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CaptainHook

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  1. Like
    CaptainHook got a reaction from leslie in Blackmagic Pocket Cinema Camera 4K   
    We write the file headers/close the file every 5 secs during record, our cameras since the BMCC have always periodically written the headers/closed the file so at most if you lose power you might lose the last 5 secs of the clip. If you lose power before 5 secs of recording, then it could be an issue.
  2. Like
    CaptainHook got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    We write the file headers/close the file every 5 secs during record, our cameras since the BMCC have always periodically written the headers/closed the file so at most if you lose power you might lose the last 5 secs of the clip. If you lose power before 5 secs of recording, then it could be an issue.
  3. Thanks
    CaptainHook got a reaction from seanzzxx in Blackmagic Pocket Cinema Camera 4K   
    Gen 4 uses a common defined gamut so you can use Broadcast Film for space (Broadcast Film gamut is the same as Pocket4K/UMP/etc Gen 4 gamut) and Pocket 4K Film for gamma. Hopefully this will be cleaned up a little in a future update.
  4. Like
    CaptainHook got a reaction from deezid in Blackmagic Pocket Cinema Camera 4K   
    Gen 4 uses a common defined gamut so you can use Broadcast Film for space (Broadcast Film gamut is the same as Pocket4K/UMP/etc Gen 4 gamut) and Pocket 4K Film for gamma. Hopefully this will be cleaned up a little in a future update.
  5. Like
    CaptainHook got a reaction from kye in Blackmagic Pocket Cinema Camera 4K   
    Gen 4 uses a common defined gamut so you can use Broadcast Film for space (Broadcast Film gamut is the same as Pocket4K/UMP/etc Gen 4 gamut) and Pocket 4K Film for gamma. Hopefully this will be cleaned up a little in a future update.
  6. Thanks
    CaptainHook got a reaction from JordanWright in Blackmagic Pocket Cinema Camera 4K   
    Gen 4 uses a common defined gamut so you can use Broadcast Film for space (Broadcast Film gamut is the same as Pocket4K/UMP/etc Gen 4 gamut) and Pocket 4K Film for gamma. Hopefully this will be cleaned up a little in a future update.
  7. Like
    CaptainHook got a reaction from Belle in Blackmagic Pocket Cinema Camera 4K   
    It was a correction to the original chart.
  8. Like
    CaptainHook got a reaction from seanzzxx in Blackmagic Pocket Cinema Camera 4K   
    It was a correction to the original chart.
  9. Thanks
    CaptainHook got a reaction from Emanuel in Blackmagic Pocket Cinema Camera 4K   
    It was a correction to the original chart.
  10. Like
    CaptainHook got a reaction from kye in Blackmagic Pocket Cinema Camera 4K   
    It was a correction to the original chart.
  11. Like
    CaptainHook reacted to Ehetyz in Blackmagic Pocket Cinema Camera 4K   
    ^^ If that iphoneographers (lol) test were limited to just log it might be worth something, but it focuses on graded footage - graded by someone who's seemingly completely incompetent in it.
    Also, looks like it has unmatching color balance/tint between the BMPCC4K and the older cameras. Mind you, he may have dialed the color balance to match by numbers, but the old v1 color science is notorious for having off-whack white balance (where the most usable range was about 3800 to 5000K) and a heavy brown/green tint (for the past month I've been grading a feature film shot on Ursa Mini 4,6K and a BMCC2,5K and while I can match them well, the process always starts with transforming the 2,5K into Color Science v4 and dialing down the green tint).
    In the log footage you can clearly see the P4K having warmer image - likely dialed to be too warm for the situation.
    P4K uses the fourth generation color science which has its own quirks. I'm guessing after Ursa Mini and its proneness to magenta they pulled back towards green and slightly browner, less red yellow tones, since those are the colors I tend to have to tweak when matching UM and P4K. This leads me to believe that in the test they had the tint pushed towards magenta on the P4K or had a magenta cast coming from the LED light - because of the all the aberrations the P4K has, magenta cast isn't one I've encountered.
    I don't really even want to go all zealot on the P4K but the rose-tinted glasses towards the old BMD cameras feel extremely silly from the POV of someone who has used them for years and dealt with the headaches and color issues they had. Sure, like with lo-fi 8mm or 16mm film, you can have an opinion that it has more character than something more hi-fi. But they're certainly not superior and the V4 color science (even the in-camera V3 in URSA Mini 4,6K) are lightyears more malleable and pleasant to use.
  12. Like
    CaptainHook reacted to Emanuel in Z Cam E2 will have ONE HUNDRED AND TWENTY FPS in 4K??   
    Funny usage, my friend, stop giving us ideas LOL So to that you have the Osmo Pocket, why bother for something else? xD
    How do you know you can't see the LCD in the bright sun? You never touched one... Yet. Let's buy one to begin with before to pretend to be an opinion-maker for the subject matter ; -)
    P4K is one amongst several identical ones under that perspective from yours.
    Easily to speak without clue, isn't it? : D Buy one man to be able to review it : -P
  13. Like
    CaptainHook reacted to Emanuel in Blackmagic Pocket Cinema Camera 4K   
    Don is one of my/our good fellows here. Just stubborn like hell : D He never shot with one or he would arrive to the same conclusion as I've arrived.
    Today as for instance. I brought with me literally inside my pocket my GX80 for a family's celebration in a restaurant. Great monochrome output BTW. When arrived to home for the second part, I immediately changed for my fav cam ever: the new P4K. I completely missed how ease is to set up and shoot. A pleasure to be with. The more I shoot the more I regret to not have it a few years earlier. It is a perfect device to me and definitely to everyone who starts shooting with one.
    @webrunner5 dare yourself to buy one mate and you'll never desire to replace it.
    Mark my words : -)
    4592 x 2584 JPEG shot on GX80

    1920 x 1080 grab from ProRes PXY shot on P4K 25fps aka 25p

    Both straight out of the camera with zero grading.
    Still room for any doubts?
     
