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  3. Re-read my comment you quoted... I didn’t say to use Rec709... Rec709 is the default in the Raw Panel... or maybe it’s SRGB... either way, I was trying to explain how Highlight Recovery can give you a little more dynamic range in Raw than you would have in ProRes. This function is particularly useful if you have a light in your frame... especially the sun.
  4. I changed my mind about the GH5 by revisiting footage again. In the right hands it does very well. My main issues are: - It adds sharpness to the image - Color is still off most of the time and this also has to do with how it handles mid shadow skin areas. It tends to get dirty in these areas and this can be a problem - The m4/3 field of view or what it presents to us is always wide open wide shots, and this creates the same as same as framing for GH5 owners. It must be impossible to get a mid cowboys shot with that camera. - The GH5 shares technology came from the GH4 and G7 and some of the same issues carried over. I used the own the G7 and it was great camera for the price. - Again color is off on this camera and it's almost a color shift that happens. - Shadow and low light areas. It's know that the Gh5 is not great in low light and don't mention the speed booster and toaster that can fix this issue. The tech guys and guys that try and break this down scientifically miss the point. If you have the darkest value before crushed blacks that show noise and unresolved detail (detail that the camera doesn't show or can't show but these areas are not just one value) then that's an issue you can't just blame on low light. Almost every clip will have areas like this and it depends if it's on the wall in the shadows or the shadow side of a persons long hair. Most of the time the Gh5 almost fills in these areas with darker shadow then what we see. It almost or does have less range in the mid to darker values. Instead of 7 the GH5 gives us 4 values on the grey scale. - Hybrid cameras should have good video and photo abilities because they share the same sensor and processor. We all know the GH5 doesn't do photo's well and there's a reason for that. The Lumix S1 and S1R seems to have pushed photo and video to the next level. So in the same family you have the Gh5 and S1 it's clear from the S1 how far back the GH5 is in image quality. The C100 has atone of cine feature and controls but no one is replacing the GH5 with the C200. Why not? He seemed to bring a lot to the discussion.
  5. He's no longer active on this forum...
  6. Actually taste counts for a LOT and that includes taste in camera images.
  7. I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.
  8. Thanks, test confirm me my one experience: difference is pretty obvious even in exposing just one snapshot. RAW has noticeable better 3d definition, more details in the ground, more DR in left part of the clouds which seems to keep same form and position through shots. Watching footage flow without web compression makes difference even more pronounce. Prores HQ might be sufficient for somebody, not enough sufficient for someone else. For me, personally, having possibility of RAW shooting is exclusive quality and reason why to choose BM cameras instead others with better ergo, IBIS etc.
  9. Color looks good if that's what you're skin looks like. Most older guys don't have that much pink going on. Did you sharpen the footage or is that the GH5 magic?
  10. Camera A is actually the FS700. I think the colors are not bad, but their cine-cams are a lot better with than the mirrorless sonys. I read someone saying, that the colors are more natural, and thats what we view as bad? I think the sony colors are great for products, landscapes and so on. But for people, canon and blackmagic are great. But then again, with the raw to prores on the sony, you can grade the colors to be awesome on the sony also
  11. I could never understand trying to rig those small DSLR/Mirrorless into a shoulder rig -type configurations. With new products from Tilta, etc. now things can remain small, and yet have everything included. With different style handheld, that is :).
  12. yeah, hard not to be bulky when slapping a 600mm f/4 on the front. the fs700 and recorder combo is big, but it's definitely manageable when you have proper camera support. No doubt the fs5 has the advantage there. Still, for 4k slowmo, the fs700 is still pretty bad ass when recording externally. More than enough camera for what I'm doing. Also, to go the other way, here's the fs700 with the Pentax 110 24mm 2.8 lens on it, just for shits and giggles
  13. Yeah that is sort of a problem with them. You need a recorder. The whole package is not as cheap as it looks when you add that in, not counting the bulk. But they can get the job done when you get it all together. But most of the Cine cameras can get pretty large overall when you add all you really need to make it happen, even a lowly a7s. 😲
  14. This time last year I couldn't resist anymore when I saw an fs700u pop up for very cheap. I snagged it and have slowly been acquiring the kit pieces that it was missing as it came without accessories. Need to send it into Sony to have is R upgraded and I'm keeping an eye on Shogun Infernos, especially now that the new shogun has come out as well.
  15. Well if you use REC709 then yes you may have clipped highlights but who has this setting if you are shooting RAW?. Again I've not seen any hidden DR above clipping in RAW. Highlight recovery is a bodge to clean up highlights when one channel has clipped.
