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BrunoCH

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  1. Like
    BrunoCH got a reaction from kye in Simple colour grading > Camera colour science (Why you should learn to colour grade)   
    Here's my proposal for matching the two cameras. And a grade test. No LUT was used. 




  2. Like
    BrunoCH got a reaction from TomTheDP in Simple colour grading > Camera colour science (Why you should learn to colour grade)   
    Here's my proposal for matching the two cameras. And a grade test. No LUT was used. 




  3. Like
    BrunoCH reacted to kye in Simple colour grading > Camera colour science (Why you should learn to colour grade)   
    @TomTheDP
    Here's a basic match.
    As I don't own the LUT packs, I have just used a CST sandwich - first node converts to Davinci, second does adjustments, third converts to 709/2.4.
    The Alexa has no adjustments at all, Sony has a Hue rotation for skin and Tint adjustment pushing green for neutrals.  These were literally done just by looking at the vector scope.


    Added Hue curves for the green wall and the jacket:


    That would be good enough for most work I'd imagine.
    Skintones.  Always skin tones.  It's where the viewer will be looking, and we're sensitive to very slight differences.
  4. Like
    BrunoCH reacted to TomTheDP in Simple colour grading > Camera colour science (Why you should learn to colour grade)   
    @PannySVHS

    Here is the Sony with the Alexa. I just adjusted the Hue on the sony and applied the Emotive Color ARRI Daylight lut. 

    Now this is a really bad lighting situation. Sunlight, combined with Tungsten, and also bright green walls in the room lol. 

    here is the raw video from both cameras as well as PNG stills of the LOG image if anyone wants to play with them. 
    https://drive.google.com/drive/folders/1fYuQyBHEq9zvrIB_pQ-GBMXWOKxIhP8W?usp=sharing


  5. Like
    BrunoCH got a reaction from kye in The peer-to-peer colour grading thread   
    I really like the first one. Here are two other proposals.


  6. Like
    BrunoCH reacted to kye in The peer-to-peer colour grading thread   
    Cool image, it grades really nicely.
    I went...  a bit further with it.  I decided to give it a more retro film blockbuster look.

  7. Like
    BrunoCH got a reaction from kye in The peer-to-peer colour grading thread   
    Here's a Flog shot with an XT4 (trimmed copy of the original file).
    https://drive.google.com/file/d/1atTlmtWQYmRevkfXwsM4ihnyR7ARMLvf/view?usp=share_link
    And my grading suggestion. 

  8. Like
    BrunoCH got a reaction from PannySVHS in Share our work   
    A no budget short film, thriller genre.
    Shooting XH2S
    Editing FCPX
    Color grading DR
    https://vimeo.com/manage/videos/870139890
  9. Like
    BrunoCH reacted to PannySVHS in The peer-to-peer colour grading thread   
    Hot thread. Let's keep em coming! 🙂
  10. Like
    BrunoCH reacted to mercer in Lenses   
    In my previous post, I mentioned that I was going through my lenses and thinning the herd. Well today I have a few samples from the Zeiss ZF Classic 50mm 1.4.
    I bought this lens a couple years ago for VERY little money. The body had a little wear, but the price was so good, I decided it was worth it and if I didn't like it, I could EASILY recoup my costs. When the lens arrived, it had a couple issues... the Nikon F to EF adapter that was included (a "bonus!" according to the seller) was stuck on the lens... the lever that is used to release the adapter from the mount was broken off. At the time it wasn't a huge deal because I was using it on an EF camera.
    Here's a frame from it on my 5D3 with ML Raw...
    So it seemed to be a good sample but when I tried to attach a VND, I quickly realized that the threads were messed up... I could screw the filter in but it definitely wasn't right. By the feel and sound of it, it seems like the lens was dropped in the dirt. Luckily, nothing was affected mechanically, or optically, so it's no huge issue. Eventually, I'll buy a step up ring but for testing purposes, a filter will screw on with enough patience.
    Anyway, I bought a Sigma FP last fall and since then I have been testing different lenses with it looking for a simple little set up. So far I like the camera. It has a pretty nice image, but I'm not wowed by the IQ like I was when I first bought my 5D3... but that's a story for another time.
    As I mentioned in my previous post, I built a basic set of fast Nikkor ai-s lenses and I plan on selling off everything else. I'll keep a few random lenses that I really like.
    Back to the Zeiss... to test it with the FP, I needed to remove that damn bent adapter. Well it was no match for a pair of dykes and some needle nose pliers. In mere minutes I turned the "bonus!" adapter into a pile of metal shards.
    So, after enlisting my actor friend, I decided to take the lens out for a test run with the FP.
    Here are the results...


