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  2. That 4K60p is looking good. CS seems on par with EVA1. I like what I'm seeing. But hearing dude say "missed focus" 20 times in that wedding vid puts a big cringe on my face. What good is having superb "organic" imagery only to miss the shot? That said, stick some manual/cine glass on this cam and you maybe got yourself a mini EVA1..
  3. that is what it seems to me Image look great straight out of the camera, much more than what it is in gh5 and (vene if less) xt3 That is for me a great value as am notr so good in grading , neither i wish to became...i like natural image, and what it comes out from s1 seems so good as it is...also z6 have this impression
  4. I sent it back to Panasonic a while ago. They fixed it for free out of warranty. I think it did took about 2 weeks. They also fixed the ware to the grip that early models of the camera had.
  5. Jimmy G

    what about s1?

    One of my favorite reviewers, Gerald Undone, weighs in with a 17:44-long, fully chaptered take on the S1... Panasonic S1 Review: LARGE and in CHARGE (S1 vs Sony a7 III vs GH5) - YouTube: ...finally, a fairly comprehensive AF test series covering the various Panasonic AF settings and how they translate to actual performance for both video and stills. :)
  6. Judging only by some reviews and sample shots of the S1, I suspect the way to go will be to use good vintage glass, not so much native glass for video work. It'll cut down on the size of the package and have the added benefits of nice glass with good manual focus and IBIS.
  7. Video or not I am still not am not buying one. Like I said, I am not buying Any of the new cameras. None of them, other than the PK4, too much to add to really get it to function, bring anything I need to the table that is not already out for less money. I am not a big Hybrid fan anyways. They are a compromise on both fronts. But I am sure a Z6, Z7 can get the job done. It just takes a lot more effort than I want to out into it to make it happen. Enjoy it.
  8. To me this seems to be the exact same issue as the one described in the video, but with different matrices. There are 3 matrices to go from YUV (YCbCr to be technically correct) to RGB. For SD usually the BT.601 matrix is used, for HD the BT.709 matrix, and there's the BT.2020 matrix which you can see in HLG for example. That doesn't mean that you can't encode an UHD resolution log format with the BT.601 matrix, Fuji does just that. And as androidlad mentioned, you can have Alexa log encoded with the BT.709 matrix. To have the right colors in RGB, you have to use the correct matrix. Then you can delog your footage and convert color space etc. But all this comes after the YUV->RGB conversion.
  9. Today
  10. Respecting or disrespecting the matrix coefficients tag won't result in blown-out footage. I believe you're talking about transfer characteristics, which is basicly the linearization function. Disrespecting the matrix coefficients tag will result in different colors, as you have seen in my video. I can show you what I mean. This is from a HLG video using the BT.709 matrix, extracted with FFMPEG. (Resolve has the same colors, I checked it.) This is the same frame using the BT.2020 matrix, this is actually how FFMPEG extracts the frame without any extra options, since it respects the tags by default. But I also used zscale to do the scaling manually and the results are identical to what FFMPEG does by default: Open the files in different tabs and switch between them. You might say that this doesn't matter to you, but the difference is there.
  11. 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.
  12. 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.
  13. 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
  14. 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
  15. 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.
  16. These issues you are describing are hard to grasp without any visuals or actual samples.
  17. 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.
  18. 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.
  19. 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.
  20. The Swit can be powered directly from a compatible power bank via micro USB (minimum 2A current, 5V voltage). There's no internal battery.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. When they've finished they give the cameras to influencers like Gnome Knows Kodachrome here to hype it up.
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