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MatthewP

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  1. Like
    MatthewP got a reaction from iamoui in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    Started with some colour curves to balance the NX1 shot more towards blue, getting rid of the green cast. Then I just shifted the cool end of the blue spectrum further toward blue with a hue shift, and the warmer end of the green spectrum I shifted towards red with the same method. There were a few other tweaks to the saturation of different hues, but that was pretty much it. Could probably get it closer if I had access to the original files, but it's not bad.
     
    I guess it would be possible to make a '1D C' colour profile preset that could be applied to NX1 (or any other camera) if you wanted that particular look. Will post a sony vegas preset if there's demand.
  2. Like
    MatthewP got a reaction from Pavel MaÅ¡ek in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    Started with some colour curves to balance the NX1 shot more towards blue, getting rid of the green cast. Then I just shifted the cool end of the blue spectrum further toward blue with a hue shift, and the warmer end of the green spectrum I shifted towards red with the same method. There were a few other tweaks to the saturation of different hues, but that was pretty much it. Could probably get it closer if I had access to the original files, but it's not bad.
     
    I guess it would be possible to make a '1D C' colour profile preset that could be applied to NX1 (or any other camera) if you wanted that particular look. Will post a sony vegas preset if there's demand.
  3. Like
    MatthewP got a reaction from Marco Tecno in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    Started with some colour curves to balance the NX1 shot more towards blue, getting rid of the green cast. Then I just shifted the cool end of the blue spectrum further toward blue with a hue shift, and the warmer end of the green spectrum I shifted towards red with the same method. There were a few other tweaks to the saturation of different hues, but that was pretty much it. Could probably get it closer if I had access to the original files, but it's not bad.
     
    I guess it would be possible to make a '1D C' colour profile preset that could be applied to NX1 (or any other camera) if you wanted that particular look. Will post a sony vegas preset if there's demand.
  4. Like
    MatthewP got a reaction from Marco Tecno in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    While I do agree that the 1D C is the King of Colours right now, you can get the NX1 remarkably close with some simple CC:


     
    Probably better to do some CC for those of us on a budget. Just used the stock tools in Sony Vegas. To me, it shows that the NX1 is actually capturing the colour data, but just representing it in a different way (otherwise you wouldn't be able to bring it back).
     
    (NX1 on the bottom btw)
  5. Like
    MatthewP got a reaction from agolex in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    Started with some colour curves to balance the NX1 shot more towards blue, getting rid of the green cast. Then I just shifted the cool end of the blue spectrum further toward blue with a hue shift, and the warmer end of the green spectrum I shifted towards red with the same method. There were a few other tweaks to the saturation of different hues, but that was pretty much it. Could probably get it closer if I had access to the original files, but it's not bad.
     
    I guess it would be possible to make a '1D C' colour profile preset that could be applied to NX1 (or any other camera) if you wanted that particular look. Will post a sony vegas preset if there's demand.
  6. Like
    MatthewP got a reaction from Nikkor in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    While I do agree that the 1D C is the King of Colours right now, you can get the NX1 remarkably close with some simple CC:


     
    Probably better to do some CC for those of us on a budget. Just used the stock tools in Sony Vegas. To me, it shows that the NX1 is actually capturing the colour data, but just representing it in a different way (otherwise you wouldn't be able to bring it back).
     
    (NX1 on the bottom btw)
  7. Like
    MatthewP got a reaction from photographer-at-large in Shootout of the 4K flagships - Canon 1D C versus Samsung NX1   
    While I do agree that the 1D C is the King of Colours right now, you can get the NX1 remarkably close with some simple CC:


     
    Probably better to do some CC for those of us on a budget. Just used the stock tools in Sony Vegas. To me, it shows that the NX1 is actually capturing the colour data, but just representing it in a different way (otherwise you wouldn't be able to bring it back).
     
