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Everything posted by Axel

  1. On Creative Cow, someone has found that indeed in a 2020 project the Color Wheels work properly (and really well), whereas in 709 they are a mess. Best advice would be: stay away from the wheels if you are grading for rec_709! Nobody knows what happens when in the next update this gets fixed. You very probably lose all your rec_709 CC for existing projects ...
  2. Yes, Don, you're right. It's just funny that everybody raves about the long-awaited wheels without noticing that they offer less than the iMovie-ish Colorboard. Or without admitting it. I asked Mark Spencer in the comments to his Ripple Training, and he answered: "All color adjustments are iterative." Maybe over time we all realize the ingeniousness of those wheels, because getting it right in many time-consuming increments is possibly the most precise way to do it. This reminds me of a children's book of mine, in which two guys want to share a sausage. The smarter guy says, it's not ex
  3. A serious warning concerning the new Color Wheels. You might already have sensed that they behave somewhat weird. Now Simon Ubsdell has published a video explaining that they don't use the traditional lift-gamma-gain controls (like the color wheels in Resolve, in Apples Color, in Lumetri and in every other CC program). This renders the tool completely useless to efficiently adjust contrast in your image, you still need the Color Board for that (or set the necessary limitations to the ranges manually in Color Curves). Comments have been deleted over night, not sure why. I posted this on fcp.co
  4. You didn't mention if you edit with FCP, which uses AVFoundation. Since Yosemite, allegedly, the whole OS (and OiS) uses it as framework. And indeed, Finder / Preview / QT player now play back a greater variety of video files (they used to reject naked, unwrapped mts-clips, for instance), but specifically not some of the 10-bit GH5 files (and others). FCP accepts them nonetheless. The very same version of the third-party-app Kyno used to repeat the Finder warning unsupported file type, unable to play back (or so), but now miraculously (just after a restart of the app) shows them, you could say
  5. In between holiday duties I just watched all FCP X VUG recordings on Youtube. In the recent one (jump to 56'53"), the question is whether you can use a Blackmagic 4k interface to bring HDR to an external monitor. Mark Spencer says, no, it has to be the AJA i/o. In order to set the flags for PQ vs. HLG and the brightness peaks right or whatever. That's telling me, become sober! Imagine you buy such a device and you buy some so-so HDR monitoring display right now, that's a lot of money. And soon afterwards (according to a site recommending the right time to buy new Apple hardware through av
  6. Are these solutions good enough? And isn't good enough merely an euphemism for actually pretty bad? Time will tell. As we will get accustomed to see HDR images, we will later, probably years later, be prepared to compare and judge them. That makes early adopters brave pioneers. The more I learn through articles like these, I realize that my hopes of getting started with the bare minimum are naive fallacy. The point where I land with a smack is usually when someone introduces monitor calibration to the discussion. A long and winded rabbit hole with the conclusion that I can only come incrementa
  7. @jonpais I couldn't do the download right away 'cause I'm the family's driver to the Christmas places, now everybody takes a short nap before the next ordeal. You are right: everything looks completely blown out in the timeline, while quite normal in browser. So this is HLG? Because I wonder: with Andrew Reids two HLG clips (horses on a meadow), there is indeed a *very subtle* brightness/gamma change between browser and timeline, and the clips looks much less flat than i.e. the V-log sample. The values are spread (almost) perfectly between 0 and 100. In your clip values that obviously be
  8. @jonpais Wish I could help. I must admit that I'm still confused about the correlation between the settings (preferences: raw values, library color space, project color space, HDR tools). I have a lot of LOG footage (own slog2, own BM Pocket LOG, FS7 slog3 from my buddy, downloaded Vlog and HLG clips from GH5, some C200 clips had been RAW but sadly converted to ProRes444). Some were radically ETTR'd and surely look overexposed in the browser. However, I can stuff the values between 0 and 100 in the (rec_709) waveform, and nothing looks blown out, and certainly not at 90 somewhat IRE (BTW:
  9. If those are „custom camera LUTs“, don‘t use the *effect* „Custom LUT“, but instead go to >inspector >general, load them there permanently and make sure they‘re designed for the color space you‘re using. LUTs for rec_709 look weird in WCG rec_2020.
  10. This is very exciting! The new CC tools are so well thought-out (have so many "hidden" features, like eastereggs, see the Ripple trainings on Youtube) that playing with them is big fun. They are precise and powerful at the same time. You can grade in no time, and you can as quickly make your pathetic 8-bit stuff fall apart completely. Made me wonder if that was actually 32-bit floating point. But I did the same operations in Resolve, and the results are the same. It's just so tempting now to give every single object in your image exactly the hue, saturation and brightness you have in min
  11. Are you sure? Please share with us the way you connect your Inferno to your Mac. Someone recommended putting a BM Decklink Mini 4k into an Akitio Node Lite housing, which would be ~$650 instead of $2500 for an AJA box or BM 4k Studio Extreme.
  12. Apple says so in it's "FCPX - what's new?" But what about: (specs for 2017 iMac 5k) ??? Could it be that easy? But I don't think so. There is an in-depth tutorial for the new HDR-tools in french. To be honest, I understand only about 40% with my french back from school: Doesn't this look just gorgeous?
