Geoff CB

45 minutes ago, Antoin e said:

So I’ve tested out the F3 a bit but I can’t seem to get it right when outputting the footage from resolve.

ive recorded with the VA 4:2:2 slog rgb with a 95mbits sd card in ProRes hq.

I get very desaturated colors when uploading to Vimeo and on QuickTime however it is fine with VLC.

I did some research and found out it’s something called « gamma Shift » occurring between different color spaces like the Apple displays that uses the same system for colors as the web players.

Also, I’ve upscaled the footage by 2 so I guess it is UHD ? Ive tried x4 but it keeps crashing. I Exported in 2:39 2048x858

For the codecs I tested out QuickTime dnxhr hq 10bit and h264 but it is pretty bad.

Can you guys share some knowledge about how to do a good render with resolve ? And also adress this issue with the gamma shift ? I’m looking to post my work exclusively on Vimeo and such so I need to find a good workflow with that and a file that is not too big for the upload.

also I’m on windows so I do not have ProRes out. 
 

https://vimeo.com/436540500/41894c141e
 

exemple of a h264 export (also some footage is underexposed...)

Don't see anything wrong with the footage you posted. 

What video levels are you exporting at? What video levels is your timeline set at? And what monitor/web browser are you viewing the footage on? 

Also NEVER use QuickTime to view footage, it's completely innacurate. 

Under project settings make sure to use color managed, and make sure on the clip settings set them to Full range. 

I honestly think more people would have gone for the Z6 if Nlog was available internally. Even if it was 8-bit.

At this point I'm really looking at switching to Sony still cameras. Probably the new A7s sometime in the fall. Unless the Z6 v2 absolutely blows me away there are too many strikes against the Z system. Including it's abysmal support from 3rd party lens manufacturers and no cinema line to move up to and use native glass on. 

I love my Nikon z6 to death, especially for photo work. But I'm not making money off photography, I need to commit to a system that can handle all my needs for video. Also people in the industry shoot on Sony and Canon, no one I work with uses Nikon. Which is a big deal for a second camera operator on these shoots.

7 minutes ago, boukmanmutt said:

hi guys thanks for your answers...

 

to make you understand ... it is true I am not a photographer but I liked taking a photograph every now and then, now that my son will be born even more I will have the desire to take some nice pics, as my old 5d Mark II allowed me to do. To be clear, I would like to go back to something "in between". Let me take some great photos but also a high quality video. The 5d Mark II also had a special touch in the video, but I don't know if this style remains in today's DSLRs. I would like you to make videos in 4k but, as I explained to you, the problem is my budget: I have to find something that does not exceed the money that I will make by selling the blackmagic. P.S. I love blackmagic, which is an exceptional camera, too much to keep in the closet. That's why I want to sell it.

If your having a kid, get a used 5D Mark 3 and a used 24-70 and be done with it. 


I did not enjoy the Blackmagic 4K very much when I tried it. Was not impressed with the DR or handling. 

Just now, Dunjoye said:

I'll go for a used Eos R, if I was in your shoes.  Sounds like you want a hybrid, that does both decent enough.

5DMKii is a old system. Apart from photo, I can't see any appeal in owning one in this day and age.

Or this option works as well, and just adapt an older lens.

Needed for 8K, probably will be the standard when U.S. broadcast companies upgrade to 4K/8K.  This should enable broadcast companies to upgrade without increasing bandwidth.

7 hours ago, homestar_kevin said:

That looks great. I hope the Z line keeps going and gives us more internal recording options, I really like everything I've seen from the z6.

All I want is internal N-log in 10-bit. That's it. If Nikon would just give me that I would be happy, I don't even need 4K 60p I just need an internal log profile or for them to fix their external video delay problem.

Nikon 16-35 on Nikon Z6

4 hours ago, gethin said:

I've got an ad coming up.  I've shot one local tv ad on the z6, delivered in 1080. This one will also probably be 1080, but I was wondering if the ninja is a worthwhile investment, or whether I should just put the money towards a bmpcc4k kit. (Or z-cam E2)  The ad will have a bit of slowmo in it, the z6 slomo is barely up to it.   

Will I notice anything in z6 ProRes footage other than a little bit more highlight info? 

N-log gives you way more dynamic range and color information. You can only go to 60p to external recorder though. RAW seems to be worth it if you have an NLE that supports it.

Honestly I would recommend it, if not for this project for future ones. 

13 hours ago, Super8 said:

This is starting to talk to me.......a........little.

 

Glad to finally see some footage from someone with proper lenses, grip gear, and lighting.

8 hours ago, Andrew Reid said:

Nikon 105mm F2.5

 

That lens is magic.

Is there a data levels option for you footage to make sure it's 0-255?

I rented the $2200 Nikon 24-70 2.8Z and the autofocus was broken and it couldn't focus past ten feet. Needless to say I will NOT be purchasing that lens. Did not give me confidence in the Nikon Z system.

On 6/28/2020 at 4:59 PM, Antoin e said:

 

Maybe it is better to get a cheap small camera to go with to use for these type of shots .Thinking about the original A7s wich is selling at around 500€ used in my area or maybe a

 

 

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

For anyone looking for the best monitor for this and to get 4:4:4. Pix-E5 with XLR audio adapter.

https://www.ebay.com/itm/Video-Devices-PIX-E5-Recorder-Monitor-with-PIX-LR-2-SpeedDrives/333635380743?hash=item4dae37e607:g:CGwAAOSweLte9LOC

Biggest difference is that 10-bit   H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

2 hours ago, Antoin e said:

An other question :  the F3 doesn't seem to have a built in mic, what would you recommend to at least get something you can sync with and with a compact size ?

