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Wild Ranger

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Posts posted by Wild Ranger

  1. On 6/1/2021 at 9:56 AM, Sage said:

    Emotive Color V5 'SPECTRUM'

    The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy!

    Emotive Color Component ('EC709')

    • EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table
    • Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709
    • High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation)
    • New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main')
    • Refined natural saturation model

    Core LogC

    • Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red)
    • New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix)
    • Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness)
    • Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale

    Misc.

    • New Ceiling Modifier [POST] files; allows variable highlight compression
    • New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso)
    • Remade all PREs (picture profiles / exposures)
    • Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables   (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default)
      • Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed
      • Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly)
      • Gradient Test is now 16-bit png (compatible with Premiere) rather than tif
    • Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format):
      • Precise values entered directly into the curve interfaces, at maximal point density
      • Improved engine gamma accuracy enables significantly improved base matrices
      • New LogC Exposures feature (true exposure gammas extracted from sample data)
      • New 4200K PowerGrade variant

    If you have any videos or stills you've made that you can share, I'd love to see them!

    -Alex

    1356451514_E2Spectrum.thumb.png.af5db74416e34f575058b007359036ca.png867008102_V5Spectrum.thumb.png.6ad5d6825a0cb0fb71c1fdf8e3bc7f9e.png

    Hi @Sage, I haven't get any email. let me know if this is coming.

  2. In the technical side, there's nothing really wrong with 24FPS, the problem comes in the displays, most of consumer displays are not native compatible with 24 fps, so they end up "doubling" some frames and others don't, that makes the jitter.

    120hz/240hz displays are better for this task as they are even numbers with 24.

    Now on the artistic decision, I shot in 24fps, but I choose to do so because I do narrative content and films. I prefer the abstraction that gives from reality by shooting in lower frames rates, I think that it gives some space for that imagination to play and induce into another reality. But maybe, if you what to make an hyper realistic drama, maybe 60fps will fit better for the context.

  3. "It seems as soon as there is a card inserted, an overheating countdown timer starts, but doesn’t apply when an HDMI device is attached and the card removed"

    21 minutes ago, androidlad said:

    Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

    These get very fishy. I had commented in another post about suspicion and my crazy paraonic theory that the overheating limit is only a limit made by firmware, nobody believed me... Now I believe it more firmly, but we still have to wait for the truth to come out.
    For me, Canon's credibility is at stake in all of this.

     

  4. 3 hours ago, thebrothersthre3 said:

     

    They wanted bad press? Wouldn't a camera with no major issues and 8k be way better press? I can't see them doing this intentionally. 

    Yes, I know it sounds crazy. But ... bad press has worked better than good press in the past, it's not something new. I know, I know ... It sounds crazy.
    But if this problem is solved only with a firmware, it would be suspicious to me.

  5. Call me paranoid if you want, but I think the overheating of the r5 and r6 is quite a marketing trap. I have already seen several videos where it is mentioned that heating occurs at very different times and several times they have said that the camera is cold to the touch (or at room temperature).
    In my view, I believe that overheating is a limit set by Canon through software, I do not think it is a real hardware problem. Canon blocked the camera with a false heat alarm to generate all this debate and controversy on the matter. Then in a few months they will fix it with a simple firmware, because the problem is that, only software. In this way Cannon earns a couple more months of free advertising for his latest product.
    If the camera can only be fixed by firmware, I would be very inclined to this theory (in my opinion) and would stop believing Canon. It is all very strange.

    But hey, it's just my theory.

  6. 3 hours ago, newfoundmass said:

    I don't think that's why they are skipping PDAF. I don't know why they are, but I don't think PDAF would be enough to overheat an otherwise fine camera. Maybe I'm wrong though? 

    Panasonic avoid PDAF because they aim to "higher image quality" since PDAF pixels in sensor reduce potencial resolution. Now that's a debatable topic, but that's why they keep pushing Contrast detection.

  7. 18 hours ago, Sage said:

    Thanks guys, it was the hardest news of my life. Fortunately, he's doing well, with almost no side effects despite two cycles of Folfirinox. Its a marathon, but an encouraging start

    Fuerza y cariño para tu padre!

    Cheers!

  8. On 4/6/2020 at 8:04 AM, kye said:

    Fantastic!

    Not only did the sock-reveal hit the beat perfectly, but the fact it stayed serious only extended the enjoyment.  The ending was predictable (did you consider the puppet killing the guy?), but it was very well executed.

    Bravo!

    Thanks, the script was made by a friend trying to make the thing a little more collaborative. I didn't consider change the role because i wanted to leave the main character alone for the self reflection. it's more about the "inner my self" but itroducind the topic in a more enjoyable way. Although the puppet killing the man it's a nice too.

    On 4/6/2020 at 11:39 AM, Sage said:

    Buenisimo!

    Venga ese español!

  9. Well... a rental borrow me a Panasonic S1 for testing... them the quarantine came to my country.

    So, i was so bored that i made a short film by my self, almost alone.

    Obliviously for the grading i used the GHAlex Luts.

    B&W was made with LogC to film print

    Color was made directly with the "Main lut" then graded a little.

    The point of this is just to entertain and incentive others to make and create things now on this times. 

  10. Now with the most recent adoption of AV1 in Netflix and youtube, i think that internal codecs are going the AV1 way, it's really efficient supporting up to 12bit and 4:4:4 color space. Also IT'S FREE OPEN SOURCE MAGIC!!!

    Implementing Prores is a more hard thing to accept in my opinion, It needs to be hardware encoded to be efficient in smaller cameras, also licensing and chip development it's quiet a risk for mirrorless cameras. That's why Panasonic opted for a 10bit h264/265. its cheaper, smaller and, let's be honest, quality wise it's not really far from Prores HQ. The only benefit of apple's codec it's the easy to use and adoption in NLEs.

  11. Also, it might be useless mastering in higher than 4k. Now with the advancement in AI neural upscalers (Topaz is currently working on a version of gigapixel for video) you will be able to upscale 4k to 8k effortless, maybe even 2k to 8k! And still looking great. Time will tell...

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