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  2. Yes, doesn't matter for post-production. We use HLG as an alternative log profile. BT.2020 matrix coefficients tag is required for HDR playback, or on-the-fly conversion for SDR playback. This is why in Scratch, X-T3 HLG files are default blown-out (on an SDR display) because Scratch respects the tags. If we change the decoding parameter to BT.709 SDR, the images return to the flat look as seen on camera. Premiere ignores the tags and decodes everything in BT.709, so HLG files have that flat look ready for grading.
  3. Size is all relative, I know I wouldn't use S1 for anything other than video job, for travel I use G1X III which is much lighter and smaller, the RP while the body is small the lens is not. On the last trip I bring G1XIII and RP with 35mm which I end up using G1XIII and my phone the most, RP only used to capture firefly photos and spend 95% inside my bag.
  4. There is a matrix in the ITU-R BT.2020 specification that's different from BT.709 and BT.601. If that doesn't matter, then this whole topic is meaningless
  5. I think people complain in general! The GH5 is awesome, i only shoot log, and the image is always great, but do require a little work. I would also rather have the FS5 than the FS700, but got a great offer on the fs700, so went that way
  6. Today
  7. It's exactly as I say it is. You could take the same clip and set data levels to video for one of them and full for the other and that is the exact visual result. However what I'm actually doing is setting both internal and external clips to full, but the internal clip has the appearance of the external clip if it was set to video. This is only since Resolve 16 beta. Edit. That's for F-log. For HLG, I would need to add the compensatory LUT twice, not just once, to get the internal clip to match the external.
  8. These issues you are describing are hard to grasp without any visuals or actual samples.
  9. I assume you mean Clip Attributes->Data Levels, which is what I'm using. The issue is that all of a sudden full levels on an internal clip is the same as video levels on an external clip (for F-log). This seems to be a bug introduced in Resolve 16 beta. So right now, I need to add the compensatory LUT as a workaround to force the internal clip to full range. I do realise the LUT is not necessary if everything worked properly, and that it's a very simple math function that could be written as a DCTL, or done in Nuke with a Grade node. As for the Atomos HLG issue, yeah I originally thought the same as you're saying that it wouldn't matter if all the tags are Rec709 so I'm glad you said that. And you're right actually. I just took another look at it and the issue is that if I set both the internal and external clips to full range, then I need to add the extra LUT twice to get the internal clip to match the full range luma levels of the ProRes clip. Obviously that's broken. So I don't know which one is correct. Possibly neither of them. I think this would have been easy to sort out in Resolve 15 prior to upgrading to 16, but now I've downgraded I'm seeing the same weird behaviour in 15 as well. I'll admit I come from film where I'm mainly dealing with EXRs and DPXs and I never have to think about these kinds of issues. And I have not needed to look closely at broadcast HDR yet, but I love the fact you're getting a great result with HLG as a substitute log curve for X-T3 capture. I've had some promising early results too, but I'm working out a few kinks.
  10. Thanks, that's great to know. Right now I installed ffmpeg through homebrew and it didn't configure with --enable-libzimg. I'd be surprised if Atomos did not have some way of handling HLG more elegantly than what we did where we ended up with Rec709 tags. But we were shooting with an older 7" Ninja Flame I think, not the latest Ninja V. It did support HLG though. I think the important thing for me is to know what my baseline correct colour handling is in HLG. I'm assuming that if the full range issue on the internal files is sorted out then that is my baseline.
  11. In Resolve, data/video level is arbitrary really, it's easily selectable in "Levels" clip setting. There's no need to use a LUT for that. Also it's not really a problem for external ProRes for HLG to contain all BT.709 tags. HLG/BT.2020 tags are required for instant HDR playback on end user devices, or for automatic HDR to SDR conversion. Doesn't matter for post-production. Alexa Log-C ProRes carry all BT.709 tags as well, ARRI has to put additional metadata field to say it's Log C.
  12. The Swit can be powered directly from a compatible power bank via micro USB (minimum 2A current, 5V voltage). There's no internal battery.
  13. I didn't test HLG but if your issue with externally recorded files is metadata only, ffmpeg can change tags without re-encoding using the bitstream filter. I can help you with that if needed.
  14. I haven't been able to get the externally recorded files to match using CST nodes so far, even though the transform spaces are all common types. It seems better to get it right at a metadata tag level if the Atomos supports that. To be honest I'm okay recording h.265 for now because I'm looking at a 2k finish, so the extra chroma information in the ProRes is less useful. But I'd like to sort out why I'm not getting full range h.265 into Resolve all of a sudden.
