sunyata

AFKLenz3G - Just came across this list of 24 rules from Werner Herzog and remembered your post, they are: 1. Always take the initiative.2. There is nothing wrong with spending a night in jail if it means getting the shot you need.3. Send out all your dogs and one might return with prey.4. Never wallow in your troubles; despair must be kept private and brief.5. Learn to live with your mistakes.6. Expand your knowledge and understanding of music and literature, old and modern.7. That roll of unexposed celluloid you have in your hand might be the last in existence, so do something impressive with it.8. There is never an excuse not to finish a film.9. Carry bolt cutters everywhere.10. Thwart institutional cowardice.11. Ask for forgiveness, not permission.12. Take your fate into your own hands.13. Learn to read the inner essence of a landscape.14. Ignite the fire within and explore unknown territory.15. Walk straight ahead, never detour.16. Manoeuvre and mislead, but always deliver.17. Don’t be fearful of rejection.18. Develop your own voice.19. Day one is the point of no return.20. A badge of honor is to fail a film theory class.21. Chance is the lifeblood of cinema.22. Guerrilla tactics are best.23. Take revenge if need be.24. Get used to the bear behind you. http://blogs.indiewire.com/theplaylist/carry-bolt-cutters-everywhere-werner-herzog-has-24-amazing-pieces-of-advice-20150116

Wow, that really blows. Slightly off-topic (reading your above comment) but... If you are so inclined, you can rent Lightworks Pro for $25 per month. I just used it on a job for 2 months and then opted not to renew. It was excellent at attaching metadata or "cues" and later doing searches on dailies. It also has an upload straight to Youtube option?

Normally you'd only see banding introduced on import if you applied a 3D LUT or downconverted 10bit to 8bit accidentally. My guess is that the banding is in the source and it's just being revealed in Premiere. To test you can render out a short unaltered clip uncompressed from Premiere (full range), then open back up in QT player and see if it looks the same as before.

Another good frame check: http://sourceforge.net/projects/djv/files/djv-stable/1.0.5/ can import cineon/dpx, create custom profiles, import LUTs (.lut files), do conversions (no, I'm not getting paid).

Good suggestion jcs. That should be nearly instant btw because it's not re-compressing anything. Another thing to note is that a screengrab of the QuickTime player window might not accurately represent that file (I've heard lots of designers complain specifically about qt player). Save out a static to do a "fcheck" in something else, Photoshop etc. "ffmpeg -ss 00:00:04 -i myfile.mov -t 1 -pix_fmt rgb24 myfile.tif" <= that will save out one frame 4 seconds into a clip as 8bit uncompressed rgb tiff. An open source fcheck utility: http://opensource.mikrosimage.eu/duke.html

with *nix / osx you can use the bash shell to loop through files in a directory and run ffmpeg in the body of the loop, i wind up using this often when starting a job. this command (assuming you're in the bash shell and have a relatively recent ffmpeg installed) will take a folder of mov files and create directories with the movie name as the filename, minus the extension, and export a 4 digit padded 10bit dpx sequence into it. modify it for whatever you want to batch to. for i in `ls *.mov`; do mkdir `echo $i | sed 's/\(.*\)\..*/\1/'`; ffmpeg -i $i -pix_fmt gbrp10le `echo $i | sed 's/\(.*\)\..*/\1/'`/$i".%04d.dpx"; done

Yea, for sure. I like the idea of mixing different framerates into one hfr signal. I'm not sure how it would look though, I really want to test this with some hfr cg mixed into 24p material. Maybe less jarring?

From HFR, to dynamic framerates, to space operas..

Don't forget the favicon!

Nice footage, what a beautiful location!

Just watched that also and was really impressed. On a similar note, can't say enough about Abbas Kiarostami:

It true that it was targeted but that's not unusual, the code was reused and just updated to have phished info and relevant ip addresses compiled in, and also signed by a sony certificate. it really could happen to almost any business from any group of hackers. the real winners here are the private cyber security firms, that is a growth industry! anyone that really wants to nerd out on this topic, good link to follow the cyber security buzz here: https://twitter.com/e_kaspersky/lists/great kaspersky et al.

Actually it really wasn't that sophisticated, which goes to show how serious this problem can become in the future; it's not limited to media companies or first amendment issues. This was a test post btw. Testing Testing..

