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luizhmgoncalves

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    luizhmgoncalves got a reaction from Stathman in Sony A7S III   
    Using Resolve studio here.
    Once I turned then into 25fps they playback real-time on my PC.
    Trying to playback at 100fps it dropped frames. But in a 25 or 24 timeline it worked. Time stretched or normal, works really fine.
    My setup is a Ryzen 1600 with a Radeon Rx570 4gb, 32gb ram. Very similar to some Macs.
    My system struggles with the Canon R5 h265, 100% CPU usage dropping frames, but not the Sony ones, 40-50% CPU. Even turning the R5 files into 24-25fps doesn't make any difference. 
    But the Sony XAVC-I performed really close to prores, 25% CPU, and that is a great point for the A7s 3.
  2. Like
    luizhmgoncalves got a reaction from ajay in Sony A7S III   
    Using Resolve studio here.
    Once I turned then into 25fps they playback real-time on my PC.
    Trying to playback at 100fps it dropped frames. But in a 25 or 24 timeline it worked. Time stretched or normal, works really fine.
    My setup is a Ryzen 1600 with a Radeon Rx570 4gb, 32gb ram. Very similar to some Macs.
    My system struggles with the Canon R5 h265, 100% CPU usage dropping frames, but not the Sony ones, 40-50% CPU. Even turning the R5 files into 24-25fps doesn't make any difference. 
    But the Sony XAVC-I performed really close to prores, 25% CPU, and that is a great point for the A7s 3.
  3. Like
    luizhmgoncalves got a reaction from Geoff CB in Sony A7S III   
    It looks really good for my taste.
    Just Aces Slog3 Conversion to rec 709, no grading.


    And the footage is really good to for color grading, much more information on the codec.


    I could never do things like that with the past Sony mirrorless codecs and have no compression artifacts and banding issues.
     
  4. Like
    luizhmgoncalves reacted to scotchtape in Sony A7S III   
    You could literally post a frame from R5 or Arri Alexa, say it's a Sony A7siii frame and someone would say the color isnt that good and that something is wrong with the skin tones.
  5. Like
    luizhmgoncalves got a reaction from Geoff CB in Sony A7S III   
    I think that just looking to an already graded jpeg export is not going to reveal it.
    I was talking about my experience grading the files. 
    There are much more color information in shadows and highlights.
    The guy with his bike in the air was really underexposed and I was able to push it up without looking mushy or like an alien.
    Scrubbing through those files into the timeline are really close to prores.
    I really had problems with banding and compression artifacts with the older Sony's. Don't see it on those files.
    I believe that in the hands of a good colorist it might bee amazing.
    And also with your tweeks in the color profiles we could achieve much better results.
     
  6. Like
    luizhmgoncalves got a reaction from Geoff CB in Sony A7S III   
    Just downloaded the footage from that James Matthews video.
    Great footage by the way.

    The A7s iii is now a contender angainst other low priced cinema cameras.
    All the information you need to create a good color grading is there. 
    Rich colors, shadow and highlight information. 
    All packed inside a usable codec that is the h264 all-i 10bit.

    All the problems I had before with sony mirrorles footage are gone. Noise compression, banding, poor colors, artifacts, etc.
    I aways thought a good codec could turn these Sonys into something else, and here it is.
    Personaly I really liked the colors.



  7. Like
    luizhmgoncalves got a reaction from Juank in Sony A7S III   
    I think that just looking to an already graded jpeg export is not going to reveal it.
    I was talking about my experience grading the files. 
    There are much more color information in shadows and highlights.
    The guy with his bike in the air was really underexposed and I was able to push it up without looking mushy or like an alien.
    Scrubbing through those files into the timeline are really close to prores.
    I really had problems with banding and compression artifacts with the older Sony's. Don't see it on those files.
    I believe that in the hands of a good colorist it might bee amazing.
    And also with your tweeks in the color profiles we could achieve much better results.
     
