alexander

It feels like you guys are ignoring my last post here or you act as if you did already know that nex systems record 16-255 ... well I think its odd

1. The fs100 and nex in General record 16-255!!! Not 0-255 and Not 16-235.  Gh2 does 16-235 and all are 709

Well this camera makes the 900 € Sony camcorders dispensable. 4 times the image sensor with almost the same pixel count promises better lowlight performance and sDOF. On imaging-resource.com there is a 60i fullhd sample file for download and the lowlight performance seems awesome. The only problem that I see is the rx100 not having 25p but only 50i and 50p! (and NO! 50i is NOT the same as 25p!!!) 50p to 25p workflow in premiere is easily achived but there is something I´ve noticed with the nex5n... see for your self: The images are too big so u have to scroll to the side to see the area with the white bricks in the moire example. Also the alising is there in 25p and 50p but in 50p its way more pronounced native 25p with some alising: [IMG]http://i47.tinypic.com/ix9h4x.png[/img] native 50p with lots of alising: [IMG]http://i48.tinypic.com/2vmvmlk.png[/img] 25p bit moire: [IMG]http://i49.tinypic.com/20pu04h.png[/img] 50p more moire [IMG]http://i49.tinypic.com/67meea.png[/img] so what I am afraid of is that  quality is compromised just for the sake of 50p. That we actually could have an even better looking image with a proper 25p mode.

I just figured it out.  The GH2 records in 16-235 and the NEX FS 100 and Nex5n record in [b]16-255[/b]!!! This is unusal . So this meens Premiere is interpreting the Blacklevels the right way but only the Superwhite Levels 235-255 are kind of cut off! Bring them down 20 steps and then u have much more detail in the highlights. So When Andrew Reid says that there is less detail in the blacks then its [b]not[/b] true. Only the part with the highlights is true! This is becaus of the unusal 16-255 Levels of the nex system and because Adobe Premiere is set to 16-235 so 16 =16 and 235=235 and everything above 235 is cut off and you have to bring it back! In Vegas u can change the Level in the Project but in Premiere u can´t! But even in Vegas you will either get wrong blacks which are too bright or wrong whites...  crushed. Best solution is Premiere which has spot on blacks and then add an Adjustment Layer and the fast color corrector to it to bring the whites down 20 Levels to get all the Detail. In After effects u will have to set the whole Project to 32 bit to be able to get all the info in the highlights and the problem then is that some effects wont work in 32 bit!

hmm?!

Hi Yellow, Now let me show you what I understand at this point: 0-255                0-255                                    16-235 NEX    ___    PC Monitor (for NLE work)  __  Output File for Broadcast    There is sveral ways of converting the nexx 0-255 signal to broadcast 16-235 as You stated                            https://docs.google.com/open?id=0B-B11XUNq0_hdTlCQTZDVmxLWTA     This is a File that i just recorder with my nex5n. The histogramm on the nex loked like this: [IMG]http://i46.tinypic.com/2q19soo.jpg[/img] You will see there are super white levels and that when you bring them down a lil bit there will be subtile detail on the top of the T-shirt... I wont that detail but while i can bring it back I dont know if there is something wrong with the blacks I simply cannot tell... If I trust Sony vegas then the blacks in Premiere are def. not OK. But if I set the project in Vegas to 32 bit FULL RANGE then everything looks like in Premiere CS6. So could You please check it out for me? Look into the scopes and waves of your NLE and if you could please download Vegas Pro its really a small programm compared to Premiere in terms of downloadsize. And/or just post a screen shot of how you think the perfect conversion of the levels schould look like. and I am not talking of personal taste but much more about how the perfect conversion schould ook like. I know that 0= 16 and 255=135  but i dont know which programm is doing what here in terms of stretching scaling or what and I am starting to loose the last bit of confidence here. Now when it comes to broadcast safe: What output files are 16-235  and How do I know if my NLE ( Premiere) is outputting  broadcast safe Levels.

Hi well You can see how cs6 handlesAVCHD NEX files  >:(. After just importing the file everything above 1.0 in the wave form is clipped due to 8 bit defaults when I apply a  fast colocorrector which is  32-bin Filter the info can be brought back below 1.0 with the value sliders ... look at the sliders.[b] But i do not want to do it for each and every file[/b]... and Vegas displays it right away "corectly" (due to 32 bit precision as You mentioned) in vegas i dont have to move any sliders or any thing. If someone gave me 5d or t2i footage that is shot in a similar way like the examples above than i am happy to check it out in Premiere Pro cs6 in windows 7

Well Sony Vegas Displays everything correctly! Ni clipping at all. Waveform stays the same so there is still stuff above 1.0 but its not clipped in the render monitor. In the wave form there is an Option to choose between 16-235 and 0-255 but this only affects the scale of the waveform.

Hi Guys, I red the article and it got me curious since I have the NEX 5n and Premiere Pro CS6 on Windows 7 Workstation. The whole "crushed whites" thing is also the case in Windows 7 in PP CS6. It seems as if Premiere, VLC Player, WindowMediaPlayer and a few others are geting the 0-255 16-235 Levels kind of wrong. I think you have already stated it guys but why do you need to remux and transcode ... ? In PP cs6 and cs5.5 you can just bring all the Information that is above 1.0 in the waveform down with any 32 bit Filter that deals with Levels. clipped whites: [IMG]http://i46.tinypic.com/az9fm.jpg[/img] Levels adjusted with 32 bit Filter in PP = No clipping in highlights [IMG]http://i48.tinypic.com/ofrl86.jpg[/img] In AfterEffects its different: You would have to work the whole AE Project in 32 bit to be able to save the clipped detail in the whites. If you work in 8bit (which is standard ae project) then AE will just cut off all the info above 1.0. But you do not need to transcode or remux AVCHD footage. But the question is: WHY is Adobe getting it wrong in the second consecutive Version of PP that is supposed to deal nativly with AVCHD????  Even the opensource FFDSHOW codec gets it spot on when played with mpclassic (as Andrew stated and I also can confirm this) Exposure was set spot on shortly bevor clipping. Also when I connect the nex 5n with hdmi to my Plasma everything plays just fine no clipping at all!