Jonesy Jones

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Hmm, that's a strange one. When a bug like this happens at project level, I often start a new project and import everything. One can export the timeline when it is highlighted in the project bin, through File > Export AAF, XML. That will often strip the timeline of project level bugs when re-importing to a new project.
And, place the whole EC folder into the Resolve folder, and refresh in Resolve (as compared to a single cube, etc). This way, you can have the ABLs and Exps in folder order right next to the conversions. Here's -.66 + Day Lin + Abl2:

President Trump isn't an idiot, far from it, he's an egomaniac. Hopefully, this event will alter his behavior a little, and as a country, we can get away from this identity politics bullshit during his second term.

100% Australia (and NZ) won't have a surplus at the end of this current budget cycle. 

The whole world is going to go into a recession. 
  

#EndTheFed

Without The Fed artificially pumping up the economy then the USA wouldn't need to go through the double pain of the coronavirus and the bubble bursting at the same time. 
  

You also have many many more multi generational homes in Italy than in the USA, which could contribute to a higher death toll. 

However, I personally still believe that in the long run the USA will have a higher death toll than Italy, simply because USA's population is so so much bigger. 

However which will have the higher number of deaths per capita? I really do not know. 
  
Clinton didn't win the election. 
The election wasn't a popularity contest. (and if it was, then both candidates and both parties would have run their campaigns completely differently, it is almost impossible to predict what would the result have been if it has been a contest on the basis of the popular vote instead)

And those predictions based on polling (such as The New York Times saying Clinton had an over 90% chance of winning, or  The Princeton Election Consortium gave Clinton a 99 percent chance of winning. Or The Huffington Post’s forecast giving Clinton 98 percent, or how PredictWise gave her 89 percent etc etc) was all based on the fact it is a federal election with an electoral college.

(in other words, their predictions were not about her "winning" the popular vote, they were very very very confident about her winning the electoral college. What the actual contest was about)

We shot this over a few days in Canada on the Panasonic S1 and Mavic pro 2. Honestly I can't be happier with the S1. Having shot on the A7iii and the A7sii for the past years the S1 is quite an advance in image quality. There is so much latitude in post and the dynamic range is really great in comparison.
 
 

What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

I have considered your reply for awhile now and i dont consider my comment as overly sexist, merely more of a play on the facts. If it had of been a bloke standing there behind the camera i would have come up with another comment regardless. If you want to see sexism at work i suggest you go immerse yourself, in the girls on film thread. Now there a chance to have a real argument against sexism.

Here it is:
 

From a promo I did recently with the GHA color on the interviews, you have to skip in a bit to see them:
 
Funny thing, I was in a meeting a little while back with the Director of a really big TV station in the States and was showing him a video I did using the GHA color, while watching it he turning to me and asked under his breath, "you shoot on Red, right?" I took it as a really big compliment I must say😉
 
 
 
 
 
 
 
 
 
 

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Some 6K frames from Chinatown in San Fransisco. Leica R’s. 
 

Also head over to our gallery page for some footage downloads.
https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

Hi everyone, sorry if I intervene to do a little spam but I just wanted to inform those interested, that the second crowdfunding is underway to get the Magic Booster 6K.
Thanks
https://www.produzionidalbasso.com/project/magic-booster-pocket-6k/

*That's a better idea
@Jonesy Jones Let me know what you think!

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff."

For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure).

Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709.
P4Ka PDF
Emotive Color

Maybe they're just shifting their sales strategy?  I can imagine that they don't have as much market penetration in the upscale market as they need to sustain, so they're going for a new segment?  If so, other models could take a hit, but they have to do it.

It's good that we can have a conversation about different view points.
"This is somebody who wants to take credit for something he had no involvement in. He merely walks up the doorstep to endorse it. "
I think that DJT can take some credit for Apple's decision to continue to do some manufacturing in the USA. I am also not American, and have no dog in this race.The president invited many CEO's of large companies to discuss the reasons behind them moving their manufacturing offshore, in an attempt to find out what the issues were, and what his government could do to reverse the trend. And through a combination of rolling back red tape, reducing taxes, and threatening to penalize those companies if they continued to act unpatriotically, he got some good results, and some companies have changed their direction, and are bringing jobs back to America, at the expense of the Chinese & other global players.
That is exactly what his predecessor did not do, and in fact, his predecessor was one of the driving forces behind American companies offshoring in the first place.
So yes, I do believe  (however misplaced, some of you may think my rational is), that DJT does deserve some credit. 

