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Everything posted by sunyata

  1. sunyata

    Great article

    You're right, I want the bicycle. I'm sorry.
  2. sunyata

    Great article

    Ah, bang goes the dynamite. I was actually just laughing at how cantankerous these forums are, not you specifically. But if you want to talk about screw ups, these are your words: This is not correct but I understand how one could think that from that Shogun test, to be fair. The radial I used was not initially monochrome btw, it was de-saturated to try to closely match the source test you referenced. "nice try to decompress with that Marcie one haha".. I'm not even sure what that means. I said "maybe" 3 times in a sentence to underline how many possible variables could be introduced in the Shogun test, i.e. "Maybe this, maybe that, who knows." "Or have hard chance to publicly accept they are as much ordinary as the others." " We all suffer of such need of love. Everyone in the same boat." Okay, now I'm in a 12 step program?
  3. sunyata

    Great article

    I'm am genuinely laughing out loud, not fake LOL.
  4. Yea, it's a 4k 10bit cin file (although I think it was originally scanned at 2k), maybe the last of the film neg leader ladies? As time goes on, she starts to look lower and lower quality You can still push the hell out of her hair. http://www.northwestchicagofilmsociety.org/wp-content/uploads/2011/09/DSCN2295-e1316147819183.jpg
  5. lol, the marcie is just FPO. This is a gamma test of S-Log2 vs S-Log3 with an 8bit intermediate pipeline. I think the banding in the toe for the S-Log3 looks better than S-Log2 (top right ramps) and clearly more contrast below like 6% is retained (bottom chart). Highlights aren't really as different as I was expecting. S-Log3 should be a little brighter but I can barely notice it.
  6. Emanuel, it's a really simple test to replicate, please feel free to try. I was working on a different test more related to this topic of the A7sII and S-Log3 when I got distracted by that Vimeo link. Here's the S-Log-3 test: I was rendering a 3D project, I swear I don't just do tests all day.
  7. Check out the results of the updated image if you want to see a different radial used to start with... both radials have more banding as you would expect, but the 4:2:2 is marginally better; I think quite a few people wouldn't know the difference.
  8. It's true that some colors degrade more than others, but because the source radial was generated in RGB space and converted to Y'CbCr, you will still see chroma subsampling artifacts (it still get's subsampled in Cb and Cr to compose the final image). I was comparing with the other test, which looks grayscale, but in the past I've preferred to test this with random animated colors just to see where most breakup happens. I've updated the image to use a lot of red, typically the worst color.
  9. Oh my, I never saw that one. There is a little flaw in his test that probably explains the huge difference between the demonstrated quality of 8bit 4:2:0 vs 8bit 4:2:2: he's recording externally to the Shogun with the 8bit 4:2:2 and internally to the GH4 for the 4:2:0. I'm gonna bet a dollar that's why they look so different. Maybe it's a data rate thing, maybe its smoothing happening with the Shogun, Maybe it's the GH4's implementation of 8bit 4:2:2, I don't know. Below is just a radial saved as 8bit dpx, then two conversions to respective chroma subsampling schemes. One is yuv420p 8bit and the other is yuv422p 8bit, Same very high h264 constant bitrate settings for both. Re-imported, gamma curve applied and saved out as a sRGB png.
  10. Just to address both of these comments, even though they are disagreeing, the total number of colors per pixel is kind of a useless metric. Nobody will ever ask you "Hey, can you save that file out 1,073,741,824 colors please?", they'll just ask for 10bit, 12bit etc. This is because the total number of possible colors per pixel is not only impossible to remember, is not really what determines noticeable quality issues; that's contrast. You get 256 or less for 8bit, 1024 for 10bit etc.
  11. If you're mainly interested in color that you can actually correct for sRGB display space, then the inclusion of S-Gamut3.Cine is likely the big news. "S-Gamut3.Cine is similar to negative film scan which was used for TV production, film out digital cinema. Color reproduction is designed slightly wider than DCI-P3 to provide ample room for grading. Thus manual grading for P3 becomes easier. S-Gamut3.Cine is more convenient to grade than S-Gamut3 and S-Gamut as camera digital negative. If you would like to apply print film emulation, please increase saturation to about 1.4." Can never get enough plots.
  12. Slog3 might put a little more strain on the highlight noise level in 8bit 4:2:2, but I think that will largely be forgotten in exchange for the color benefits of encoding in S-Gamut3.Cine, which people should find much easier to color correct; It's closer to a negative film scan.
  13. Under the "preview" button http://cameramanben.github.io/LUTCalc/LUTCalc/index.html there's also a waveform, vectorscope, and rgb parade option. Cursor over the test image to get 10bit color values.
