Deadcode

1 hour ago, kye said:

If anyone wants a laugh, check this out.  

This is what happens when you put the GH5 and Micro side-by-side and film outside.  This is the exact same transformation as the above, which seems to match pretty well, but when you take it outside......

........not so much!!

Ha ha ha..  This is after setting the GH5 to WB of full sun, and carefully WB in post on both shots.  Other images are all screwed up by about the same amount.

The only variable here that is in play is that I had the Panasonic 14mm f2.5 lens on the Micro and the Panasonic 14-42 kit zoom on the GH5, so in theory there could be colour shifts, but both were set to F8 so were far away from whatever shifts might happen when they're wide open.

I guess if this stuff was easy then everyone would do it. lol.

Omg, shocking!

I have tried to match sony colors to 5d raw acr default look with the method you tried. It took almost a year to realise: you cannot do this conversion with a single LUT for every light conditions

ACES conversion is the only way.

Maybe i missed that part but why dont you shoot in vlog-l? Vlog to bmdfilm color space transform is a much easier starting point

I miss the good old days, when the article contained some beautiful samples footages with the reviewed camera..

1 hour ago, Nikkor said:

I thought there might be a color space problem.

Exactly. The users do not convert S-gamut to rec709 colorspace. That is the problem.

9 minutes ago, Kangaroo said:

A few days ago I helped a friend with a shooting, he was using the a7s, the first one, and he was shooting everything in 1080p. The footage was really impressive, I started looking at a few samples online and I found this:

https://vimeo.com/104968552

It's 60p so it should be even worse than 24p and in my opinion it looks better than most of the normal consumer cameras. I've read that even the a6000 should have better 1080p than the a7s but I had that camera and I don't think so, maybe I'm wrong but even by today standards the a7s look like a really fine camera. Is there anyone still using it?

For the used price it's awesome. But it has several flaws for today standards.

Andrew wrote a good review about it in the last decade

7 hours ago, Emanuel said:

 

The wierd feeling when you love the filmic colors but the fixed pattern noise and the oversharpened look kills the feeling.

Could you please reupload this without sharpening and just 50 shadow level? or it's not your video?

16 minutes ago, Andrew Reid said:

Yes all valid reasons of course.

Might have to start challenging Pocket 4K / 6K users to a V-LOG vs BRAW grading competition though

JSFilmz did a few comparisons, and you can find the original files in the comments.

It's takes about 5 minutes to match the VLOG to BRAW. GH5s is less noisy due to the internal NR, and you can't do better in post with the BRAW. 

He praises the BMPCC4K/6K, but he dont have to required colorgrading skill. However the BM is better looking straight out of camera.

2 hours ago, Danyyyel said:

As a photographer who has shot raw for 15 years, you don't know what you are talking about. I have used mainly 12 bit because I remember the time when we were all talking about 12 vs 14 bit raw and the difference was microscopic. Since then thse type of things like people complaining about 4k or 6k etc are moot to me. There will always be a bunch of nerds who will discuss ad nauseam about the .1 % difference between X and Y.

If you are experienced enough and have pro colorgrading skill in resolve, you may reach the limitations of the 10 bit LOG footage compared to RAW. 

I am talking about Premiere and FCPX users who are using LUT's to grade and call it a day.

Or Lumetri Color adjustements and calling yourself a colorist. You can barely reach the limitations of 8 bit log with these tools...

6 minutes ago, Zeng said:

Sorry, but if one doesn't see advantage/difference in using 12bit color then I guess one is better to keep using something like Sony A7III with its glorious 8bit log.

Fair enough response ?

But at least i know how to get the most ouf of my camera  RAW is way overrated, and mostly praised by people who shoot flower shots in the garden.

By the way here you can see a nice raw vs 8 bit h264

The 12 bit sensor readout (in video mode) and 12 bit output is determinating the maximum 12 stops of dynamic range.

As long as you are "grading with LUT's" the results will not differ from 8 bit recording.