  8. Like
    luizhmgoncalves got a reaction from Vintage Jimothy in Sony A7S III   
    I think that just looking to an already graded jpeg export is not going to reveal it.
    I was talking about my experience grading the files. 
    There are much more color information in shadows and highlights.
    The guy with his bike in the air was really underexposed and I was able to push it up without looking mushy or like an alien.
    Scrubbing through those files into the timeline are really close to prores.
    I really had problems with banding and compression artifacts with the older Sony's. Don't see it on those files.
    I believe that in the hands of a good colorist it might bee amazing.
    And also with your tweeks in the color profiles we could achieve much better results.
     
  9. Like
    luizhmgoncalves got a reaction from Vintage Jimothy in Sony A7S III   
    Just downloaded the footage from that James Matthews video.
    Great footage by the way.

    The A7s iii is now a contender angainst other low priced cinema cameras.
    All the information you need to create a good color grading is there. 
    Rich colors, shadow and highlight information. 
    All packed inside a usable codec that is the h264 all-i 10bit.

    All the problems I had before with sony mirrorles footage are gone. Noise compression, banding, poor colors, artifacts, etc.
    I aways thought a good codec could turn these Sonys into something else, and here it is.
    Personaly I really liked the colors.



  10. Like
    luizhmgoncalves reacted to androidlad in Sony A7S III   
    A7S III colour science is certainly improved and offers a much better starting point for colour grading.
    Here are some samples matched to ARRI Alexa with minor adjustments, using "CineMatch" sensor matching algorithm, the A7S III sensor profile is still at beta stage.




  11. Like
    luizhmgoncalves got a reaction from Snowfun in Sony A7S III   
    Just downloaded the footage from that James Matthews video.
    Great footage by the way.

    The A7s iii is now a contender angainst other low priced cinema cameras.
    All the information you need to create a good color grading is there. 
    Rich colors, shadow and highlight information. 
    All packed inside a usable codec that is the h264 all-i 10bit.

    All the problems I had before with sony mirrorles footage are gone. Noise compression, banding, poor colors, artifacts, etc.
    I aways thought a good codec could turn these Sonys into something else, and here it is.
    Personaly I really liked the colors.



  12. Like
    luizhmgoncalves got a reaction from alanpoiuyt in Sony A7S III   
    Yes, these EOS R5 footage looks incredible.
    I only use the ACES CLog conversion, no grading at all, and already looks fantastic.

    Really wish someone upload some nice footage from the A7s 3 like that one, so we can play with it.
    And hope that Canon come up with something that doesn't take 5 years to do.
    At least sony throw their best codecs into a mirrorless.
    But for now I will keep my pocket 4k.
    Its not full frame but colors and codecs are really nice to work with.
     
  13. Like
    luizhmgoncalves got a reaction from zerocool22 in Sony A7S III   
    Yes, these EOS R5 footage looks incredible.
    I only use the ACES CLog conversion, no grading at all, and already looks fantastic.

    Really wish someone upload some nice footage from the A7s 3 like that one, so we can play with it.
    And hope that Canon come up with something that doesn't take 5 years to do.
    At least sony throw their best codecs into a mirrorless.
    But for now I will keep my pocket 4k.
    Its not full frame but colors and codecs are really nice to work with.
     
  14. Like
    luizhmgoncalves got a reaction from zerocool22 in Sony A7S III   
    Yes, I believe it is going to work on many machines.
    But on his video it didn't playback realtime on a Mac pro with the vega 2 card and 12 core CPU. 
     

    So I decided to try for myself on my humble Ryzen 1600 with RX570 card.
    Resolve and all drivers are the last updates.
    And it didn't playback realtime, but the footage from A7s 3 works really well since it is H264 10bit.
    In this fast test I set the timeline to 29,976fps for the Canon R5 footage. 
    A7s3 footage is in 50fps.
    In the end I add a pocket 4k footage BRAW 24fps.
    Playing R5 H256 the CPU was maxed out at 100%, then it droped to 25% with the A7s3, and finaly 15% for the Pocket 4k BRAW.
     
     
    I don't know for what kind of machine I would have to upgrade to play these H265 files realtime.
    Dont know if you guuys have tried any of these footages, but if yes, let us know about the performance.
     