It was handheld. I think the IBIS is pretty similar to GH5 from what i remember.

Joker is and infomercial on Joaquin Phoenix. The formats are so overrated. Make good films!

Ah gotcha.

I'm not really directing this at you but just to anyone in general who isn't aware or wants to learn more, and I'm probably being a 'stickler for accuracy' here but obviously a sensor/camera has no inherent highlight rolloff as the sensor is linear (as close as practically possible with calibration) so highlight rolloff is mostly down to the dynamic range of the sensor, how the image is exposed and how the colourist chooses to roll off the highlights. All typical CMOS sensors will have "hard clipping" though, being linear capture devices.
I only say this because I see a few people mention 'highlight rolloff' as part of a log curve or colour science or something when in that respect it is just a by-product of the log curve optimising the dynamic range of the sensor in the container its being stored in. It's still assumed the user will create their own highlight rolloff in grading (I'm speaking just of RAW and log captures, not "profiles" or looks applied in camera intended for display on Rec.709 devices).

ARRI for example have a lot of stops above where they recommend middle grey be exposed for - due partly to their very large pixels and the large dynamic range they have - and when a log curve is calculated for mapping that dynamic range from middle grey to 940 (video white in 10bit where they map sensor saturation to in their log curves) you get a very flat curve at the top as it maps that range. When you flatten contrast that much it also appears to desaturate. I've seen some mention they believe ARRI purposely desaturate their highlights, but if they did that in processing before creating RAW files or LogC ProRes clips you wouldn't be able to inverse it correctly into linear for ACES workflows etc because processing like that is non-linear. They possibly do something like that for their LogC to Rec709 LUTs etc but people seem to attribute it to their LogC/RAW files too.

For our cameras we map sensor saturation at our "native ISO" to 940 also, but for ISO curve's above we go into "super whites" to make better use of the bit depth available especially since we deal so much with SDI output (10bit) and ProRes 422HQ is common for our customers (10bit also). ARRI says ProRes 444 (12bit) is the minimum for LogC because they don't use the full range available. We may change that in the future but the caveat would also be you would need to use 12bit for best results.
In theory you could expose a 10 stop camera/sensor so that you place middle grey at the second bottom stop, giving you 8 stops to create a very gentle highlight rolloff. You would just have VERY little range for the shadows. ?

So long story short, the question I would suggest people ask is 'what is the dynamic range like compared to other cameras' as that will really tell you what kind of highlight roll off YOU (the user) can create for your preference with how you like to expose given the amount of shadow information you like to retain, tolerance for noise, etc.

My experience is very similar between my Canon 28mm 1.8 and Canon 35mm f/2 IS. The 35mm is hands down a “better” lens, but the 28mm has way more character. 

In my opinion, you’re looking at this too analytically. Test charts and head turning videos on boring sets can only tell you so much.
One of the most important factors in any image is rendering and an MTF chart will not show you that... only your eyes will. For instance, the Veydra vs Zeiss CP.2 numbers you referenced... 
Take the Zeiss 28mm f/2 lens for example... the Contax version was known as “The Hollywood” due to the way it renders the OOF edges of the frame due to the extreme field curvature. The ZF Classic version is a very similar design as the C/Y version and uses the same glass as the CP.2. Check our this, real world, review of that lens...
https://www.google.com/amp/s/blog.mingthein.com/2012/07/19/zf28distagon/amp/
Also look at Cookes or Baltars... they aren’t perfect lenses by any means, but they have character and some of the best films of all time have been shot with them.
Anamorphic lenses are revered due to their flaws.
Color separation, tonality, 3D Pop, OOF highlights and even flaws... these characteristic can add charm and dimension to your images. They can help you tell the visual story you’re trying to tell.

Yeah, so this is weird.
I was going to say that I'm pretty sure people have modded them to be ai and that would one way forward and that I'd found you a tutorial video on YouTube of a guy doing it.
So, I was idly reading the comments, as you do, and lots of people were commenting about him being a murderer and I was thinking "well its an old lens and I can see why people might think its heresy to be messing with it but calling him a murderer is a bit over the top but hey this is YouTube so...".
Anyway, curiosity got the better of me and I googled his name and it turns out he's an actual serial killer.
 

Held the camera at ibc today, really nice little camera with great specs.