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  2. @BjornT was kind enough to share a grade he did using Filmconvert and Lumetri. Here's his final grade: and my manual grade: These are the adjustments: First node is WB Second Node is this Luma Curve: Third node is Hue vs Hue: Fourth is a YUV channel mixer with a key to only apply it to blue: This is the main 'look' of the grade, and remember that although the snip above says RGB, that the node is in YUV colour space. If you're looking for cool looks then a channel mixer in YUV mode is where it's at! Fifth node bumps up the Luminance and Saturation of the yellows (in the trees) via Hue vs Sat and Hue vs Lum curves. Sixth is a key on the skin colours that shifts the yellows slightly towards pink (with a Hue vs Hue curve) and also raises the brightness a little (with a Hue vs Lum curve). This was an interesting exercise and I primarily did it by having the two shots on top of each other with a Difference blending mode, and looking at the resulting image with the Waveform view, and also having the two shots next to each other on the timeline. I'd go back and forth between the two shots and look at what the main issue was, then go into the Difference mode view and play with the controls trying to make the waveform go as low as possible (low waveform = smaller difference between the images). I tried a number of things in curves where you'd end up with a curve that would look like a rollercoaster and that would tell you that something was going on with what you were adjusting, but that this type of curve wasn't the answer, so I went down a few of those rabbit-holes and trashed the node and tried something differently. Anyway, that might be useful for someone.
  3. Interesting. Here's my manual attempt to replicate the grade. Original: My manual grade: Grade from @BjornT with Filmconvert etc: Some of the colours aren't quite right, but it's broadly there. I'll do a write-up in the Grading thread about what the adjustments are.
  4. Today
  5. I love slider shots. And it feels like today there is an obsession with gimbals. Honestly the shots most people do with gimbals looks boring now a days, and even when trying to keep the gimbal steady, the camera obviously looks like it’s floating. I like the look of a slider. It looks like a gimbal moving, but without the “floating in the air thing.” They aren’t used too much, and one can make beautiful camera movements with one. There is something about the camera being locked down and moving compared to a gimbal where the camera is “floating and moving.”
  6. I will tell you this. Adding the Ninja 5 will not add mobdro, lucky patcher, or kodi, but maybe magic lantern can hack the ninja 5! I really wanted kodi on my Panasonic g9!
  7. What do you think the chances are that it will be a Black Friday special? I'd like it to be a few hundred dollars cheaper. 🙂
  8. kye

    Evaluating Cameras

    I can't think of any situation where going through all the pain of an upgrade would be worth it for half a stop of DR!! DR matters to me, but I do wonder what would be a significant enough bump to make me think about it.. This is an easy statement to make, but from a technical perspective that's a pretty big ask! I know what you mean, and I agree, but very high bit-depth RAW 24MP stills is a pretty high standard - not to mention the bitrates that go with that 😂😂😂
  9. All I did with lumetri was white balance with the white balance picker of the white in her top. Thanks! The performers were part of a photography meetup in Berlin organized by Beazy.
  10. Yesterday
  11. It can be, yes. I was responding to the claim that the fp's 8 bit raw could somehow be debayered into something with more tonality than an "8 bit movie." I suspected that @paulinventome thought that RGGB meant that each pixel has 4x 8 bit samples, whereas of course raw has 1x 8 bit sample per pixel. My statement about 4:2:0 was to point out that even 4:2:0 uses 12 bits/pixel, thus having the potential for more tonality than an 8 bit/pixel raw file has. Of course, 8 bit 4:4:4 with 24 bits/pixel would have an even greater potential.
  12. Not a traditional specs review of any kind and no sales pitch. What a great little camera for the MFT system.
  13. Interesting! I think that A7S is also being oversampled, as far as I can tell from Kasson's methodology. The sensor is 12MP with a height of 2832, and it is downscaled to 2160. That's just over 31% oversampling. The numbers I see thrown around for how much you have to oversample to overcome bayer patterns is usually around 40%, so A7S is already in the oversampling ballpark of resolving "true" 2160. With that in mind, I was surprised at how much difference in color there is. Even on the real world images, there's a nice improvement in color issues on the A7R4 over the A7S. The difference in sharpness was not very pronounced at all. But bayer patterns retain nearly 100% luminance resolution, so maybe that makes sense. The color difference evens out a bit when the advanced algorithms are used, which really shows the huge potential of computational photography, all the way from better scaling algorithms, up to AI image processing. I suspect that some of our concept that oversampling makes vastly better images comes from our experience moving from binned or line skipped to oversampling, rather than directly from native to oversampling. And I also think that we all agree that after a point, oversampling doesn't help. 100MP vs 50MP won't make a difference if you scale down to 2MP.
  14. Nigel is great. I love how he still uses a GH3! FilmLook is also great!
  15. ItzhakW