  15. Yes you have to be careful with externally recorded files. Unless you have some kind of switch they will have BT.709 flags, at least the ones I've seen so far, but sometimes the underlying data requires BT.601 or BT.2020 matrix, so the NLE will have no chance to show it correctly.
  16. Santa Maria eh? Here is your namesake ship. Why don't you load it full of your Spam and make like Columbus and fuck off in search of new lands.
  17. When they've finished they give the cameras to influencers like Gnome Knows Kodachrome here to hype it up.
  18. Hello everybody. I have cameras (GH5S, A6500, GoPro7), lenses (all EF mount and adapters), tripods and normal sliders. I do youtube videos in my lab to promote my business. I want to improve my videos adding motion and I am between 6-Axis Motion Control SET from sliderkamera and Zhiyun Crane 3 LAB. At the final I will buy both but which one is more useful to buy first? Motion control is cumbersome to assemble to prepare each scene and I think I will stop using it for complexity. However, it has the advantage of the slider. The crane has a follow focus too and it is easier to set up before a scene. I have never used crane or motion control and I would like someone who has both systems to give me their opinion. Thank You very much! author: du lich viet
  19. guys, i dont think u get how a camera *works*, still the gnomes are scared of the light, they hate it. so they run around painting the pictures while the shutter is open, because theyre basically slaves anyway, if you take off your lens, you wont see them. they hide
  20. I don't know, unless Sony start putting their Venice colour science into their mirrorless cameras, the S1 and the Nikon have a much nicer image to my eyes. From what I see the S1 has beautiful colours straight out of the camera and can't wait to see what it's like with full v-log. The Nikon needs some work but can get nice colours too. Sony really needs to address their colours or regardless of specs they will lose a lot of potential customers. They have shown they can create lovely image - the F35 and new Venice prove that, they just need to start putting it into their lower end
  21. kaylee

    my first short

    i told u 😂😂😂😂😂😂
  22. I've done some HLG tests with the caveat that I seem to be seeing this "video levels" interpretation issue with full range h.265s now in Resolve 16 (see my post above). So right now, my test is inconclusive even after rolling back to Resolve 15 to do a sanity check. However as a workaround I'm using the "full to legal" lut for now. What I did notice is that the metadata tags for the internally recorded HLG are: Color primaries : BT.2020 Transfer characteristics : HLG Matrix coefficients : BT.2020 non-constant For the externally recorded ProRes it's all BT.709 for those tags which is clearly incorrect. We weren't paying much attention to the Atomos setup so maybe there was a "HLG" switch on it that tells it to embed the correct metadata. I had also used Editready to convert F-log clips, and it fixed the problem I'm reporting about the incorrect video levels interpretation of h.265. Something interesting though is that if I convert the HLG h.265 to ProRes using EditReady, it preserves the metadata tags. It means the converted HLG doesn't match the Atomos recorded HLG. However I feel the recorded HLG is interpreted incorrectly by Resolve because of its incorrect metadata. So the EditReady converted HLG is probably correct, and it matches the h.265 once I add the "full to legal" lut to the h.265.
  23. Hey forumers! I posted a thread some time ago about the signal delay between my GH5 and Ninja V is too pronounced to be usable. Atomos have yet to recognize the fault is theirs and accept a return, so I'm looking at investing in an S1 or S1R to supplement my GH5. The interest was sparked the other day when I was shooting a food event and another videographer turned up with a Nikon Z6 with Ninja V attached which had a much lower delay and it just looked so lovely with the FF and low delay monitoring with the Ninja V. Now, those of you that own an S1/S1R and Ninja V, how are you experiencing the delay? If it's at GH5 levels it's a no-go for me, if it's as fast as the Z6 I saw the other day I will order an S1/S1R today. Thanks in advance! EDIT: For instance, the lag seems quite pronounced when this guy turns his head https://youtu.be/bdCbpPxQbw4?t=187
  24. On YT since just three days ago... Quite sincerely, don't expect for NAB '20! LOL ; -)
  25. Keep an eye on your local listings! As a lot of people are getting rid of their old tungstens as they move over to LEDs. And they're too bulky/heavy to easily/effectively sell overseas so it is just going to get sold to locals who can pick it up
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