  15. Like
    luizhmgoncalves got a reaction from Juank in Sony A7S III   
    Yes, I believe it is going to work on many machines.
    But on his video it didn't playback realtime on a Mac pro with the vega 2 card and 12 core CPU. 
     

    So I decided to try for myself on my humble Ryzen 1600 with RX570 card.
    Resolve and all drivers are the last updates.
    And it didn't playback realtime, but the footage from A7s 3 works really well since it is H264 10bit.
    In this fast test I set the timeline to 29,976fps for the Canon R5 footage. 
    A7s3 footage is in 50fps.
    In the end I add a pocket 4k footage BRAW 24fps.
    Playing R5 H256 the CPU was maxed out at 100%, then it droped to 25% with the A7s3, and finaly 15% for the Pocket 4k BRAW.
     
     
    I don't know for what kind of machine I would have to upgrade to play these H265 files realtime.
    Dont know if you guuys have tried any of these footages, but if yes, let us know about the performance.
     
  16. Like
    luizhmgoncalves got a reaction from andrgl in 1DC Discontinued   
    Probably the studio that shot miniature scenes already own the 1D C and had that motion capture rig made arround it. And they do multi passes to capture lights and other effects. Imagine doing that with the 1D C in raw stills.
    It is just like those guys did with the BMCC: 
     
  17. Like
    luizhmgoncalves got a reaction from Timotheus in 1DC Discontinued   
    Probably the studio that shot miniature scenes already own the 1D C and had that motion capture rig made arround it. And they do multi passes to capture lights and other effects. Imagine doing that with the 1D C in raw stills.
    It is just like those guys did with the BMCC: 
     
  18. Like
    luizhmgoncalves got a reaction from Henry Gentles in Should I switch from Lumix Micro Four Thirds line to Sony AR7 II?   
    I have been using the Blackmagic Pocket for a while. For me the major advantage is the Dynamic Range / Latitude of this tiny camera.
    Its so easy to use and to expose for your shot. Walking trough a corridor from dark to very light situation is when you see the greatness of shooting in a format like the prores or Raw. When you look at the screen and expose for dark part of the corridor and when you go to the extreme light and the zebras are not even appearing on the screen, its great.
    I have shot side by side whit canon cameras using the BMDcolor profile or the Cinestyle and we always have to change the exposure not to lose the highlights. And the Blackmagic on the same situation always shines.
    Even with a log profile on a 8bit camera when you have a blowing highlight with a very well exposed shot, you lose a lot of information on that highlight not for recovery but for a more filmic highlight.
    That new sony camera is a impressive camera. Full Frame with sensor stablization and 4k slog-2 internally, its huge.
    But you will have to sell all your lenses and camera and pay 3200 dollars for the camera and a lot more for new glasses. If you need versatility you will have to buy 3 or more good lenses.
    If money is not your problem, then its really worth it. full frame is great when you kwon how to get the best with it.
    But if you want to keep your lenses my choice from personal experience is the Pocket. Its really a great camera. In some blockbusters they are using Blackmagic cameras to pair with the alexas. Look at that:

    Thats how they shoot Mad Max running trough a corridor on the beggining of the movie. They dont chose a 5D, that is more lighter camera and full frame.
    They chose the blackmagic for the great colors and gradability of the footages. Its really a good match for the alexas in skintones, etc.
    They only use the 5Ds as a crash cams because its has a really rigid body and can preserve the Card and files very well, from a explosion or a car crash...
    And the Pocket has the same image quality as the Cinema camera but at 1080p.

    The cons of the Pocket:
    High ISOs like the sony A7s ( When i look at a 51200 iso footage from a A7s the hightlights are so terrible not filmic, and unrealistic that i dont know if it really worth it. But i have never grade a footage from that camera so....)
    And you have a nokton 0.95 thats really great.
    I shoot With the Blackmagic pocket in a very low light streets with a rokinon 16mm f2 and for me it really look very well.