    Evaluating Cameras

    As a hobbyist who mostly take videos in vacations - It seems to me that a perfect camera would be one I can take with me everywhere (so DSLR-size at max, not a C700), and is capable enough to produce content with long-lasting appeal. It should work well for stills and video. If I ever decide to shoot a documentary about a subject I care for - it should also work well for that purpose. I want a jack of all trades. Now, what is a 'long-lasting appeal' to me? Photos I took with a 5D Mk2 (and a 1D MK4) about 10 years ago - still look amazing to me. The original RAW files hold enough information to impress me today (as a guy that uses mostly M43 equipment). Videos I took with my GH1, mostly aren't. The limits of the GH1 were known to me at the time of purchase, but coming from an HV20 - it was still a very good upgrade - and the GH1 has been a great camera for vacations and general usage. If I can find a camera today, that can do in video (dynamic range and noise-wise) what a FF DSLR could do with stills a good few years ago - I'll be happy. It would be the perfect camera for me, and I will not feel the need to participate in the upgrade-race for a good few years to come. The problem is that I don't believe such a camera (within the limits of a 4K USD budget, and the aforementioned size) exist yet - a Panasonic S1H and a the 6K Blackmagic seems to be candidates (well, the later not really for stills) - but I haven't yet seen enough footage to fully convince me yet. (and yes, I've been humming to myself the intro to "Camera Conspiracies" YouTube channel while writing this message)
  16. mind sharing your lumetri adjustments ?
  17. lol. i guess thats a good deal if you can get it. I presume gopro are still making money maybe not as much, but still making money plus their probably counting on you buying accessories to bolster their margins and if you getting one of their cameras its one less sale for a competitor. apparently the trade up offer is for the us and eu, i just had a look on the website. I probably didn't need another one anyway. I do have a nikon 950 that the serial cable that no longer works with, its not the cable as the digi-lapse controller cable doesn't work anymore either. it still takes nice inferred photos however even if they are 2.1 mp let us know how well it works out for you, should probably keep an eye out on these things 🧐
  18. Jim Kasson did a series of tests about this subject: does 6k or 8k or even 9k image downsampled to 4k look better than native 4k? Though he is a still guy but the test is relevant for video shooters. This is the last one but check the previous posts too. https://blog.kasson.com/the-last-word/camera-resolution-and-4k-viewing-a7s-a7iii-a7riii-a7riv-downsampled/ My take is that if you dont shoot texts or Siemens star or a chart, the difference is surprisingly unnoticeable! And keep in mind, Jim is doing this in post, using a powerful PC, using the best available software and algorithms. We know the downsample process happening inside the cameras are far from the best possible, they want to do it fast without using much power, it shouldn't be a very computationally expensive task.
  19. yiomo

    Lighting a clinic room

    Well I am a member since 2009... I have posted few times. It is just weird, that I was allowed to create a new post and then not being permitted to follow up the conversation on my own thread!
  20. PannySVHS

    Evaluating Cameras

    GX85 with pixel perfect 50p HD in 100mbit, CineD, double battery life and mic in. GH4 would do then I guess. Dreamcam would be a beautifully rigged BMMCC with some C-mount lenses.
  21. billdoubleu


    I own the 16 & 25mm Meike lenses. I really like them for my purpose, which is family videos. They're used on my GX85 & G85. They offer a nice sharp image through the aperture range. Though they may be a bit too clinical for some people's taste. I don't really look for a vintage image because I like digital images and I firmly believe in due time my images will look as vintage as they need to. I also like the weight they add to these smaller cameras. I was a very early adopter of these lenses, so the 25mm version I have is the unabashed clone of the Veydra lens.The focus ring is a chore to turn by hand. I've read that the Veydras are heavily dampened.The 16mm version, which is the current design, has a far less dampened focus ring. I definitely prefer the 16mm focus ring as I don't use a follow focus, and assume the that a heavily dampened ring would be better suited for such a setup. I've never used a professional cine lens, so I'm truly talking out of my ass here. The focus throw is nice and long at around 300 degrees. As a side note I'm super pissed they changed the design, as my OCD strongly prefers they be a matching set. I've never tested the markings on the lenses, but I wouldn't trust them for anything important. I would doubt the T stops are accurate from lens to lens. I would also doubt coatings match well lens to lens. I'm sure no one suspects the QC for these lenses is a very stringent process. As far as I've read, in addition to the 12,16, and 25mm, they plan on releasing an 8, 35, 50, 70, and 85mm. Meike announced on Instagram this weekend the release of the 35mm in mid November. Their delivery dates change often though. I'm looking forward to the 35mm as it's my favorite focal length on MFT. A bit disappointing though that the price from the 12mm and on will be $399 each in the US. For me that's enough of a jump to start looking at the SLR Magic Microprimes which come in faster flavors than the T2.2 of the Meike lenses. Overall these lenses are fun for a guy like me to play in the world of cine lens make believe. MFT lenses are getting so fun now with the DZO zooms and the Vazen anamorphic lenses. It almost makes me not want to get a Sigma FP...but not really!
  22. yiomo

    Lighting a clinic room

    Thank you all. I think I have enough info to get me started. Alas, my camera is still the A7s. Currently no budget to rent.
  23. put a white board in the corner between ceiling and wall and bounce from that with a 200watts hmi, boucing back in 45 degrees. Styro board will do fantastically for bouncing.
  24. Haha thanks, I didn't even notice that! I have now passed full subsampling on EOSHD.
  25. Doesn't make sense to me. 8 bit bayer is significantly less information per pixel than 8 bit 4:2:0. RGGB refers to the pattern of pixels. It's only one 8 bit value per pixel, not 4.
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