    (NX1 on the bottom btw)
  8. Like
    MatthewP got a reaction from studiodc in Samsung NX1 vs Canon C300   
    By the way, anyone else feeling that this website is starting to wander off its core audience? Who, besides professionals, can shoot with 1Dcs and C300s? Where's that old GH1/2 budget minded shooting gone? There are some seriously awesome cameras out there now, so much so that our (well, mine at least) shooting is defined more by features than absolute image quality. Can't there be more focus on the creative side of things, rather than tech specs? There's a lack of that kind of website at the moment, and EOSHD has the heritage and potential to fill it.
    Cameras are just gadgets without creativity.
  9. Like
    MatthewP got a reaction from Julian in Samsung NX1 vs Canon C300   
    By the way, anyone else feeling that this website is starting to wander off its core audience? Who, besides professionals, can shoot with 1Dcs and C300s? Where's that old GH1/2 budget minded shooting gone? There are some seriously awesome cameras out there now, so much so that our (well, mine at least) shooting is defined more by features than absolute image quality. Can't there be more focus on the creative side of things, rather than tech specs? There's a lack of that kind of website at the moment, and EOSHD has the heritage and potential to fill it.
    Cameras are just gadgets without creativity.
  10. Like
    MatthewP reacted to Steve M. in Samsung NX1 vs Canon C300   
    I have a question, what the hell are you guys all shooting that's so significant that you'll sit here and split hairs over DR, gamma, this, that, and the other thing? Are you producing a multi-million dollar blockbuster, or, rather is it something like some shots of a trash can, may be the sky and a few trees posted on Vimeo? You take one persons findings and opinion of a camera and suddenly you're all high ranking DP's of the world, trash talking this and that because it isn't 10 bit, it doesn't have enough DR, it doesn't compare to this camera or that camera. Who cares? Show me something you've done that's so significant that I should care. I'll be waiting!
  11. Like
    MatthewP got a reaction from Ben Prater in Canon 7D Mark II video specs vs the enthusiast DSLR competition (GH4, A7S, 5D3)   
    Remember the 7D II is a stills camera. If you look around the comments sections of photography sites it generally appears to be a very exciting release. Us video shooters have plenty of other options, so there's not much point in an article boo hooing about how it's lacking in the video department - 80% of the camera's target audience couldn't care less. All they need is 1080p - and even then there's plenty to be going on with what with all the different framerates and codec modes available on it.
  12. Like
    MatthewP got a reaction from johnnymossville in Canon 7D Mark II video specs vs the enthusiast DSLR competition (GH4, A7S, 5D3)   
    Remember the 7D II is a stills camera. If you look around the comments sections of photography sites it generally appears to be a very exciting release. Us video shooters have plenty of other options, so there's not much point in an article boo hooing about how it's lacking in the video department - 80% of the camera's target audience couldn't care less. All they need is 1080p - and even then there's plenty to be going on with what with all the different framerates and codec modes available on it.
  13. Like
    MatthewP got a reaction from themartist in Sony A7S rolling shutter test   
    And also incredibly true, unfortunately.
  14. Like
    MatthewP got a reaction from Andrew Reid in Andrew Reid and Frank Sauer shoot with the Panasonic GH4 - Production Diary Day 1   
    Wow guys... :rolleyes:
  15. Like
    MatthewP got a reaction from dahlfors in Blackmagic 4K Production Camera - First Sample Videos from Grant Petty   
    Dudes, let's keep this on topic. It's not a Windows versus Mac thread.
  16. Like
    MatthewP got a reaction from nahua in Blackmagic 4K Production Camera - First Sample Videos from Grant Petty   
    Dudes, let's keep this on topic. It's not a Windows versus Mac thread.
  17. Like
    MatthewP got a reaction from Sean Cunningham in Blackmagic 4K Production Camera - First Sample Videos from Grant Petty   
    Dudes, let's keep this on topic. It's not a Windows versus Mac thread.
  18. Like
    MatthewP got a reaction from mjones41 in First ProRes files from the Blackmagic Pocket Cinema Camera released   
    With a bit of curves, the highlights look quite nice. When filming it would be good to just keep in mind that you have to expose for the highlights (just like the GH2), and recover the detail from the shadows in post. All of these clips are a little overexposed, really, for the subject at hand (which is why most of the grades people have posted are darker). Anyway, here's my cinamatic take. Grades rather nicely.
     

  19. Like
    MatthewP got a reaction from bluegreenturtle in 2.5K CinemaScope anamorphic raw on the 5D Mark III   
    You're right, it's wider than 16:9, but it isn't as wide as you think, and it's stretched. Funny how your brain compensates if you've been looking at it for a while, though (which is something I've noticed before).
     
    Here, look:
     
    Top is the original aspect ratio.
     
    Bottom has the video frame (including black bars) compressed to 3:2.
     
    Blue circle added for easy comparison to the hoops in the background. Speaks for itself. ;) You can't argue that the hoops are at an angle, because they would be taller vertically and they are not. So, the conclusion is that it's stretched ever so slightly, but enough to be the first thing I noticed when I started watching your vid. Shoot a perfect circle head on if you want to see it yourself. Just trying to help.
     

