在賣軟體啦.....啊不過厚......最近很多倫解5D MarkII的RAW檔都嘛是丟進去DPP裡面，銳利度加個3~4就可以生出很棒的.tiff檔了，我看厚.....用Canon的應該不會對那些奇奇怪怪的軟體有興趣吧？所謂喔，好的老師帶你上天堂，啊那鍋，好的DSLR就不需要浪費太多時間搞設定啦...........
D700
As usual the default Adobe Camera RAW conversion delivers less dynamic range than JPEG from the camera (a more contrasty tone curve and very little noise reduction in shadows). But only when you make an effort and play with ACR's conversion parameters the sensor reveals its true capabilities. The best result we could achieve was 11.6 EV which is almost 5 (!) stops more than the default JPG output. It's no surprise then that in our real world tests we managed to recover highlights that had been hopelessly blown out (see below).
D3
As usual the default Adobe Camera RAW conversion delivers less dynamic range than JPEG from the camera (a more contrasty tone curve and very little noise reduction in shadows). Simply switching to 'Auto' in the ACR conversion dialog reaps huge rewards (we measured the result to have exactly 12 stops of dynamic range), and in our tests with real world shots produced superb results with images that seemed to be over exposed beyond redemption
a900
As you can see the default Adobe Camera RAW conversion delivers less dynamic range than JPEG from the camera (a more contrasty tone curve and less noise reduction in shadows). Adobe's 'auto' setting increased dynamic range by just under 1.5 stops in the highlight region and just under a stop in the shadows. By flattening out the curve we were able to squeeze a total of 12.6 stops out of the sensor (of course a curve of this shape doesn't represent anything you'd ever use in real life but it does show the potential for digital exposure compensation when shooting RAW with the A900). All the lab results tied in with our observations when using the A900 in the field; JPEG dynamic range (and particularly highlight range in the region over 'mid gray') is excellent, and there's even more in the raw files if you need it. Impressive stuff.
5D2
The default Adobe Camera RAW conversion delivers less dynamic range than JPEG from the camera (the same contrasty tone curve and very little noise reduction in shadows). Simply switching to 'Auto' in the ACR conversion dialog reaps huge rewards, increasing the dynamic range to around 10.3 stops which is almost two stops better than JPEG.
其實很顯然在Nikon的jpg預設的動態範圍是小很多，用RAW的話可以達到近12EV。(D3X甚至有破表)
a900則是在JPG和RAW都很高。
5D2則是jpg高點，RAW增加較少
JPG a900>5D2>D3>D700
RAW a900>D3>D700>5D2
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