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marcuswolschon

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  1. I mostly used to record raw for one specific purpose: Denoising in post in scenes where the camera could not keep up with a very dark stage that contained well lit elements. This was absolutely needed on the BMPCC with ISO1600 and is still needed on the BMPC4K when not blowing our the well lit scene elements. For the simple reason that it would not compress the noise, so that NeatVideo (3, later 4) could do a great job on it.
  2. Okay. I didn't know that they could develop over time. I had accepted it that this was part of it being a raw, unaltered output. Just as there is no sharpening happening in-camera or other alterations. (About 100-200 randomly distributed white, single pixels in both cameras, never moving, only happening at ISO 1600 and when the sensor is basically starved of light with lit actors in front of a pitch black stage.) Since the second BMPCC is currently being sold (up to last year I still handed it to additional volunteer operators to provide closeups as an extra for our stage show recordings), the BMPCC4K got the 6.2 firmware with a recalibrate -option, the BMCC2.5K/BMPC4K and GH5/GH4R never exhibited this issue, there is nothing for me to do about it anymore.
  3. No I'm stating that his own statement implies that. It was quite some work to remove the patterns of hot pixels in both my BMPCC at higher isos in post. (Fixed patterns of pure white, individual pixels in near black scenes at iso 1600. Usually fixed by ovelaying the same image shifted exactly 1 pixel in "darken" mode to not loose too much contrast.)
  4. So you've never seen the Blackmagic Pocket Cinema Camera that came before the Blackmagic Pocket Cinema Camera 4K? It certainly didn't remap hot pixels. In Cinema DNG you had to do that yourself.
  5. For the sake of clarity, please use "lossless compression" instead of "compression". A runlength-encoding, Lempel-Ziv-Welch Dictionary or similar method of compressing the raw data with the ability to reconstruct it just as it where is someting I feel deserves it's exception. After all, all the higher bits of all red, all green or all blue intensity values for large streches of pixels are to be expected to be equal and thus easily compressible. (just to name a simple example.)
  6. That's just ProRes for non-debayered data. Less efficient (He claims that higher frame rates are possible with BMRaw then ProRes) and has less features.
  7. Sadly they also removed Cinema DNG and me as an app-developer using the Blackmagic Camera Control -Bluetooth protocol am in a dilemma. (Cinema DNG removal is due to a patent claim. Can't blame Blackmagic here. It's explained in detail in the video, in case you haven't watched it entirely yet.) Because: They also still haven't added constants for the DCI 4K (BMPCC4K and UMP) and the 4.6K resolutions (URSA Mini Pro) to the Bluetooth protocol despite a " I have submitted a bug internally and I will notify you when we implement this in a future versions of the Camera Control Protocol." in November 2018. The developer documentation for all Blackmagic cameras is still in a state of October 2018. Blog posting: https://marcuswolschon.blogspot.com/2019/03/new-bmpcc4k-firmware-this-time-with-braw.html Android app: https://play.google.com/store/apps/details?id=biz.wolschon.bmpcc4krecord
  8. I'm testing it and the Beta crashes too often + one timeline containing another timeline showed a waveform but was silent + when doing a video wall I get animations of the clip positions that I did not animate and thus cannot remove
  9. Only the studio version loads the GH5 10bit footage. https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=58547 (Haven't tried the 14 beta yet myself. Downloaded it last night.)
  10. Up to now I could use DCI 4K and UHD in the free version (e.g. on a laptop in a train when I didn't have the dongle with me). e.g. to dynamically crop and punch in to add perfect 1080p camera movements for stage performances shot in 4K in post. Just not output in that resolution.
  11. I still have to get used to that new price point. (Luckily I sold my second dongle a while ago.) Up to now the free version was missing high end features and was limited to FullHD. Not being able to read some camera files is inappropriate. It would force you to aquire in 8bit in the first place and you can't make the decision to buy the studio version later and then take advantage of the 10bit 4K footage you had aquired back then.
  12. What? There is a clip format that the free version can not load? There goes the workflow of giving assistants and directors in distributed volunteer projects the free version to make preparations or small changes themself while only I have a dongle for the studio version. Yes...the people using the beta confirmed it. Only the studio version plays backl GH5 10bit clips. The light version doesn't. (Also no new camera including no replacment for the 4 year old FullHD-only Pocket Cinema Camer was announced.)
  13. What sich posting are you referring to? I use Resolve with 10Bit ProRes 4:2:2HQ on a 10bit display all the time and also with 12bit CinemaDNG. DO you mean it doesn't reat 10bit h.265 profiles/levels?
  14. Yes, FCPX is great nowadays. I have gone away to use Resolve for editing only because of the terrible state of Macbook/Mac "Pro" hardware. (No state of the art graphics card with lots of memory, no huge mechanical drive or multiple drives for editing on my many train rides where external drives are no option, screens with a terribly black point and the Mac Pro desaster for 3 hardware generations now. Thus forced to leave when the 2011 Macpro was no longer good enough because of missing CUDA1.2)
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