If it's just for sync you can go for any cheap On camera XLR mic

https://www.amazon.com/Bestshoot-Condenser-Microphone-Photography-Camcorders/dp/B076J4TTQP/ref=mp_s_a_1_8?dchild=1&keywords=on+camera+XLR&qid=1593429930&sr=8-8#aw-udpv3-customer-reviews_feature_div

Then add a really short XLR with it. 

https://www.amazon.com/LyxPro-Microphone-Professional-Microphones-Connecting/dp/B00KWIM0K8/ref=mp_s_a_1_5?dchild=1&keywords=5"%2BXLR&qid=1593430075&sr=8-5&th=1&psc=1

Yeah this is the end of Olympus. RIP. I loved their ergonomics I, just never wanted to invest in M43.

On 6/17/2020 at 9:14 PM, buggz said:

Wow, LOTS different:

https://www.zeiss.com/content/dam/consumer-products/downloads/historical-products/photography/contax-yashica/en/datasheet-zeiss-planar-1485-en.pdf

https://www.zeiss.com/content/dam/camera-lenses/files/service/download-center/datasheets/historical-lenses/contax-n/datasheet-zeiss-planar-1485-en.pdf

Freaky, the end filename is the same.

Wow, you were not kidding about that, completely different designs.

14 minutes ago, kye said:

Mine above, for comparison.

Thanks, yours is definitely better than mine.  The guys hat in yours isn't nearly so artificially saturated, but in some ways yours is more saturated than mine, or at least equal.

Interesting that your method, at least from your one-line description, is similar to the manual method on the test shots.

So your scopes have the blacks a little above actual black. You can see the bottom of your green and blue channels are above your red channel, it's why your shadows appear slightly blue.

This is my adjustment, bringing down blacks slightly and warming them up.

2 minutes ago, kye said:

Now I'm the proud owner of a colour checker, I can put some science into this madness, so today I filmed some test shots, with a handy tree in the shot to see what makes it radioactive and what doesn't.

C-Log 4K 305Mbps shot:

If we manually WB on the white square and apply a straight CST without luma or sat mapping we get this postcard from our nuclear fallout future:

 

If we dial back the saturation after the CST to get something in the ballpark of this world, we get this:

Not a bad image, and the tree looks pretty close to how it actually looks, although I'm tempted to say it's a bit blue.

If we instead of all this we get Resolve to look at the colour checker and auto-magic us into perfection, we get this:

 

Couple notes:
That shot is very underexposed, and you want the bottom right of the color chart to be the brightest part of your entire frame. It should NOT be in shadow.

Your getting in the ballpark. I think your next step is making sure you watch you scopes / parade and adjust just highlights and shadows using the LOG color wheels.

On 6/18/2020 at 1:26 AM, IronFilm said:

What do you think of the Nikkor 17-55mm f/2.8G for DX DSLRs? (seems like it would be a perfect match for other S35 cameras like the PMW-F3)

On 6/18/2020 at 9:01 AM, homestar_kevin said:

I've never used one of those, but have only heard good things. Seems as well built/better than the Canon 17-55/2.8.

I've almost picked one up several times, but have mainly stuck to FF lenses. The nikon 16-80mm f/2.8-4 is really tempting too.

I've heard the 17-55 has some pretty bad purple fringing on highlights so I've avoided it. Also it doesn't have a big enough range to justify adding it to what I already have.

Definitely been tempted by the 16-80 because of its great range and would make a great run and gun combo. Wish it was a constant f4 or f3.5

So for other Sony F3 users definitely adjust your flange focal length from time to time. My wide angle shots were not up to snuff sharpness wise and I figured out it was because my mount fallen far out of alignment. 

2 hours ago, SRV1981 said:

Curious if anyone know if this would work?  If I have a Shure sm57 and wan't to boom it overhead a subject during an interview, could I run that XLR end of the mic into a 3.5mm cord direct into the a7III?

Unfortunately that mic requires phantom power, so you will need another device to send the signal to your camera. 

42 minutes ago, heart0less said:

My gosh, these are in-cred-i-ble.

The overall tonality is superb.

Thanks, and yes I love the files as well. 

4 hours ago, IronFilm said:

I've been putting in my "best offers" to the PIX-E5 on eBay but the seller keeps on rejecting my low balling 😞 ha, well, it is to be expected I suppose! Was just hoping to get lucky. 

Keep checking, I got really damn lucky on a PIX-E7 and PIX-LR, which I absolutely cannot live without now (The giant meters are now invaluable for me for monitoring audio while shooting) and if I spot another one for cheap I will probably buy it as a backup.

On 5/9/2020 at 8:35 AM, PannySVHS said:

@Geoff CB Are you using one of the idts from Ampas, which one? So thats for the material stored in SLOG curve, right or linear uncompressed? Do you like the color equal stored in 422 and 444? Is it possible to output 444 and record 422? Guess I will see myself soon enough and come up with more questions.:) Would be awesome if you and Dave would post some footage if you get chance some time.

 

Sorry I never responded to the 4:4:4 question, yes you can output 4:4:4 and record 4:2:2 (At least, I know it works on my PIX-E7) and I really do recommend doing this. 

Stills from some recent interviews.