  20. Like
    MatthewP got a reaction from bluegreenturtle in 2.5K CinemaScope anamorphic raw on the 5D Mark III   
    Hey Andrew, I think the aspect ratio is off in your video (the first one). It looks stretched horizontally, but compressing it so that the video frame (excluding black bars) is 16:9 fixes the stretch. As you're shooting in 4:3, you will get 16:9 with an anamorphic lens (which was the original use for the Panasonic anamorphic lens - to make a 4:3 camera record in 16:9). Just thought I'd let you know. :) Stunning footage regardless!
     
    Here's what I mean:
     
    [URL=http://imageshack.us/photo/my-images/12/80767918.png/][/URL]
     
    [URL=http://imageshack.us/photo/my-images/809/65037090.png/][/URL]
  21. Like
    MatthewP got a reaction from Andrew Reid in 2.5K CinemaScope anamorphic raw on the 5D Mark III   
    It's part of the excitement, all this discovery to get the perfect image. :) You're doing a great job ploughing into it, Andrew. Keep it up!
  22. Like
    MatthewP reacted to ScreensPro in BIG NEWS - Hands on with CONTINUOUS raw recording on Canon 5D Mark III   
    I just don't get why people who are working in full time studio setups, where alpha hacks wont be considered, are even checking this out and telling us how useless it currently is.
     
    This is 99% a forum of indies, low budget guys, people who will jump through hoops for image quality. Hell, people were excited about 2 seconds of raw only last month.... surely that was a pretty strong clue as to the thought process of alot of folk on here?
     
    If it is not the way some of you work, that's fine.... But don't tell us how wrong or unprofessional we are to think about using it.
     
    Some of us are risk takers, some of us can afford to be, for one reason or another (doing work for friends, experimenting, open minded clients etc etc).
     
    I remember dropping a plastic fish tank and some weights onto the first step of our swimming pool and placing my hvx in there to get stock underwater footage... Is that the way studio guys would do it? Of course not.... Was it stupid? In hindsight, probably..... Did it looks great, hell yea... did it make me money? double hell yea.
  23. Like
    MatthewP got a reaction from Andrew Reid in BIG NEWS - Hands on with CONTINUOUS raw recording on Canon 5D Mark III   
    Don't use the sharpness settings in Camera RAW, or noise reduction for that matter.
     
    Here's what it looks like with unsharp mask instead... (view at 100%)
     

     
    It's stunning! Look at the skyline!
  24. Like
    MatthewP got a reaction from zephyrnoid in Test footage from the pre-release Panasonic GH3 at Photokina   
    Hey Andrew, just a quick note regarding gamma.

    Note: this post assumes that you think the left image has the 'wrong' gamma setting, and the right one has the 'correct' gamma setting.

    Are you sure 100% that you're getting crushed blacks and highlights? I did extensive testing some time ago, and have a good method of testing for sure.

    As you say, the GH2 records in 16-235.

    The picture you posted before had correct gamma on the left, not the right. The right hand one had, I think (might be wrong), lifted shadows and darkened highlights, giving a pseudo low contrast look, which doesn't actually recover any detail, as black is effectively never truly black, nor is white ever really white. They're limited because 16-235 footage is being shown in a 0-255 space, so black is 16 levels brighter than it should be etc.

    The way to test is by a histogram. Record some video with the lens cap on, low iso, and fast shutter speed, then record one with 100% blown out sky or something else that's bright.

    Now, bring it in to whatever editing software you're using, and see if the brighter gamma (the same method you used to get the brighter result on the right) results in a black level that's truly black (looking at the histogram), or a black level that is actually grey (which won't reach down to the bottom of the scale on the histogram). Same for the highlights - see if the "white" you're seeing is truly white, or actually darker. Perhaps comparing it to a webpage window would be easy to spot, too, if you want a visual representation of what the histogram says.

    All this is assuming that your monitor isn't the culprit of these crushed blacks and highlights that you are seeing...

    Anyway, if you still don't get what I'm saying, take a look at this modified picture of what you posted... if the blacks were truly being crushed and the whites clipped, I wouldn't have been able to recover that information in the left image. I have literally just lifted the blacks and brought down the highlights on the left image using levels in photoshop.

    Hope it's useful! I personally just wish everything was 0-255... but anyway :)
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