I've never seen "showscan" so I have to reserve judgment, but despite how much I respect Douglas Trumbull, I think we part ways on the HFR passion.. interesting video nonetheless:

Very interesting article.. "Also, ecologically, when you're more oxygenated, you're in better shape." Maybe I should start hyperventilating when I'm around someone I'm trying to impress?

jcs- Inazuma makes a valid point, color is also not the only or primary difference between those examples. You can alter de-bayered Alexa footage in post quite a bit because of the image quality and film-like sensor noise: it grades quite nicely. Also, because of the log-c profile, it's analogous to working with film, I'm sure that was one of Arri's goals when designing the Alexa. Realistic or idealized skin tones are also rarely the goal in developing the look for a show. I'll post some archived uncompressed Alexa examples to illustrate as soon as I get a chance, just finished doing some crap for Sons of Anarchy, which coincidentally was shot on an Alexa (with other cameras mixed in, even a GoPro this season) and very not-glam. Our eyes evolved to sense color for health and emotion in skin tones what??? Please continue.

A Coffee in Berlin (2012) Technical Specifications Showing all 5 technical specifications Runtime 1 hr 23 min (83 min) Sound Mix Mono Color Black and White Camera Red One Camera Negative Format 4K Redcode RAW This blew me away when I saw that it was 4k Red One Redcode RAW, not sure if the grainy stuff was added in post? Movie was not quite as good as the cinematography IMO, DP was Philipp Kirsamer who also did V for Vendetta.

There are also quite a few universities that have staff that move back and forth between top level positions in the private/public sector and academia.

I knew a screenwriting teacher at UCLA that told me confidentially he wished he'd gone to USC as an undergrad, not because it was better than where he studied, but because he would have had better contacts. One catch, you need to be rich!

LOL.. kudos to you Stab for being so candid, I've certainly worked with people that seemed to have that same philosophy, especially back in the analog days. In the end though, you don't need to worry about keeping secrets or trying to use a technical advantage to get work, there is no substitute for experience and talent. It's good karma to share what you know, some of the people you help will be clients some day, and there will come a time when you yourself will need help from someone.

very interesting ...

too bad about the 6k, which might be accomplished by an updated type of pixel shift (advantages of no de-bayer). other than that, it sounds like it could be analogous to a dye transfer process, which had problems with crosstalk, but we still loved it. let's hope corporate doesn't screw it up.

hey tim, i work on the other side, i'm a flame / nuke person, but i downloaded some of the A7s footage just to check out: here's an example of the tests i've done. you're not going to find one LUT that works for every EV and WB obviously, but here are 3 gamma curves i did (just illustrated) using three of the more popular S-Log2 footage samples (this brings into linear, you would need to then apply a .45 gamma curve to make it sRGB, which was done after the curves shown below). i'm using 3 different color space transforms (3x3 matrices) in these examples, also posted below. (top gamma curve was a trace of the 3D LUT posted to the Sony forums which is too light for > 0 EV). +2 to +3 EV seems to help reduce the visibility of the chroma subsampling. the top examples, left to right, use the SGamut to sRGB color matrix transform (designed for the F55?) which are part of OpenColorIO (I found the blues can be too saturated): 1.87785 -0.79412 -0.08373 -0.17681 1.35098 -0.17417 -0.02621 -0.14844 1.17465 middle examples, a custom 3x3 to deal with the over-saturated blues of the previous transform, it sums to 1 across each row and works better with > +1 EV: 1.5778 -0.3941 -0.1837 -0.1768 1.2809 -0.1041 0.0294 0.2484 0.7222 bottom examples (from a Sony pdf to convert from F35 SGamut to HDW-F900-like conventional colors): 1.30624 -0.233075 -0.073165 -0.126851 1.17838 -0.051526 0.00012 -0.085649 1.08553 and here's a link to the CineAlta forum SGamut to XYZ 3x3 color matrix good luck!

haha, i think you're right.. i just grabbed a copy off of said company's web server and it's 24p. same with the official warner links. even the 24p version (shot of smaug's lair) looks unfinished though.

it's one giant leap backward for mankind. i know the company that did this trailer, i wonder if they're testing audience reaction to the 2d hfr version? i think it looks terrible.