6 hours ago, Mark Romero 2 said:

It could be, but you are going to want fast AF, and I don't know if the Tamron lens is going to focus as fast as the Sony native lenses.

And is 28-75 going to give enough reach to you?

If 75mm is going to give enough reach to you, then maybe look at the 85mm f/1.8 and see if the AF is fast enough for you and if you can live with a fixed focal length range. I would ASSUME that the 85mm f/1.8 is going to have better AF than the tamron 28-75, but can't confirm either way.

The Tamron 28-75 F2.8 is faster than the Sony 24-70 F2.8 GM

And also sharper in the middle at F2.8 vs F4 on the GM...

And half the price of the  24-105 F4.. which is an exceptional lens. I think it's the best 24-105 in the market right now.

I have the 28-75 and i love it.

25 minutes ago, kye said:

Interesting. That's different to the A7Sii where IIRC he had customised one of the profiles.

Do you know if he's doing a lot of colouring in post? I'm not familiar with the look SOOC.

He's not doing any color correction. He said that years ago at the weddingfilmscool channel.

In the Panasonic S1H "review" he is referring to his go to settings which is Standard factory default with any camera, A7 III included.

So yeah... bad sony color science and stuff...

58 minutes ago, kye said:

+1 for getting white balance right in camera.  

Sony is known to be harder to get good colour from but that just means that you have to be more particular with WB and processing in post.

Kraig Adams on YouTube is known for getting great results in camera and is currently using the A7iii.  He made a few videos about it that might include his colour profile and settings.

Kraig Adams is using factory default no picture profile, Standard 0.0.0 settings, and AWB.

8 hours ago, toxotis70 said:

for skin tones, what is he right exposure method for slog2 ?

As you can see in my post above: it does not matter if it's above noise level and below clipping. 

If you dont want to do much work in post, use the wolfcrow method. Which is basically expose the skin to 70 IRE.

4 hours ago, Mako Sports said:

You totally could do Arri log C, I just did S log 3 because I wanted to try AC's rec 709 conversion lut. 

Keep a bit more highlight range but reduce a bit more noise vs 75ire. I still think 106 is way to high ?

I shoot a few samples for you.

ETTR SLOG2:

69 IRE White SLOG2:

ACES conversion, and recovery:

Side by side after correction both clips:

Sidenote: this scene has about 3 stops DR, it's absolutely unnecessary to shoot a scene like this in slog2, but this is the best scene to show how LOG profiles works.

The difference between the two clips is more then 4 stops in exposure.

3 hours ago, Mako Sports said:

Was able to shoot some test shots today. Exposed at 85 ire this time. Once again I shot Slog 2 - S gamut3.cine in camera. Used color space transform in Davinci Resolve Studio. Uploaded both Luts also.

Image 1. Color space transform conversion from Slog 2 to Slog 3

Image 2. XDCAM user Sony Venice - Slog 3 rec 709 look/lut

Image 3. XDCAM user creative lut. (Fuji SL2 1 Stop over) 

 

ACFujish1-SL2-1OVER.cube 947.83 kB · 1 download AC-SL3-to-709-2OVER.cube 994.93 kB · 1 download

What was the point here?

The discussion was about shooting for 106 IRE just before clipping vs shooting for 75IRE as white.

In this scene the whole dynamic range can fit in 6EV... Even my phone can handle it.

23 minutes ago, Mako Sports said:

I feel like 106 is wayy to high. Alister Chapman and Doug Jensen (Sony xdcam gods) reccomended around 75 ire for both slog 2/3 I find it works better than doing that standard 100+ for bright white. Especially if its something like an interview with skin.

Sidenote: those gods know what are they saying, but they are working with cinema cameras. The noise floor is different and you can turn off the noise reduction. And 10 bit / raw.

Mr. Chapman wrote a long article about exposing to the right with A7s long time ago.

Tip: check the FX9 graded Slog3 ISO test on ProAV TV channel. It's noisy as hell... but the colors are good.

