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Sage

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  1. @Emanuel I had heard that it was to use the GH5S sensor. If so, there is a reasonable chance that the color will be the same. If not, then it could be measured. I didn't know about the Osmo, but it is something that could be explored. There were some cool experiments I wanted to mess around with, so a deep dive may be warranted there next. @HockeyFan12 Very cool, I haven't read that one yet. I did notice S1 moire on saturated fabrics, and in that moment felt the value of the S1H. Here are the S1 fabrics compared to the Alexa: S1 Alexa
  2. @jack jin Indeed, if it was Day used for tungsten or artificial light, that would explain it. In his case, he has GHa-S, so I think he is referring to the S1 variant
  3. @austinchimp The way GHa deviates on the S1 feels oddly earthy and 'filmy'. S1a restores that Arri vibrant technicolor quality (1:1 to the other measured LogCs). With each new camera, I add side by sides to the Match gallery. I had the S1 on loan, but I'm considering the S1H, because its quite a good camera (Intra, 180 deg, Olpf are vital in for me) This is a really cool video sent to me by Tom C, of GHa Density on the S5 that I was impressed with: @mirekti Can you send me an email with dpx(s) of the raw? It should match GHa-S on the GH5S (assuming same optics/settings and
  4. I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade: 1.271103 -0.284279 0.013176 -0.127165 1.436429 -0.309264 -0.129927 -0.510286 1.640214 Arri Film Matrix Download It lives! The Sony a7s III conversion is now complete as well.
  5. @HockeyFan12 Indeed, it likely would work fairly well with the Eva and Varicam, though it wasn't made for their sensors. Hence, it won't quite match its accuracy with the S1. One could export them, though interpolated cubes would be preferable (interpolation is most accurate). One may use LogC intended film conversions, indeed. LogC is often better supported (they've kept a consistent image for more or less 10 years, remarkable among cameras)
  6. @jack jin That's the ticket; one might also opt to use day balanced bulbs or CTB gels indoors
  7. @jack jin Is it the Daylight conversion? This is common when Daylight is applied to tungsten lighting @TomTheDP Sure, that's possible; I am at a crossroads, wherein there are some experimental ideas I've wanted to mess around with for years. Now with the engine complete, I feel more free to explore them
  8. Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery. We are ostensibly through the worst of it. Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core) Third, I've completed the S1/S1H/S5 conversion, as of yesterday. It is the most recent LogC (SUP 11.1.1) Fortunately the S series seems to have a better internal c
  9. Its something that could be done, though I was concerned with the reports of overheating. I hope Canon can address that in some way
  10. Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H
  11. It should be excellent. The mode that I found problematic was actually the 4K 150mbps, specifically on a gradient motion test. 4K 400 and 1080p All-I were both very good here (as well as 1080p 100 long). I'm a 2K fan generally (typical minimalism), hence the preference for 1080p All-I (the GH5 has excellent down-sampling)
  12. @GabrielFF I've been at work on an update, making a few adjustments to V4. I wanted to note, be sure to conform luminance as needed *following the conversion (and Auto Black Level) I'm not sure when it will be out just yet, but my intention is asap. There has been an update project holding everything up (including normal life activities for me lol), but once that's complete, then its time to finish FLog (and it will move very quickly)
  13. HD600 via a MixPre 3 for everyday music. I had an MDR-7506 at work, and some other really good headphones at home The HD600 have been my favorite music 'phones overall though. for sure
  14. There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting. The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709: It will interesting to see; I hope to explore it soon! All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and dens
  15. Will do; that's a relief! The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so? This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light sou
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