[loco]

I have not had a chance yet to do any experimenting with Pixel Shift Resolution. However, I see you can turn Motion Correction on or off. I guess I'm wondering if there is any reason to ever turn it off. I'm sure if I was shooting a still life, it would not be necessary to have that turned on. But is there any penalty for leaving it on all the time? There is precious little info on this in the manual. Has anyone done much testing yet?

Thanks!

[Adam]

Motion correcrion adds a bit of extra processing time. If you're indoors and your subject is perfectly stationary, there's no real reason to use it.

On the other hand, if you're outdoors shooting a building and there's a gentle breeze, motion correction will minimize artifacts in parts of the image that might have a hint of movement.

Finally, I'd like to remind those who might stumble upon this thread that pixel shifting, even with motion correction, is not appropriate for hand-held use.

[Not a Number]

According one of the Ricoh - Pentax interviews (I believe on the K-1 Special Site) the K3ii has motion correction - the main difference is it cannot be turned off.

[Adam]

According one of the Ricoh - Pentax interviews (I believe on the K-1 Special Site) the K3ii has motion correction - the main difference is it cannot be turned off.

Hmm, I'm not sure this is accurate. It felt like everything with even the slightest hint of motion became fuzzy on the K3 II. K1 trade show reps also said that the MC feature was new...

Adam
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[Quicksand]

The K-3 II clearly has SOME kind of motion correction going on. Raw pixel shift shots developed in Lightroom have crazy purple and green checkerboard areas wherever there's motion, but JPG files straight out of the camera might have some light ghosting but not the crazy false colors.

But it's sub-optimal and perhaps the K-1 has smarter algorithms.

[SBeck]

This was a handheld 'just because' photo to see how it would turn out....

IMGP0044

[Not a Number]

The K-3 II clearly has SOME kind of motion correction going on. Raw pixel shift shots developed in Lightroom have crazy purple and green checkerboard areas wherever there's motion, but JPG files straight out of the camera might have some light ghosting but not the crazy false colors.

But it's sub-optimal and perhaps the K-1 has smarter algorithms.

As I recall the Pentax/Ricoh engineer said the main challenge was detecting motion to begin with - particularly difficult with leaves and such. The K-1 may be better at it due to software improvements or maybe pixel density has something to do with it (wild guess). Smarter algorithms might make it into firmware updates on the K3ii.

[SBeck]

Narrow DOF is handled pretty well too, handheld....
IMGP0042

[Adam]

The K-3 II clearly has SOME kind of motion correction going on. Raw pixel shift shots developed in Lightroom have crazy purple and green checkerboard areas wherever there's motion, but JPG files straight out of the camera might have some light ghosting but not the crazy false colors.

But it's sub-optimal and perhaps the K-1 has smarter algorithms.

I believe that's just the algorithm for interpolation. And yes, Pentax's seems way better than Adobe's at eliminating false color, even on the K-3 II.

[loco]

Thanks for the replies, everyone.

Motion correcrion adds a bit of extra processing time. If you're indoors and your subject is perfectly stationary, there's no real reason to use it.

On the other hand, if you're outdoors shooting a building and there's a gentle breeze, motion correction will minimize artifacts in parts of the image that might have a hint of movement.

Finally, I'd like to remind those who might stumble upon this thread that pixel shifting, even with motion correction, is not appropriate for hand-held use.

Thank you, Adam. I never thought about added processing time. I'll have to test with and without and see how much of a difference it makes some time.

To add some info I have found that the software from Pentax does a better job on the artefacts than the K-1 in camera software.

[loco]

Thanks Tjompen. Good info!

[Not a Number]

Here's the google translate of the portion on motion correction from an interview with Ricoh engineers on DC Watch
http://dc.watch.impress.co.jp/docs/news/interview_dcm/20160322_748845.html

Uehara mentions the same algorithms are used in the K3ii and K-1 but from what I can gather the sensor on the K-1 can discriminate motion better (resolution? pixel density?). Note: Realistic Resolution = Pixel Shift.

