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(wow) Words Of Wonders Level 1125 Answers

(wow) Words Of Wonders Level 1125 Answers – Long story short, we reshot the studio scenes with the Sony a9 with the FE 85/1.8 lens and they are sharper. We apologize for misleading any of our readers, but it's a long story – see below. Just click the button to go to the photos, but we also recommend reading the full text.

You may have noticed on the Studio Scenes page in our Sony a9 review that we had a hard time focusing the camera in live view with Sony's new 85mm F1.8 lens. The maximum magnification (x9.4) on the camera's LCD screen made fine tuning at 85/1.8 very difficult. Many AF-S tests resulted in images that varied slightly in sharpness, but this is by no means unique to the a9: all cameras show some tolerance when it comes to the critical sharpness of flat graphics (which is why we always focus manually and use a fine rail for correction ). The only way to control the focus of each shot is to shoot tethered and check each shot under magnification on the monitor. Of course, every time we thought we had achieved focus, we tried to play around with the camera or focus ring a bit to make sure we couldn't do any better, and then realized we were a bit off.

(wow) Words Of Wonders Level 1125 Answers

And so the search for perfect sharpness ended in a stupid move and the search began again. Electromechanically coupled focusing elements don't make things any easier either: often small rotations do little or nothing at all, and back and forth movement is required to visually “hunt” for optimal focus. In the end, we focused on what we thought was reasonable (we were looking for maximum overlap of central Siemens stars and color overlap in text) and shot all our studio and dynamic tests.

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Is it a lens? This is the first Sony FE we've made without the great Zeiss 55mm F1.8. We have a long-standing policy of shooting with the system brand's equivalent 85mm lens to keep the same distance from the camera to the target, so that all images can be rendered from the same perspective. With the launch of the ultra-sharp Sony FE 85/1.8 lens, we decided to stick to our strategy and try it out.

Our initial tests showed similar sharpness of the 55 and 85mm F1.8 lenses, even on the high-resolution a7R II (see below). In addition, DXO confirmed similar sharpness levels between the 85 and 55 F1.8 lenses (both surprisingly higher than the Sony 85/1.4 GM). While we don't have a direct method to measure lens transmission, we measured the signal-to-noise ratio of several gray areas in our scene with two lenses.

And were found to be between 1/6 and 1/10 EV apart. This means the new lens won't make the A9 look any better or worse with raw noise.

Moving on to other aspects of the review, a message from forum expert Jack Hogan popped up in my inbox:

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Longtime forum member and all-round expert Jack Hogan did a quick MTF analysis for each color channel based on the curved edges in our scene.

. The red channel seems to be better focused than the green channel and gives a calculated MTF50 of only 945 line pairs per image height.

Basic problem with our studio shots. It's not a bad lens. This is not a strong anti-aliasing filter. But the fact is that the lens does not focus perfectly: if it were, the green channel would have the highest MTF.

So one day we sat down and spent the day shooting multiple runs of our studio scene, slowly moving the macro rail between each pass (instead of focusing the lens). From these shots, we chose the most intense runs (middle). While our 85/1.8 copy looks a bit off-center (the left side is smoother than the right), the results are now consistent with what they should be:

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Jack Hogan reanalyzed some new studio recordings from the a9 and the green and blue channels now have the highest MTF, not the red channel. The MTF50 calculated at 1125 lp/ph is an increase in linear resolution by 19% compared to our previous results.

An additional benefit of analyzing correctly positioned shots is the ability to estimate the strength of the anti-aliasing filter, which seems to be about 0.744 cycles per pixel (the first minimum on the MTF curve). For comparison, according to Jacek's analysis of studio shots, the D5's anti-aliasing filter is around 0.748 cycles per pixel. So the a9 AA filter is quite unique.

Check out our updated images and our updated image quality analysis based on new results:

When the resolution of camera sensors and lenses becomes astronomically high, small differences in pixel observation become apparent. And our studio stage makes just that possible. Note that depth of field also has a plane of peak focus.

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Our studio scene isn't perfect, but it can help. Nevertheless, there are caveats. For example, we notice that the noise comparison is accurate to within 1/3 EV because we don't check for cross-brand lens transmissions or shutter speed errors. Trying to make slight differences in high ISO shots in our studio scenes is futile: the margin for error is real.

The same goes for focus. The truth about lenses and mounts is that they both have copy variations. For this reason, we recommend comparing focus primarily at the center of the scene, which eliminates the lens from the equation (as much as possible). The residual view is useful for evaluating color, perception of detail and noise, and other subjective characteristics at high ISO in JPEG and RAW files respectively. And remember common sense: a strand of hair lies above the optimal focal plane, and different lenses may have field curvatures that help or hurt the focus of that strand. Keep these types of things in mind when looking at the pixels of our scene.

This time with a9 we take full responsibility for a series of out-of-focus shots. But this process was also a learning experience for us: depending on the electromechanical coupling of the lens and the magnification of the live feed, it is extremely difficult to get test shots at the level required by our image comparison tool. . . And taking a picture, controlling it and repeating the process brings with it the practical problems mentioned above – it is almost impossible to return to the optimal focus position. The results of visually checking which shot is the sharpest may vary from tester to tester. However, I assure you that we are constantly working on ways to improve these processes.

However, it's important to put this in perspective: in the real world, you're unlikely to see “issues” of the scale we experienced during our first launch of the a9 (otherwise they would look so severe in our studio scenes). why yes Why (1) because you usually don't see 100% of the photos, (2) at least

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(our studio scene from our first run) and (3) Your lens and aperture will have a greater impact on subject clarity than the 24MP sensor used for filming. In fact, the difference in focus between our 1st and 2nd sets of photos should mean the difference between focusing on one eyelid and focusing on the other when the entire eye is in depth of field.

Like the a7R III, a7 III, and a6400, Sony has added Animal Eye AF, interval timer shooting and more to the A9 with a firmware update.

We tested and re-evaluated the Sony a9 focusing on the AF improvements brought by firmware 5.0, bringing the score up to 90%. This makes the a9 the best-rated camera in its class, beating the Nikon D5 and Canon 1D X II.

I recently met with Yasuyuki Nagata, Head of Sony's Global Interchangeable Lens Division, to discuss the 's two new telephoto lenses and Sony's approach to developing mirrorless products.

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Sony has released firmware version 5.0 for its flagship a9 mirrorless camera. The update brings an AI-based autofocus mode, an improved menu structure, and other updates.

Panasonic has introduced the Lumix DC-S5 II and DC-S5 IIX, two 24MP full-frame mirrorless cameras with phase-detection autofocus. We took a closer look at the S5 II and discussed what the more video-focused S5 IIX will bring.

The Panasonic Lumix DC-S5 II is the first Lumix camera with phase detection autofocus that we were able to test in Tokyo, Japan!

The a7R V is the fifth iteration of Sony's high-resolution full-frame mirrorless camera. The new 60MP Mark IV has improved AF, focus stacking and a new rear display layout. We checked the image quality and video performance.

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After months of use and the release of firmware 1.3, we

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