1 minute ago, Mako Sports said:

I feel like 106 is wayy to high. Alister Chapman and Doug Jensen (Sony xdcam gods) reccomended around 75 ire for both slog 2/3 I find it works better than doing that standard 100+ for bright white. Especially if its something like an interview with skin.

I have tested this several times. If you are working in ACES, you will get almost the same image regardless of your exposure.( after compensation) The only difference is the noise.

10 minutes ago, Mark Romero 2 said:

You should probably send a Thank You card to @Deadcode because he helped me decide to try your IDT.

Do we still need to expose slog 2 at approximately 2 stops over?  [EDIT: Just saw @Deadcode post above this about keeping important stuff at 40IRE or higher.]

I usually just set my zebras to 106 and open up until I just barely see zebras, and then close down the aperture 1/3 of a stop to play it safe since an individual color channel might clip but not trigger the zebras. Wish sony cameras had two zebra levels so I could monitor both highlights and shadows. My HDMI monitor zebra only goes as high as 15IRE for the low value, so I don't think I can set a zebra for below 40IRE

106 zebras is like shooting ETTR all the time, and works flawlessly most of the time, stay with that. 

If you are working in ACES, you can shift the exposure like in Lightroom, just dial down the offset wheel, to get proper brightness. ACES will handle the shadow/highlight rolloff.

Secret tip: try those highlight/shadow sliders under lift/gamma/gain. Its siiiickk....

2 hours ago, thebrothersthre3 said:

You are saying Premiere causing banding in slog2? That probably makes up for like half the people who own an A73. 

We were talking about it several times.

Slog2-sgamut3.cine is good most of the time, even with deep blue sky.

Slog2-sgamut is much nore sensitive to banding issues.

Both will be problematic in premiere, but sgamut3.cine is fine in resolve.

Im talking about correctly exposed 4K footage in proper WB.

Underexposed 1080p sh*t with wrong WB will band like hell, the dark footage is noisy, which is smearing due to noise reduction artifacts, which will cause banding. Just keep everything important higher than 40IRE.

Know your camera.

42 minutes ago, thebrothersthre3 said:

HLG seems to have less banding issues and artifacts, not sure why you'd use Log over it if you want the best in camera quality. Unless you are delivering to someone who expects Slog2. 

 

Only beginners and Premiere users are crying about banding issues with slog2 ?

31 minutes ago, Mark Romero 2 said:

I am curious as to what the benefits are of working in ACES as opposed to RGB (which the tools in Resolve were designed for).

I am not at this time good enough / knowledgable enough about ACES to see a difference when I try to use it.
 

All your current problems can be solved by using ACES. You have been fighting with SLOG so long now. 

Actually im suprised that ACES just came in to the picture with the Panasonic S1 on these forums

Slog2 with sgamut3.cine is awesome, and works like a breeze with ACES.

You can download the proper ACES IDT from colorizer.net

If i dont want to colorgrade, eoshd pro color v4 hdr is the winner

1 hour ago, Brian Williams said:

Its not great, but if anyone wants this, here's a short 4K 12-bit DNG sequence I shot tonight-

https://www.dropbox.com/s/3blhq57dr1ql866/A001_014.zip?dl=0

Thank you for sharing!

It's always nice to work with RAW.

However am i spoiled by todays in-camera noise reduction or this is noisy for an ISO1600 (underexposed 1EV so ISO3200) shot?

/TNR and Spatial NR is already applied/

4 hours ago, deezid said:

So close to a new project and nothing heard yet. ?
Even borrowed a Pocket 4K from a friend in the meantime for other projects so I don't have to deal with ghosting. 
Hopefully sooner than later.

That's something that even the FX9 won't be able to do.
Seems like FF sensor readout nowadays is still a bit too slow sadly.

Edit: The EOS C500 MKII will do it.

I still cant find your "already posted" example clips about the problems. Sample footages about the TemporalNR which ruined your shots at base ISO in VLOG with proper exposure, and about the "impossible to grade properly" brownish (lack of colorgrading skill, etc...)  BRAW  BMPCC4K shots.

Could you please provide the download links to them again?