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  2. My "raw workflow" is just expose with a light meter, also get a grey card and then import to Resolve. In the raw settings I may use highlight reconstruction and do an exposure adjustment. Generally from there, if not working in ACES I do a CST to log (Cineon or Alexa LogC) then put the PFE lut on it to see how it will look before any log space grading. Edit: to be clear the PFE lut is the last thing in the chain but I'll put it on before grading (time-wise, not in the node graph). This gives me a nice quick one-light and should match the on-set monitor. I didn't see anything about these images that would make me deviate from that. They seem like regular raw images to me once they are in Resolve, but I'll have to see when more becomes available.
  3. Hi, I have an FVD16A - I'm happy with the optical quality but it's too stiff for my follow focus. Anyone have experience loosening one up? I don't know how. Thanks.
  4. Good news if you haven't had a problem with this technique. Now I have the rec triger fuji cable and I can't anyway power my XT3 with my Ronin. But I use a long 2m USB-C cable and I gaff a loop about 40-50cm on the SC's handle and I wear my anker in my pocket or in a small shoulder bag. Works fine and lightweight!
  5. Today
  6. Iirc they just put the RAW stuff into an SRGB/gamma 2.6. Which seems quite ... unusual. whenever i do raw stuff in resolve, i go for blackmagic film, as flat as possible, then onwards to cineon and other log stuff. as i understand they tried to emulate the RAW to something they can compare to their other measurements. For me, RAW needs special treatment : ETTR, normalisation, and then noise reduction (i love neatvideo for that). it's difficult to compare the fp's dynamic range, because all other cams lower the noise floor already. you need to do your part in RAW yourself.
  7. leslie

    elmoscope type 1

    i didn't hear back. not sure whether my email got lost or what, i was kinda impatient after a couple of weeks, i ended up getting a local machinist to turn something up. However it would have been cheaper buying redstan. from what i remember the back thread size is metric 49 mm Some what related... bizarrely i seem to find double focusing easier on the canon 60d than the p4k. i have no logical explanation for why that is either. I do have ml installed on the canon but the 60d doesn't really get me the resolutions or clip length i would like. I'm undecided on getting a fvd or a better model canon to run ml and raw on i do have an active thread called bmp4k adventures there maybe more info or pictures on the anamorphic set up there
  8. Neat Video (and some practice with Neat Video settings, it's got a lot of settings). But it might also smooth out/get rid of macro blocking so then you need to export it again at a low bitrate.
  9. noone


    I thought you did...I changed my post because of that.....I am glad you asked though because I want to know too.
  10. Thanks for clarifying there is some kind of curve on the 8 bit image - nice to know they thought about that! I'm not sure what you mean as far as color tables in DNG (will need to give the spec another look) but I'm mainly referring to Resolve interpreting colour matrices stored as DNG metadata - which it does. So that should be the crux of the colour transform decisions it's making on the raw image. Resolve actually does the best mainstream job at interpreting a Cinema DNG image because it puts it into a high dynamic range space with no highlight clipping if you have the Resolve project set up correctly, and it exposes it more or less correctly for middle grey.
  11. well guys, i highly doubt that there is a magic bullet here, but i have a few shots where I can just barely see the background actors and i wanna pull up the shadows as much as possible to see whats there i ~know~ that the macroblocking will be appalling, but don't worry, thats part of the aesthetic 🤣 I'm using resolve but im open to ANY software/plugins that could do some magic im not aware of, Adobe, etc, whateverrrr i need to do any ideas guys?? footage is in 4k fwiw
  12. leslie


    i actually meant to throw my question open to the whole forum, it was kinda late when i wrote that, i didn't mean to direct that at you specifically, sorry about that 😳 I also am looking at a new computer, my desktop died several months ago. For now i get by with dell i5 laptop, it runs resolve ok.... albeit slowly perhaps, i could probably throw some more ram at it one day. but i keep buying camera bits and pieces. 🙄
  13. noone

