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Axel

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  1. Like
    Axel got a reaction from jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    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. Like
    Axel reacted to Don Kotlos in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    The most efficient way for me to adjust the contrast has always been manipulating the luma curve directly, and that is now supported by FCPX so I am happy  
    I could never get used to the lift-gamma-gain. Too much work for a simple thing. 
  3. Like
    Axel got a reaction from kidzrevil in Investigating Cine and SLOG on A7s   
    How about NO Picture Profile?
    Every more or less flat profile robs values from the skin tones and results in worse images, because in the 8-bit codec, little can be done in post to add vibrance to those. This Michael Jackson video shows this, imo. The skin tones are poor. Even if you had the best luts to nail down the right *colors*. Rungunshoot (Brandon Li) just uses autumn leaves, and then apparently you have some options for CC (though not for heavy grading, but this, again, is hampered by the 8-bit).
    I don't say I'm right, I'm just starting to test with the A7s. I'd like you to show me that I'm wrong.
  4. Thanks
    Axel got a reaction from jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    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 yesterday, and the post was almost completely ignored. I think everybody should be aware of that. 
  5. Like
    Axel got a reaction from kidzrevil in HDR on Youtube - next big thing? Requirements?   
    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 incrementally closer. Some colorist (van Hurkman? Hullfish?) said that to be aware of the problem was more valuable than to have access to a (sort of) perfectly calibrated monitor without an inkling of what that meant. In the FCP X thread you showed that it's by far not as easy to know all variables to keep the correct color space conversions (another horrifying term) in the 'pipeline' as it should be. I keep reading and commenting, but right now I feel confused and frustrated. I hope, not entirely unselfishly, that your efforts pay off and that you then can explain how you got there!
  6. Like
    Axel reacted to jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    An entire day wasted, but I finally found it! First, hit the tab marked Basics at the bottom of Inspector. Then, hit 'Settings'. Then in color space, change it from HLG to rec.709. shazaam!



  7. Like
    Axel reacted to jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    @Axel Wow, your friend is getting the Dell UP2718Q? 
    I just sent you the file.
  8. Like
    Axel got a reaction from jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    @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: you accidentally found the 'custom reference line': when you mouse-over an IRE-value in the waveform and then click, it sticks). You just wrote you give up already, but let me/us try to replicate the issue. I'm quite sure I had recently downloaded the clip in question (or a very similar one), called "Sigma 30mm f3.2". I can't remember where I found this clip, and whether it was V-Log or HLG (browser history deleted through clean install for HS the day 10.4 came out), but it is the most extreme clip on my whole system in that it looked so very much overexposed from the start. That was in 10.3! However, if I use the whole rec_709 pipeline, I am able to make it look normal in 10.4 with highlights hitting 100 (adjust highlights and shadows). alt+cmd+b totally fucks up everything, unuseable. FCP-Internal LUT "Panasonic V-Log" makes it automatically look pretty normal, if somewhat oversaturated to my taste, but with 'legal' values.
    You should let us download the clip in your screenshot and guide us through the process. 
    New territory. Who can appreciate WCG or rec_2020 in 2017/18? Honestly, I don't know. Can't tell for sure if there's a noteworthy visual difference on my own P3 display ...
    And I'm sure you can do that in 10.4. Let's get to the bottom of this together. My buddy just ordered HDR interface and the Dell HDR monitor. He is on Windows and doesn't have FCP, but I'm curious to see how far he will get with Resolve. If his images will blow my mind, I know I will never ever want to be limited to rec_709 (although my wedding videographer's clientele isn't asking for HDR).
  9. Like
    Axel got a reaction from jonpais in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    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 thing: Apple promises an easy SHARE option for various distributions. If PQ (HDR10) needs two versions (one in SDR), Compressor exports the film as a bundle, allegedly fully compatible. We'll see.
  10. Thanks
    Axel got a reaction from EthanAlexander in FCP 10.4 with new CC tools, 360°, HDR and Canon C200 RAW   
    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 thing: Apple promises an easy SHARE option for various distributions. If PQ (HDR10) needs two versions (one in SDR), Compressor exports the film as a bundle, allegedly fully compatible. We'll see.
  11. Like
    Axel got a reaction from kaylee in Ever seen a film like this? Limited motion/Cinemagraphs   
    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.
  12. Like
    Axel reacted to Snowfun in Ever seen a film like this? Limited motion/Cinemagraphs   
    Most of my holiday films (friends & family stuff only) are based on this. I often characterise my work as being “moving photographs”. I find it a challenge to assess just how little movement is required in a scene to maintain the sense of dynamism and interest. It is fascinating, I think, just how even the slightest movement can bring a scene alive.
    Ideal for films which don’t have an obvious story but are intended to portray beautiful scenery or architecture whilst travelling.
    Tim
  13. Haha
    Axel reacted to jonpais in “The Middle Path”: A Lumix GH5s Short   
    If we consider ***** **** a mere distraction - just as clinging to our sordid earthly ways prevents us from attaining true enlightenment - the title of Mr. Neumann’s short, The Middle Path, refers unmistakably to the Noble Eightfold Path, a series of Buddhist practices and mindsets that will lead one to the liberation from samsara. And therein lies the key - eightfold - on which Panasonic is pinning its hopes to free the unwashed masses. Hence 8K, which, downsampled, will reduce to  nought the noise and artifacts which for so long have clouded our perception and hindered our spiritual growth.
  14. Thanks
    Axel got a reaction from IronFilm in Is a6500 1080p footage Better When Recorded Externally?   
    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 instead of 24 mbps), and the fans raved about the added detail. But there wasn't more detail. The hack just preserved all of the noise. The shadows looked more natural, and if there was too much noise, you could perfectly Neat it. 
    A ProRes capture means less compression artifacts, so I wouldn't say it's completely useless. Would I want to schlep a recorder on top of my compact little camera? Definitely not. I try to expose better, and I accept around 5 % rejects where I failed.
  15. Like
    Axel got a reaction from Kisaha in Is a6500 1080p footage Better When Recorded Externally?   
    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. Like
    Axel got a reaction from Mark Romero 2 in Is a6500 1080p footage Better When Recorded Externally?   
    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. 
  17. Like
    Axel got a reaction from Mark Romero 2 in Is a6500 1080p footage Better When Recorded Externally?   
    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 instead of 24 mbps), and the fans raved about the added detail. But there wasn't more detail. The hack just preserved all of the noise. The shadows looked more natural, and if there was too much noise, you could perfectly Neat it. 
    A ProRes capture means less compression artifacts, so I wouldn't say it's completely useless. Would I want to schlep a recorder on top of my compact little camera? Definitely not. I try to expose better, and I accept around 5 % rejects where I failed.
  18. Like
    Axel got a reaction from Gregormannschaft in GH5 footage in DaVinci Resolve   
    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, but I think this will also be the perfect solution for the 10-bit clips which the free Resolve doesn't accept, for what reason ever ...
  19. Like
    Axel reacted to Neumann Films in “The Middle Path”: A Lumix GH5s Short   
    Real suit!
     
