kidzrevil

Asahi Super Takumar 55mm f1.8 w/ Lens Turbo

An xc10 with an interchangeable mount was my dream. The ability to use fast prime lenses over that built in lens with canon log would be amazing. This is exciting news indeed

The debayering process is done to the dng and resolve is the best at it. I upscale to 4k in resolve. 14 bit color has enough data to cleanly interpolate color and upscale to 4k

I just debayer to 4K in davinci resolve. There’s no compression so the image upscales cleanly especially at low iso with post sharpening

This would look SICK as a horror short. Wow ! Great composition man

Virgil uses this ?! Thats crazy ! He has a good eye for aesthetics You are right. The older cameras have a “look” to them. I seen some footage of the gh3 with a voigtlander lens the other day and I was like “what camera is this ?!” Only to find out it was the humble GH3. I recently picked up a Canon 5D mark iii and the sensor looks amazing. Even though its pixel binned 1080 it has a look thats very special and still sharp by todays standards. Full HD 1080p has proved to be sufficient even on 65” plasma tv’s. I guess you could kinda say 1080 is the new vintage

@Don Kotlos wow

Voigtlander 28mm f2.8 The voigtlanders + the canon 5d raw is becoming my go to street photo/video setup. The focus ring on this thing is smooth as hell

@HockeyFan12 you are most certainly right about that. The shadows are filled with chroma noise. You have to expose as far to the right as possible...hell you might even have to sacrifice some DR in the highlight range to get better shadow performance ! Thats why I feel like every bit counts with these things but you shouldn't take any visible decline in image quality at 12 bit

Absolutely. It seems to me the name of the game ! Im all for it

After seeing what blackmagic did with the new bmpcc I can see that. Hell even before that I knew the prices of cameras from companies like sony were super inflated. I doubt the tech in their cameras cost that much to put together. Their profit margins are probably insane ! Blackmagic which is a tiny company in comparison to the giants and are putting together cheaper cameras retail wise that have insane specs. They are even smartening up and adding photo features which is a sign to me they are eventually going to make a full blown hybrid camera and thats going to prove problematic for companies like Sony. Sooner than later its going to be revealed that these price points are super inflated as we see the abundance of options making its way to the consumer - prosumer market

The a7siii is going to be a monster I can feel it. I totally agree with you on it being the year of the vdslr and I think its because hybrid features are neccessary in the professional environment especially for journalists. The gh5s,sony a7iii & the new blackmagic shows me even though cinema cameras have their place, dslr for video is still a viable option

Yeah those extra 2 bits are massive because they multiply exponentially @KnightsFan

@cpc thanks for correcting me ! Didn't know that was the cause of all the weird behavior of the files in Adobe. I wonder if someone could make a MLV converter that will convert to 14 bit dng's. Something to preserve the entire bit depth of canon raw without having to use 16 bit cinema dng

yeah to be honest with you I wouldn't even stress over it. The difference is visually imperceptible. One of the key reasons I shoot with it is the fact that my mlv converter seems to only sync the audio right with the regular old 14 bit hack. Everything else my audio is out of sync. If audio is not a thing for you then 12 bit is more than sufficient. I would be nitpicking if I could say I could spot the difference even next to each other. I just don't trust my mlv converter or the ml hack with these experimental builds.I can't afford to get a corrupted shot on a video for a client so my paranoia just wouldn't let me shoot in anything but the vanilla 14 bit lol no he is putting the original canon value range inside of a 16 bit container since there is no such thing as a 14 bit dng. There are onlt 12 bit and 16 bit dng's and for the sake of preserving the original 14 bit values they are placed inside of a 16 bit cdng

@tupp the programmer labelled the 16bit file maximized because he stretched the values to fit the whole 16bit container. This prevented the “pink highlight” issue in adobe premiere. The unmaximized version are just the regular Canon values in the 16bit cdng which is interpreted correctly in davinci but incorrectly in premiere.

@tomekk 12888 more shades of tonality over 12 bit is a hell of a lot of data. Whether most of that data is noise or not is irrelevant. The more tonality you have in post the better. Its the equivalent of 12 bit vs 14 bit raw photos 12 bit is very good. I’d still rather work with the true 14 bit image in post though. 12 bit is perfect for longer takes and I’d just avoid 10bit all together. Another advantage of 14 bit is it syncs the sound perfectly with raw2cdng

This is from the developer of raw2cdng. Its a visual of the difference between bit depths etc. the 2 bits of noise are very useful for generating noise profiles and still contain a significant amount if data over 12 bit. They are just visually imperceptible from eachother so you can get away with it

@kye you are spot on ! In the end its definitely about the end result because you can get awesome images out of LUTs. I love using LUTs for quick grades and tetrahedral interpolation does an amazing job of improving the rendering of any LUT. Still these days I trust the floating point operation of RCM or ACES because of how it handles the image. My end results are always better

12 vs 14 bit is visually identical but technically there is a difference between the amount of shades in a 12 vs 14bit file. You don’t really need a DNG for proof of that. The point of shooting in 14 bit is to avoid trunctuation or altering of the data present in the raw data when converting from mlv to cdng. @tomekk

@Mark Romero 2 yeah I shoot with the Canon 5d Mark iii as well. I use the 14 bit raw hack

I only shoot 14 bit. The 2-4 bits you chop off has a massive amount of data in them. The most I’ll do is convert the 14 bit file to a 12 bit cdng

@kye the workflow before compression may be non destructive but you are still shifting a lot of data around. These transforms exaggerate noise and other artifacts in the image. Its better to use floating point transforms than the hardcoded transformations in LUT’s for color space conversions. Davinci Resolve Color Management & ACES are floating pointing operations that are far superior to LUT’s especially when matching cameras. Filmconvert does a good job too but I’ve found variations in their profiles.

@kye sheesh thats a lot of transforms for 10 bit low res footage. Your end result looks great but I challenge you to get the look you want in 3 nodes ! You can do it !!! Your 10bit footage will look a lot better trust me. You should only transform your color space once in your grading chain

@kye looks really good !! What kind of grain are you using ? Filmconvert or an overlay ? My latest test of the 5d raw w/ my DIGILOG LUT & workflow. I got better with my handheld technique im no longer losing sleep over the lack of IBIS. Magic Lantern Raw has really matured. I use the regular nightly build since it is the most stable and use my post processing techniques to get faux 4k for streaming.