    As I mentioned earlier, I have a hot and cold feeling toward the FP, but on that day, maybe it was the light, or the beat up, pseudo-modern Zeiss optics, I think I have one of those random keeper lens...
    Now I just need to refrain from building a set of Zeiss lenses...
    Easier said than done.
    Thanks for reading my long, unscientific, anecdotal review.

  11. Like
    BrunoCH reacted to Attila Bakos in Fuji X-H2S   
    I analyzed the raw data in the DNG converted from ProRes RAW and now I know exactly how it's messed up.
    I adjusted my tool and I think I have a working fix now. It fixes the raw data itself, so the result will be perfect in every software that reads DNG.
    Before (see the broken line in the middle):

    After:

     
    I'm still testing my tool, it can read 12/16bit DNG, uncompressed, or lossless compressed, the lossy formats are not supported. It uses multiple threads, on my recent i7 laptop it converts with 25-35fps.
    It's a pain to convert twice but at least I got it working, and learned a bit of C++ on the way.
    If only I could fix the framerate issue as well, but no chance for that.
  12. Thanks
    BrunoCH reacted to Attila Bakos in Fuji X-H2S   
    Remember we discussed earlier that X-H2s 6.2K ProRes RAW has a hot pixel at the exact same location for everyone?
    I spent days to create an executable in C++ that removes that hot pixel from the DNG raw file created from ProRes RAW.
    I was just about to post it here but then I noticed that this is not a hot pixel issue at all! All pixels in the same row right from the hot pixel are shifted towards the right.
    See here:

    It starts with the hot pixel, and it goes all the way to the right edge.
    Or here (this is the right edge of an image, you don't see the hot pixel here, it's somewhere in the middle):

     
    Atomos says it's Fuji's fault, and as usual, Fuji couldn't care less.
    Atomos is also silent about the framerate bug I discovered. A new firmware was released just now and it's not fixed, it's not even listed in the known bugs.
    Stuff like this makes me really disillusioned.
     
  13. Thanks
    BrunoCH got a reaction from Attila Bakos in Fuji X-H2S   
    Yes for 4K the bitrate are very similar (I am around 780Mbps for ProRes HQ in 4KDCI) But for 6,2K I have a bitrate of around 2300 Mbps with ProRes HQ. This is really different from the 720 Mbps of H265
    (Angelbirds SE 512GB cards are very good at a reasonable price, I got some around 180 euros)
    https://www.angelbird.com/prod/av-pro-cfexpress-se-type-b-2919/?category=238

  14. Thanks
    BrunoCH reacted to Attila Bakos in Fuji X-H2S   
    I needed similar in-camera and external resolutions for a fair comparison. 6.2K was the only way because in ProRes RAW you only have full-sensor 6.2K or cropped 4.8K. I don't have a CF card so I can only record ProRes HQ to the Ninja, and 6.2K is not available there, it's only available in ProRes RAW mode. This is the reason for internal H.265 instead of ProRes HQ.
    And if you record in UHD 24p, internal H.265 has actually more bitrate than ProRes HQ (720Mbps vs 707Mbps). I tested it, H.265 actually looks better due to more efficient compression.
    To you other question, I did not use any LUTs during my testing, I usually work with color space transform or aces nodes.
  15. Thanks
    BrunoCH reacted to Attila Bakos in Fuji X-H2S   
    Summary of my findings so far:
     