  14. Assuming you haven't seen this.. it looks like cameramanben has done something really useful here: he's compiled a ton of research and written a JavaScript LUT calculator tool released under a GNU freesoftware license (I think this is about as free as it gets). This could be used for 1D shaper LUT's, or 3D LUT's with gamma/gamut baked together - if that's more your thing - and even custom code value ranges. I think you can upload a sample image too. I see an A7s profile as well as Rec2020 gamut, DCI-P3 gamut... it's on github. Online tool: http://cameramanben.github.io/LUTCalc/LUTCalc/index.html Link to browser based apps: https://cameramanben.github.io/LUTCalc/ Objective-C wrapper for MacOS: https://github.com/cameramanben/LUTCalc-For-Mac He needs a donation button somewhere.
  15. Strange, they had 37.6mm diagonal for the D800, but even if you compensate for a vertical 16:9 crop when shooting 1.78, you get 41.1. from the width of 35.9, If you just calculate the full sensor you get 43.2mm diagonal. I'm going to put it in at 41.1, not sure how they got the 37.6mm diagonal. Do you get the full width of the sensor when shooting video?
  16. Those were in there as a single measurement but I split them into 2 for you.
  17. It really depends on what you're doing. The continuity of your source clips will determine the difficulty of attaining a consistent grade. One 3D LUT is really not going to cut it in a commercial setting, but maybe it will work for solo stuff under the same single camera setting and lighting conditions.
  18. One of my favorite 35mm (film) rangefinders is the Olympus 35SP which is a fixed lens Zuiko 42mm 1.7, which has a Super 35 cine equivalent of 28mm. So if you want to take some Super 35 @ 28mm "cine" film photos for reference, get an Olympus 35SP and buy some hand rolled ECN-2 film.
  19. Added an NX1 profile to the "Komparatorré II"... and updated the minimum FOV. I guess the NX1 is just slightly larger than the other popular APS-C cameras, which makes it almost exactly the same as Super 35 film cropped to HD. Anyone have any cameras they wanna add lemme know, I just need the width and height of the sensor.
  20. I've gone through lots of RAID nightmares and I'd say just go for the max speed and space, i.e. level 0, and then as stated above: use hardware to manage. Then backup to tape often or nightly. I also don't keep project files on RAID, I just us it for source footage (which always exists somewhere else as a master), renders and cache, but keep all project files on internal SATA. I think RAID is still useful for overall size and speed, but I would just forget about the redundancy benefits, rebuilding a RAID is something you never want to do. Then for backup I do nightly partial LTO backups with Bacula for RHEL, it uses MySql or Sqlite, is also available on Mac, Windows and Linux. Then I literally keep my archived LTO's in a fireproof go box... and I still can't sleep at night.
  21. updated the comparator, it is now "Il Comparatorre".. bigger pictures, updated layout.
  22. i didn't find that skyline photo in the comparator app very useful, so i hacked it (kinda, not really) and i added an A7s sensor profile. now it starts at 15mm because that was the example photo that i found, taken with the Sony SEL1080 10-18 at 15mm full frame with an A7s. will probably take down soon because i don't plan on re-writing the javascript, although it could use it.
  23. He said on his website's forum several years ago, I no longer have the link, that in the Barton Fink days he was shooting with a 1.66 film gate and composing for 1.85. Now he uses the Alexa and shoots open gate, i.e. full sensor.
  24. and the "Field of View.. Comparator". I love the idea of this web app, but I wish they let you change the background image: http://www.abelcine.com/fov/
  25. Define the tonal ranges in a clipThe Luma Corrector, RGB Color Corrector, and Three-way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image. When used along with the Secondary Color Correction controls, defining a tonal range can help you apply adjustments to very specific elements in the image. Select the clip you want to correct in a Timeline panel and apply either the Luma Corrector, RGB Color Corrector, or Three-way Color Corrector effect.In the Effect Controls panel, click the triangle to expand the Luma Corrector, RGB Color Corrector, or Three-way Color Corrector effect.Click the triangle to expand the Tonal Range Definition control. Tonal Range Definition controlA. Shadow threshold B. Shadow softness C. Highlight softness D. Highlight threshold Drag the Shadow Threshold and Highlight Threshold sliders to define the shadow and highlight tonal ranges.It’s best if you make the adjustments while viewing the tritone Tonal Range display of the image. Drag the Shadow Softness and Highlight Softness sliders to feather (soften) the boundaries between the tonal ranges.The amount of falloff depends on the image and how you want the color correction applied to it. Note: You can also define the tonal ranges by changing the numeric values or moving the sliders for the Shadow Threshold, Shadow Softness, Highlight Threshold, and Highlight Softness. This doesn't do it?
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