  16. Yes... and no. What the "Highlight Recovery" setting does with RAW is find areas where one channel (say, red) is clipped, but another (say, blue) is NOT clipped. Resolve then fills that red channel with information from the blue channel. In ProRes, this info would just be "clipped", and come out as white. But in RAW with Highlight Recovery, that detail appears... but with a caveat. That detail is basically black and white. Because the actual red color info is gone, the best Resolve can do is kind of guess the color, and it defaults to desaturating (it used to make that detail pink, which was pretty ugly). So usually what this means is, instead of a window being blown-out flat white in ProRes, in RAW, you can barely see the frame of the window panels. It's not gorgeous, but it is kind of nice. More importantly, in a hot spot on someone's skin, RAW can bring back a bit of (desaturated) texture in the skin, which CAN be kind of a big deal. It's up to you whether these subtle differences in the extreme highlights are worth the trouble or not.
  17. See, Robots Are taking over. 😬
  18. Exactly that is what it is in simplest terms. And the reason why the sensor captures light to form an image is because the sensor has special diodes that work like a scanner and a solar panel that reads the light then reacts to it. There has to be plenty of light for the sensor to do this process correctly. Basically what a digital camera is is a robotic eye with a mechanical brain.
  19. Well the guy has 22 videos on grading Resolve. I would Hope he knows what he is doing lol.
  20. Yeah here is one with the Raw upgrade and a Metabones for it for 3000 Dollars. https://www.ebay.com/itm/Sony-PXW-FS5-XDCAM-Super-35-Camera-RAW-Upgrade-Metabones-Canon/183783100085?hash=item2aca538eb5%3Ag%3A7eMAAOSwnQFcvMQb&LH_BIN=1&frcectupt=true
  21. Greetings, Here are this week’s new tracks. Free to use with attribution: MAGICAL BACKSTORY – (Looping) – This might sound nice under the menus, backstory, etc., in a mystical fantasy game, RPG or maybe a visual novel. https://soundimage.org/fantasy-8/ DRIFTING AWAY IN PUZZLE LAND – (Looping) – Sometimes…(actually lots of times)…I wish I could do just that. Anyhow, this is a variation of one of my other themes. https://soundimage.org/puzzle-music-4/ FUTURE FUNK – (Looping) – Here’s a grungy looping piece with a mechanical feel and a funky vibe that might sound cool in a sci-fi game of some kind. https://soundimage.org/dance-techno/ Enjoy!
  22. Yep. I was all set to buy a high cri dimmable LED panel, but the delivery was too late. That rented fluorescent had a nasty green cast. Now in have that LED. 🙂 I think I'm with you on lowering the light. A bump up to ISO 640 on the Canon would be fine. I can dim my bg boat lighting, but I can't gel daylight windows until I can afford a crew to do that for me. :'-|
  23. https://blackmagiccameraclub.wordpress.com/2015/01/25/prores-lt-vs-prores-hq-vs-raw-on-the-black-magic-pocket/
  24. @Shirozina okay let’s backtrack a bit... your footage is noisy? Why? I thought the P4K sensor was supposed to be pretty clean? In fact, there are only two reasons why it would be noisy... 1. You’re underexposing it. Are you using ETTR? 2. You’re not shooting at base iso. As far as DR between raw and ProRes... I think I may have some side by side examples from some old Micro or Pocket footage... I’ll have to check my drives. Although, I would think the extra bit depth with Raw would make the idea of “perceived DR” pretty simple to understand. As far as Highlight Recovery I’m Resolve... have you ever used the Raw Panel? Bring in Raw footage that ETTR’d and you should see it completely overexposed with the Rec709 default... change it to BM Film and your waveform will drop but in many instances the highs will still be flat (slightly clipped) click Highlight Recovery and you get the top end back... it’s one of the best features in the Raw Panel.
  25. i shouldn't boast, but i have a milking machine in the shed. No cows at the moment, sold them off because of the drought and someone bought them for more than twice what we paid for them so pretty happy about that. at the moment milk is $1.10 a liter no idea what that is in gallons don't really care either 😀 like ironfilms 2 liters doesn't go very far and i suspect all the other beverages were invented for those who can't handle milk 😉
  26. Cameras convert ideas, planning, setup, teamwork, passion, skill, practice, attitude, and luck into files on a hard-drive. Then editing software converts vision, taste, timing, essence, persistence, and files on the hard drive into a finished film. This is why a great camera makes no improvement to a bad situation, and a bad camera takes only a small amount away from a lot of hard work and dedication.
  27. kye

    Davinci Resolve 16

    @thephoenix that is absolutely fantastic! I retime things quite a bit, and optical flow is great, but it doesn't do a good job when there is movement in the background, but this new SpeedWarp mode is really great. The video the guy uses is actually a really good test and shows the weaknesses in both the approaches. DR just keeps getting better and better!!
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