The --K-1 of realistic-resolution system, but joined a feature called motion correction, please tell us about this process.

Uehara: In K-1, but may be used as they are of the on / off motion compensation, in fact, have also moving object correction is incorporated in the K-3 II realistic-resolution system, always moving object correction it turned on.

--K-3 II faster-moving, such as automobile subject, but I have noticed is that in which they are processed not in multiple, motion correction of the K-1 had thought it became more powerful.

It can be photographed K-1 realistic Resolution System with motion compensation on, not is stronger in a moving scene than K-3 II that?

Uehara: only sentence in which the number of pixels is increased, but those of the K-1 might fine movement has increased more discrimination can case impression of the subject, the basically the same motion correction algorithm K-3 II also K-1 is adopted it has.

- Such as the scene in which the cloud is flowing, or is that slow the movement of the subject is that the still weak?

Uehara: clouds of flow Toka trees of buzz is a difficult subject for detecting a good movement, we recognize that it just weak realistic-resolution system.

- So, K-1 of a moving object correction off, Will what circumstances has been prepared taking into consideration?

Uehara: because motion compensation by comparing the image of the four shots, which part is moving, or not moving, for it has to determine, what is really at rest and there is a very fine picture I also I'm certain it would determine that the wrong move in.

And a discriminated area moving, replaced with images taken first sheet, since the super-resolution processing is not performed, it becomes the same described as normal shooting. For this reason, such as the still life shooting in the studio, consider the case, such as to shoot a subject that does not work absolutely, I was to be able to shoot with the moving object correction off.

By the way, if you shoot with a realistic-resolution system, so much noise of attitude is less than the normal shooting, the sentence, the person who was taken at a fast shutter speed to increase the sensitivity, with less subject blur I think that a clear image is obtained.

- When you shoot at realistic-resolution system, the line is very thin, I think you better also tonality?

Uehara: normal in the sensor of the Bayer arrangement, because it does not only obtained RGB any one color of information in a single pixel, but has created the color and brightness information that is not enough to estimate the pixel interpolation, realistic Resolution When taken with systems, since all RGB color and luminance information in one pixel is obtained, it is not necessary to interpolation processing, it leads to a final sharpness by going to correct the color reproduction of fine place you.

- In the normal shooting and realistic-resolution system, I think I'm naturally also different over how the sharpness?

Uehara: different. In the case of the realistic-resolution system, since the sputtering and the two points are separated, undershoot, when the sharpness processing, such as put the overshoot, because that would impair the dense detail depiction, large edge portion as much as possible to, you do not put the border, we are emphasizing process so as to reverse to highlight the texture of the parts of the face.

- By using a lens with a magnification chromatic aberration, what happens when you shoot in the realistic-resolution system?

Uehara: If a lens corresponds to a lens correction, but it is output by correcting the chromatic aberration of magnification, more magnification chromatic aberration and it is non-compliant lenses It stands out and clearly (laughs).

[rawr]

Still getting my head around how the K-1 pixel-shift motion correction algorithms might work.

I guess - using a water fountain as an example - if you shoot the fountain in pixel-shift mode, and process the image with motion correction enabled, the motion correction algorithm first studies the image to see what is moving in the scene. It does this by comparing the scene frame-by-frame (image 1-2-3-4).

If it detects motion in the scene in images 2-3 or 4, it attempts to mask the motion by overlaying on the corrected output image details of the scene cut from from image 1 - presumably the starting point of any motion detection. It essentially just applies some selective cloning to the final output image, drawing details from image 1.

If it detects there is no motion in the scene across images 1-2-3-4, it it applies no correction and the PS merge process proceeds normally.

Does that sound right?

[Not a Number]

That seems reasonable. Similar to focus stacking, HDR or frame damage repair used in restoring motion pictures.