    Battery times
    The baterry is really a problem, but yoou can use a externa batery or even buy a lots of then.
    I buy on ebay 10 EN-EL20 batteries for 8 dollars each and they are good enough for a day of shooting.
    For long time shooting go for an external battery

    File sizes
    Even the prores proxy is much better than a 8bit compressed file, it is 10 bit.
    If your shot has a lot of movement like foliage you can switch for the prores LT
    And if you shoot raw, sometimes i do that: Convert the raw whit camera raw with a similar look to the prores BMD log and render it as a prores for small file sizes and gaining the much greater latitude, colors and grain form the raw file.
    With 3200 dollars from the A7r II you cam buy a Pocket camera with lots of cards and battery an even buy the new 10.5mm 0.95 voitglander and have a great low light wide lens.
    4k is good but a 1080p camera with good colors dynamic range and latitude worth it, really worth it.

    Thats my opinion, choose wisely before you sell your lenses, and sorry for my not so good english.
     
  19. Like
    luizhmgoncalves got a reaction from Santiago de la Rosa in Should I switch from Lumix Micro Four Thirds line to Sony AR7 II?   
    I have been using the Blackmagic Pocket for a while. For me the major advantage is the Dynamic Range / Latitude of this tiny camera.
    Its so easy to use and to expose for your shot. Walking trough a corridor from dark to very light situation is when you see the greatness of shooting in a format like the prores or Raw. When you look at the screen and expose for dark part of the corridor and when you go to the extreme light and the zebras are not even appearing on the screen, its great.
    I have shot side by side whit canon cameras using the BMDcolor profile or the Cinestyle and we always have to change the exposure not to lose the highlights. And the Blackmagic on the same situation always shines.
    Even with a log profile on a 8bit camera when you have a blowing highlight with a very well exposed shot, you lose a lot of information on that highlight not for recovery but for a more filmic highlight.
    That new sony camera is a impressive camera. Full Frame with sensor stablization and 4k slog-2 internally, its huge.
    But you will have to sell all your lenses and camera and pay 3200 dollars for the camera and a lot more for new glasses. If you need versatility you will have to buy 3 or more good lenses.
    If money is not your problem, then its really worth it. full frame is great when you kwon how to get the best with it.
    But if you want to keep your lenses my choice from personal experience is the Pocket. Its really a great camera. In some blockbusters they are using Blackmagic cameras to pair with the alexas. Look at that:

    Thats how they shoot Mad Max running trough a corridor on the beggining of the movie. They dont chose a 5D, that is more lighter camera and full frame.
    They chose the blackmagic for the great colors and gradability of the footages. Its really a good match for the alexas in skintones, etc.
    They only use the 5Ds as a crash cams because its has a really rigid body and can preserve the Card and files very well, from a explosion or a car crash...
    And the Pocket has the same image quality as the Cinema camera but at 1080p.

    The cons of the Pocket:
    High ISOs like the sony A7s ( When i look at a 51200 iso footage from a A7s the hightlights are so terrible not filmic, and unrealistic that i dont know if it really worth it. But i have never grade a footage from that camera so....)
    And you have a nokton 0.95 thats really great.
    I shoot With the Blackmagic pocket in a very low light streets with a rokinon 16mm f2 and for me it really look very well.

    Battery times
    The baterry is really a problem, but yoou can use a externa batery or even buy a lots of then.
    I buy on ebay 10 EN-EL20 batteries for 8 dollars each and they are good enough for a day of shooting.
    For long time shooting go for an external battery

    File sizes
    Even the prores proxy is much better than a 8bit compressed file, it is 10 bit.
    If your shot has a lot of movement like foliage you can switch for the prores LT
    And if you shoot raw, sometimes i do that: Convert the raw whit camera raw with a similar look to the prores BMD log and render it as a prores for small file sizes and gaining the much greater latitude, colors and grain form the raw file.
    With 3200 dollars from the A7r II you cam buy a Pocket camera with lots of cards and battery an even buy the new 10.5mm 0.95 voitglander and have a great low light wide lens.
    4k is good but a 1080p camera with good colors dynamic range and latitude worth it, really worth it.

    Thats my opinion, choose wisely before you sell your lenses, and sorry for my not so good english.
     
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