    When you come from an intuitive menu like the P4K is to a much complicated BORING menu of these small digital devices you promise to yourself to never underestimate these Aussie goodfellas... LOL
  14. Like
    CaptainHook got a reaction from seanzzxx in Pocket 4K Aperture Value Issues   
    Looked into this and the steps that some lenses report will result in a value that's smaller than the precision of the numbers we show. So for instance the lens may allow two settings around f14 where the "second" one is still closer to f14 than f15 so we display both as f14. The opposite can also happen where some lenses will report settings where it DOES fit in a our precision to show two different values but the lens doesn't actually change aperture enough to see any difference. We assume Panasonic etc know of these settings across the lenses and compensate/ignore them etc as necessary in their cameras.
  15. Like
    CaptainHook got a reaction from graphicnatured in Pocket 4K Aperture Value Issues   
    Looked into this and the steps that some lenses report will result in a value that's smaller than the precision of the numbers we show. So for instance the lens may allow two settings around f14 where the "second" one is still closer to f14 than f15 so we display both as f14. The opposite can also happen where some lenses will report settings where it DOES fit in a our precision to show two different values but the lens doesn't actually change aperture enough to see any difference. We assume Panasonic etc know of these settings across the lenses and compensate/ignore them etc as necessary in their cameras.
  16. Like
    CaptainHook got a reaction from webrunner5 in Pocket 4K Aperture Value Issues   
    If you can let me know exact MFT lens models and describe the issue in repo steps I can follow it up. There is one known issue at the moment that some times the lens won't set the correct aperture we tell it to, but for the aperture number to stay the same on the camera UI display but the lens actually change sounds like something different. Will look into what you mention nRF Connect too.
  17. Like
    CaptainHook got a reaction from kaylee in Midtone Detail in Resolve - Thoughts?   
    FYI just in case you're not aware, midtone detail is also available in the primary tab and is not a raw tab exclusive control.
  18. Like
    CaptainHook got a reaction from hansel in Midtone Detail in Resolve - Thoughts?   
    FYI just in case you're not aware, midtone detail is also available in the primary tab and is not a raw tab exclusive control.
  19. Like
    CaptainHook got a reaction from mercer in Midtone Detail in Resolve - Thoughts?   
    FYI just in case you're not aware, midtone detail is also available in the primary tab and is not a raw tab exclusive control.
  20. Like
    CaptainHook got a reaction from TheRenaissanceMan in Midtone Detail in Resolve - Thoughts?   
    FYI just in case you're not aware, midtone detail is also available in the primary tab and is not a raw tab exclusive control.
  21. Like
    CaptainHook got a reaction from Katrikura in Blackmagic Pocket Cinema Camera 4K   
    Historically (not that we've made cameras THAT long) we've always converted internally to YUV/YCbCr no matter the codec for SDI output etc. It's then convenient and easier on resources to do image statistics on just luma for zebras/false colour and that has not changed. RGB would be more ideal, yes. Personally I always set zebras to 95% for some slight headroom (even before I worked for the company and learnt how it worked) and after i joined and we added false colour, the "red" (highlight clipping) on false colour is actually at 95% for the same reason.
  22. Like
    CaptainHook got a reaction from Jonesy Jones in Blackmagic Pocket Cinema Camera 4K   
    Historically (not that we've made cameras THAT long) we've always converted internally to YUV/YCbCr no matter the codec for SDI output etc. It's then convenient and easier on resources to do image statistics on just luma for zebras/false colour and that has not changed. RGB would be more ideal, yes. Personally I always set zebras to 95% for some slight headroom (even before I worked for the company and learnt how it worked) and after i joined and we added false colour, the "red" (highlight clipping) on false colour is actually at 95% for the same reason.
  23. Like
    CaptainHook got a reaction from seanzzxx in Blackmagic Pocket Cinema Camera 4K   
    As others noted, the camera accepts either 17^3 size cubes, or 33^3 size cubes. Yours is 16^3. I've converted your LUT to 17^3 using Lattice and this should work.

    Custom_Made_17.cube

    FYI, i would be careful with your LUT as you can see from the cube visualization there an odd gap at the bottom and the curves are not overly smooth (though I've seen much worse curves).




  24. Thanks
    CaptainHook got a reaction from seanzzxx in Blackmagic Pocket Cinema Camera 4K   
    Historically (not that we've made cameras THAT long) we've always converted internally to YUV/YCbCr no matter the codec for SDI output etc. It's then convenient and easier on resources to do image statistics on just luma for zebras/false colour and that has not changed. RGB would be more ideal, yes. Personally I always set zebras to 95% for some slight headroom (even before I worked for the company and learnt how it worked) and after i joined and we added false colour, the "red" (highlight clipping) on false colour is actually at 95% for the same reason.
  25. Thanks
    CaptainHook got a reaction from Anaconda_ in Blackmagic Pocket Cinema Camera 4K   
    As others noted, the camera accepts either 17^3 size cubes, or 33^3 size cubes. Yours is 16^3. I've converted your LUT to 17^3 using Lattice and this should work.

    Custom_Made_17.cube

    FYI, i would be careful with your LUT as you can see from the cube visualization there an odd gap at the bottom and the curves are not overly smooth (though I've seen much worse curves).




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