  16. Thanks
    BrunoCH got a reaction from Django in Fuji X-H2S   
    Some test rushes. 3s trim copy of original media. ProRes HQ; Flog2
    https://drive.google.com/drive/folders/1boq6yfg8TDli4c84tcyyfgUlny40fiEL?usp=share_link
  17. Thanks
    BrunoCH reacted to Attila Bakos in Fuji X-H2S   
    To anyone who is interested in recording ProRes RAW with the X-H2s, I just got confirmation from Fuji that they convert X-Trans to Bayer in the camera, as I suspected. Because the two patterns are different, you have to calculate what's not there. So let's say at a given pixel X-Trans stores red but for Bayer we need blue. I asked Fuji if they interpolate this blue using the surrounding blue values in the X-Trans pattern or they just copy the value of a blue neighboring pixel. The latter is faster but more prone to artifacts. Unfortunately I received an one-liner that this is proprietary info.
    I'll know more when I test this out myself, I'll receive a Ninja V+ in the following days.
  18. Thanks
    BrunoCH reacted to androidlad in Fuji X-H2S   
  19. Like
    BrunoCH got a reaction from hyalinejim in Fuji X-H2S   
  20. Like
    BrunoCH got a reaction from webrunner5 in Fuji X-H2S   
  21. Thanks
    BrunoCH reacted to RevTodd in Sennheiser XSW-D Batteries   
    Hi Folks,
    I see a recurring question here on the opening of the module. In short, it isn't hard. You basically have to pry it apart along the seam. Some will use a guitar pick, but I happened to have a 1" square of metal (you might have it too... it came with a magnetic phone mount, the metal that sticks to the phone) that was thin and able to get in there to pry and pop it open.
    I see some people have asked about a larger capacity battery, and while that is certainly possible, I wasn't able to find one. I just replaced it with another 800mah 14500 3.7v battery I found at the local electronics store. MAKE SURE IT HAS SOLDERABLE ENDS ON IT!!
    Once you pop the top, you've got to pull the circuit board out and disconnect the two connectors. The battery is held in place with some double sided tape on the underside that you can't see, but you'll need a small screwdriver or something to pry it out.
    Next step is to take the plastic wrapper off to expose the connections. (see my first picture)
    Then on the top side of the battery, peel the black cover back (it's under the little circuit board) to expose the top battery connector. Cut that silver strip. (see picture 3)
    You do the same thing on the bottom of the battery. Basically at this point you've got to pay attention to how long the solderable lead is that is on your replacement battery. Mine was about an inch long, so I didn't end up cutting the connector at the very bottom. You can see how I trimmed it in picture 5. Once those two connectors are cut, you move the unit you just cut off onto your new battery. In picture 6 I've soldered that connector that goes down the side of the battery. Do the same thing on the top.
    Once you've soldered it up, wrap the battery back up with some electrical tape and you're good to go!
     
     
     
     







  22. Like
    BrunoCH got a reaction from IronFilm in Tascam is developing a hotshoe XLR adapter to Canon, Fujifilm and Nikon   
    The full specifications are published
    https://www.tascam.eu/fr/ca-xlr2d
  23. Thanks
    BrunoCH reacted to tupp in Color detail issues in Fujifilm video files   
    It appears that Fuji is essentially using wavelet/frequency-separation in the chroma channels to isolate and blur certain areas.
    I tried that scenario on your "5D3 Raw" chroma channel image (captured from your Resolve viewer with MPV), using the Darktable Contrast Equalizer module:

    I didn't get it to look exactly the same as the X-T3 chroma channel image, but the "blotchiness" achieved is fairly similar.
    Here is the curve used in the Contrast Equalizer module:

    The scale from left to right delineates coarse patterns to fine patterns in the image.  The mostly flat line going through the center is the sharpness curve, and the "S-shaped" line is the smoothing curve.
    Many use the Contrast Equalizer for denoising and sharpening, but in such applications, the smoothing curve always lies below the sharpening curve.  Nobody ever inverts the two curves as shown on the right side of the graph.
    I also used the Soften module with a parametric mask to add extra blur to the brighter areas, because the Contrast Equalizer did not provide enough blur.
    The excessive chroma blurring from the X-T3 way too much for demosaicing, and it's extreme overkill for noise reduction.  There also seems to a bit of coarse pixelation revealed when you zoom-in in your video, so perhaps Fuji is additionally doing a pseudo chroma subsampling.
    Whatever Fuji is doing (and for whatever reason), the process is effectively reducing the color resolution, which results in a perceptible loss of color depth.
     
    The X-T3 is excessively lowering the effective chroma resolution with blurring, which dramatically reduces the color depth.
    The raw files don't have that problem, because their resolution is not being reduced.
    The "processing" is likely something similar to what I have shown above, and it essentially is reducing the color resolution, hence the lower color depth.  Remember, with digital imaging:
    COLOR DEPTH = RESOLUTION x BIT DEPTH
    By the way, when are you going to take back that lie you told about me?
  24. Thanks
    BrunoCH reacted to Attila Bakos in Color detail issues in Fujifilm video files   
    I found something strange when I was looking at the chromaticity channels of Fujifilm video files and did some search online, and to my surprise noone is talking about this, so I decided to make a video about it. If you're a Fuji user, you might be interested.
     
  25. Thanks
    BrunoCH got a reaction from shooter in Tascam is developing a hotshoe XLR adapter to Canon, Fujifilm and Nikon   
    The full specifications are published
    https://www.tascam.eu/fr/ca-xlr2d
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