  13. Now downloadable from Appstore: 10.4. Upgraded to High Sierra with APFS today, clean install. No glitches detected so far. New version feels more responsive. Only plugin: Neat (seems to work, but slow as usual). Existing libraries need to be conformed. So beware - a one-way. But no cul-de-sac. CC tools make me believe (after an hour of playing around) that I won't use Resolve anymore. Apple stole the HSL curves, which I use the most anyway. To monitor HDR, you need very expensive third party hardware, so I skip this for now (long thread I started a year ago). But I was right with one
  14. In a museum, living "paintings": I am very interested in this. Am working on an elaborate storyboard for a short for months now. A sequence of scenes, each told within one frame, taking "every frame a painting" almost literally. Like a slideshow of cinemagraphs, some stills with sound, some extreme slomos, some smooth timelapses, morphs. You can combine various techniques, use burst mode to capture raw images, make comps, CGI. Very exciting indeed.
  15. I have the smallHD Focus. Helps with exposure also through false colors. I don't worry about the said car tire shadows, but you always want to expose skin correctly.
  16. There are certain circumstances in which UHD @100 mbps is a problem: Slog. Even if you bravely try to ETTR all the time, in the real world and in situations of wide dynamic range you'll nonetheless sometimes capture the noise floor. Not necessarily shadows beneath car tires but for instance parts of faces that happened to be heavily backlit. This noise then clots together as macroblocks with banding. You could live with a little noise, but those areas ruin the recording, and you usually see them when it's too late. The GH2 once had all-intra hacks with absurdly high data rates (like 172 instea
  17. My Mac does, but it uses Quicksync - and so does Resolve, obviously. It's a matter of configuration-optimization or so, I guess. I wouldn't worry. If you didn't already, use the one-month trial period of Kyno. The idea is that you browse your card, preview the clips, set in- and out-points, subclip them with "s", rename them, whatever, and afterwards batch-convert them to ProRes, which happens way faster than with Resolve. Kyno doesn't "import" anything. Yes, this does eat more disk space (depending on your shooting ratio of course), but you have your footage organized. I don't know for sure,
  18. Doesn't mean lack of appeal or interest, or at least I don't think it is. I discussed the matter with my buddy, who does a lot of corporate video stuff. I showed him the Alistair Chapman clip, and he said, well, it seems I'll have to invest some 20.000 bucks. Why, I said, you have the FS7, that's 10-bit Slog3 (probably getting the FS7 Mark ii's rec_2020 profiles soon via firmware update), you want to sell the Shogun anyway to get the Inferno, what's the problem? He said, if you are working professionally, you can't have your client stare on a field monitor. And don't be so naive to think it st
  19. It cannot be THE same, however. But it must be sufficiently similar, so that it doesn't present an unsurmountable challenge to offer an additional profile for the A7Rii and all the other vintage SDR crap cameras. Unclear specs everywhere. My display (iMac 27) has 500 nits brightness, allegedly closest to P3 as well (Larry Jordan explains the P3 - related points here), and it has a well-hidden preference: >system preferences >Displays >Display - then alt-click on >Resolution >Scaled - and a new checkbox appears below Automatically adjust brightness, and that's All
  20. If I recall correctly, it's a broad enough color space for 1080p, whereas 609 was okay for 640i, 2020 being appropriate for 2160p and above (afaik it also includes at least 10bit, HFR and HDR). How do you say "709". Seven hundred and nine? Or seven o nine? Then for my foreigners' ears it almost sounds like someone from the very distant future: Because english is not my native language, I couldn't tell. I do hear a difference between, say, Alex Jones and John Oliver. This thread turned out to be an HDR seminar. I think that those who followed it have a deeper understanding
  21. Monitoring is one nightmare, recording the other. Van Hurkman does say that HDR was no excuse for buying a new camera, as long as it could record LOG, but this is probably true if you have an Alexa, an Epic or at least an Ursa sitting on your shelf. It seems as if stretching 8-bit LOG (at least that without HLG-mode) to 2020 values will result in banding and posterisation (by which I mean colors in the upper midtones are noticeably thin). Pocket ProRes (which is 10-bit 422 with up to 13 stops DR) looked better than RAW (too many artifacts). As of yesterday, there is another option of
  22. Well said. I'll follow this wise advice then, thanks for joining the discussion.
  23. Thank you. Right now, there are but three apps on my Mac capable of playing back your clips: FCP X, AAE and VLC. QTX, Kyno and Resolve 14 (free version) say unsupported file type. I will try and import Optimized versions from FCP X to Resolve. Must get my head around this first, following van Hurkmans tips. Then I will also import: 1. Neumanns 10-bit Log footage (sunset) 2. Ordinary S-Log 2 8-bit 3. Pocket RAW ... and finally export a project with a few frames of each in ProResLT to share them. I am the first to agree. I was critical of the benefits high
  24. Would like to have a snipped in 10-bit HLG from the GH5. The theory above ... Can it be that you have to expose HLG like you would rec_709, that you more or less cramp everything of normal brightness below 100, and the extreme bright parts - some rare reflexes, outlines from backlight, lights shining directly into the lens - get captured at higher values. And in grading that you are supposed to leave those extreme values in the stratosphere, and - more important - leave the brighter midtones there instead of pushing them over 100 to better use the additional headroom. I wrote I
  25. There is an old trick for getting subjectively deeper blacks and therefore a subjectively clearer and sharper preview: backlight. If your monitor is set to 6500K, you put a 6500K light right behind it. The improvement is dramatic. Unfortunately, the viewer might have his TV hanging on a cinnamon colored wall, with some 3200K lamps somewhere to provide ambient light. Because it looked better with our modern furniture, we recently painted the wall behind the (4 year old Samsung-)TV from white to matte black. Night scenes can’t be watched anymore. All of a sudden it had become apparent that the d
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