  20. Haha
    Axel reacted to leeys in Panasonic seems to be announcing something "BIG" on December 15   
    Sure it's not a fridge? :P
  21. Like
    Axel got a reaction from jonpais in HDR on Youtube - next big thing? Requirements?   
    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 and a better overview by now. jonpais, will you report on your Atomos experiences? You could write, edit and sell your own E-book about HDR. And hurry, before Wolfcrow changes his mind about the topic and does just that!
    This kind of answers my repeated questions how 709 video would look on an HDR TV: more or less the same as on an SDR TVs, probably with better blacks. With the resolution race, new standards had to be sold by proving how poor the lower resolution looked in comparison. For early adopters (consumers or producers) HDR stands out without such direct comparison. But the day may come when some couch potato says, why do they still broadcast all this dull SDR stuff ?!!??
    You can't, of course, make your own stuff futureproof with technique, but only with content. 
    According to Stephen Hawking, he isn't. He will either freeze to death, drown or will be eaten by CGI wolves on a boat in the streets of Manhattan. Raising the brightness (and power consumption) of TVs won't prevent that. 
  22. Like
    Axel reacted to Jonesy Jones in HDR on Youtube - next big thing? Requirements?   
    Jon, this was an absolutely great watch. Thanks for posting. For those who are wondering what all this new lingo means, this video, though kinda long, explains it well. Here are my take aways. (Those more technical than I are encouraged to point out my mistakes.)
    Rec 2020 has to do with color, not luminance. It greatly broadens the amount of color values that can be displayed compared to Rec 709. Also, Rec 2020 derives it's name in that it is supposed to be the standard by the year 2020. Meaning that Rec 709 was standardized in 709. AD or BC the video did not say. HDR describes an increased luminance range (I think all of us filmmakers know this one). SDR's limitation is 100 nits. HDR's limitation was confusing to me since at first I thought I heard 1000 nits, then he started describing another format (2084) with a threshold of 10,000 nits. Suffice it to say, HDR has a whole lot higher brightness threshold.  With HDR, white will be at 100 nits, and anything above is highlights, like lightning or fire.  Also, he didn't say this, but my impression is that HDR seems to be a catch all name for greater luminance AND the greater color format rec 2020, even though this isn't accurate.  There is a dilemma with HDR in that broadcasters would need to deliver or transmit 2 formats, HDR and SDR, for people with either display. HLG is an attempt to solve this dilemma by being one delivery format for either HDR or SDR displays. HLG has a 5000 nit threshold. All the log (s-log, c-log, etc) formats delivered by our cameras these days actually look great on HDR TV's. These log formats make a great master for future proofing. Don't make rec 709 masters. Atamos Inferno or whatever it's called makes a great and very color accurate HDR monitor.  An English accent makes you 10 times smarter. That's all I can remember. Thanks again Jon for sharing.
  23. Like
    Axel got a reaction from jonpais in HDR on Youtube - next big thing? Requirements?   
    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 4k 10-bit with good DR available: the Micro Studio 4k got a firmware update and now allegedly holds 13 stops as well. My buddy has three of those for live events, and he has the Shogun. Have to give it a try. 
    The upcoming Sony A7Riii features HLG in 8-bit. How well this is going to work remains to be seen. As a matter of fact, those Sony hybrids have very good DR, the current models as well. Wouldn't it be technically possible to add an HLG profile via FW update? 
    ;-)
  24. Like
    Axel got a reaction from Kisaha in HDR on Youtube - next big thing? Requirements?   
    Well said. 
    I'll follow this wise advice then, thanks for joining the discussion.
  25. Like
    Axel got a reaction from jonpais in HDR on Youtube - next big thing? Requirements?   
    Well said. 
    I'll follow this wise advice then, thanks for joining the discussion.
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