    Evaluating Cameras

    A7s was/is my all time favourite. Just using its ungraded internal full HD and that is/was probably overkill for me. That camera is dead now and I can not afford anything decent so I am using an even older baby Nex 3n (point and shoot camera with interchangeable lenses but a still nice APSC sensor)...and I do not even use the largest size in that preferring to use the 1440x1080 straight from the camera. I should say i mainly just record the odd song while shooting stills at pub and club gigs and festivals. Other cameras I have had and liked include the original A7 (video was ok for me though the A7s is much better) and the above mentioned Panasonic GX7 though its video max of ISO 3200 was a bit low for my needs.. Nex 3N mounted to my ancient 300 2.8 Tamron adaptall (with a Nikon adaptall, Nikon to Canon adapter and Canon to Sony E adapter....I hope to try and use it for a song or two today but without a viewfinder might have to keep it to stills.
  14. the forum topic was about the eight. i presume the black being the pinnacle of the gopro line. most would aim for that straight from the gopro website are the prices for the eight series accessories. these are the aussie prices of course. i did have a typo mistake in my earlier post, i misquoted us prices when ii meant aussie prices. If you can get those mods for $39 thats wonderful, and it really does prove just how much aussies are getting gouged at the retail level
  15. Hi everyone, check out this little musicvideo i shot on the Sony A7iii with standard optics. I used a tiffen black promist 1/8. Also used it in the sunlight shots which did not make too much sense. Some of the shots were recorded to an atomos recorder. Graded in Premiere. Sadly i did not own a Gimbal at that time... https://www.youtube.com/embed/YQyMdkgUIjI
  16. It is not linear. I haven't looked at the exact curve, but it does non-linear companding for the 8-bit raw. The 12-bit image is linear. The DNG spec allows for color tables to be applied on the developed image. The Sigma sample images do include such tables. No idea if they replicate the internal picture profiles though. AFAIK, only Adobe Camera Raw based software (e.g. Photoshop) honors these. Unless Resolve has gained support for these tables (I am on an old Resolve version), it is very likely that the cinema5d review is mistaken on this point.
  17. https://www.androidauthority.com/realme-x2-pro-review-1040898/ Which seems to be to pass on this one... OnePlus 7T and waiting for 108MP by Xiaomi on budget line still in 2019, until OnePlus will release their next generation the following year, my fair guesstimate : -)
  18. I took a look at the CDNGs in Resolve just with a basic ACES setup and they both seem pretty decent - even the 8 bit one which is interesting, because an 8 bit linear image should be practically useless. Maybe it's got a log curve under the hood? That lakeside image has a lot of dynamic range variation between highlight and shadow. It might just be the right kind of image to camouflage potential issues. I'll try a non-ACES workflow where I would just interpret to Alexa LogC/AWG. From there you would write out ProRes or something. I like cinema5d, but if I understood their review correctly they seem to be saying the camera's internal picture profiles are influencing the raw recording. I don't see how that is possible, those profiles would be only baked into the h264s. They are also advocating for a log profile to interpret the raw image as well as an option for the baked h264 footage. Resolve should do a decent job of translating the DNG frames based on metadata, then if you want you can convert to your chosen log profile with CST nodes or similar. If Sigma did create a log profile and gamut, and put out a white paper then that would be nice, but I'm assuming the DNG metadata currently there isn't garbage because the images seem to look okay. A known, published log profile and gamut is essential though when recording raw for monitoring over HDMI - assuming you can add a custom LUT to your monitor. That way, you can get a decent "one light" match to what you will eventually see in Resolve after ingesting your raw footage and applying your LUT.
  19. tbh, the good 'ol Canon 5DII was good enough for me. Ultimately, when I'm looking to get a shot it comes down to exposure and lighting anyway, if I'm pushing and pulling too much in post something went wrong when shooting the image. I'd love for a hybrid camera to have built in ND, but I've learned to adapt around it. I record audio out-board with a simple wireless mic system and small recorder. No issues there. My favorite hybrid cameras so far were the Lumix GX7 and EM5II. As you can tell, I'm pretty modest about things. I own the GH5 and use it alot, but it has a lot of features I don't bother with --and I feel like I overspent on it, based on MY needs. For instance, I'd shoot again with a GX7 in a heartbeat. Could probably buy one used for under $200.
  20. noone


    I look at my photos and video on several different screens and they all look different. Usually, I prefer the colour i get from my cheap little tablet. I have been thinking about colour checking lately though for my NEXT computer....so that would be nice to learn about going forward.
  21. Can you share an example file with both the original H.265, and the transcoded ProRes?
  22. That's interesting, the 2 people I know with C200s both have said its face tracking AF is not to be trusted on a professional shoot and they use object tracking instead. They were both disappointed the C200 AF didn't work as well as it did on the 1dxmk2 and 5d4. Hopefully the EOS-r is as good as the dslr's
  23. Before I used Smallhd focus 5 monitor on Ronin S which was mounted on magic arm and was holding on a clamp at the bottom front of the Ronin handle: https://ebay.to/2OYO9Dx Now I use Smallhd focus 7 monitor with this mounting to Ronin S: https://www.smallrig.com/smallrig-universal-wooden-side-handle-for-ronins-zhiyun-crane-series-handheld-gimbal-2222.html with https://www.smallrig.com/smallrig-magic-arm-with-double-ballheads-arri-locating-pins-and-1-4-screw-2115.html And I think it's the best combo, the monitor feels so secure and you can change the position so easily. You could also mount some other things to the side handle. The possition of the monitor is better on the last picture because the HDMI cable is not in the way. You can do the same with Smallhd focus 5 inch.
  24. Also samsung t5 ssd 2 terabyte is only 299 usd. And after you get home with the footage you can use slimraw to compress the dngs. https://www.slimraw.com/ You can use the ssd directly as the source and compress while you copy to another drive.
  25. Yeah, reading that comment thread eagerly! i cannot wait to get home and work on the still in Resolve!
  26. You can download two cdng stills from cinema 5d , one 8 bit and one 12 bit. I played with them opening the dng directly in photoshop raw and it looks amazing. You can sharpen all you like or turn it to 0, you can change exposure and white balance, and even the adobe profiles look great for getting a quick grade the dynamic range is great ! And the best thing for me, no compression, so really nice filmic grain structure.
  27. no one ever said this was for sale. o.O
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