mercer

RX10 Mark II.

@Stathman ... you're right... it is. Hmm. Anyway thanks.

@Stathman yes that is what I mean. I have to raise the midtones a ton to get the uploaded graded jpeg to look the way it looks in FCPX. I reverted it back to the original, but here is the tiff file and the jpeg if I were to leave it how I like it in FCPX... But to be honest, I don't love any of these grades any way... just messing around with the image. Marina Foreground Graded.tiff And here's a screenshot of the image in FCPX...

I've been working with some of the new color tools in FCPX while practicing color grading and trying to lock down a look for my short film. So, I figured we haven't had one of these threads in a while... why not see what others might do with it. Background: 5D Mark III with a modified Canon FD 50mm f/1.4 lens, shot wide open at ISO 100 with a variable ND. I processed the footage through Resolve to ProRes as BMDFilm. And here's a tiff file of the uncorrected/ungraded shot... Marina Foreground UnGraded.tiff And while I'm at it, I'm hoping to get some advice... I have searched and searched online for an answer but I can't find what I'm looking for... So I edit with a MacBook Air. I calibrated the monitor to Rec709 using the computer's settings. I know I should get a real calibration tool, even though i don't even know if it would work with a MacBook Air? But I am finding that my images look decent in FCPX and on my laptop when I export the frame, but whenever I upload the file online, there's a discrepancy... mostly with contrast (the image gets darker) Now in FCPX, it states that it exports as Rec709, and I assume it should be sRGB for the web? I end up spending a bunch of time lightening the original file just to get the same representation I was seeing in FCPX... but even then it never looks the same. Any ideas? Pointers?

Exactly, the GX9 at $1000 gives me the option of okay 4K or bad 1080. I may as well buy an 80D, at least I’d get a good stills camera (bigger sensor) and okay 1080p with DPAF and Canon color... because okay 4K is pretty useless at that price point. Sadly, @Mattias Burling if you were to get and review the 1080p on a GH4 or GH5, you’d probably be the first reviewer that ever concentrated on that feature in the 4 years since the GH4 was released and the year since the GH5 was announced.

Can’t you get your focus in HD, then change a custom setting back to 4K for record? Focus peaking with the NX500 required a few steps as well, but in the end it forced me to think about the frame more.

Panasonic’s 1080p really does look nice. It’s a shame they don’t offer the higher bitrate 1080p on their lower tiered cameras.

Oh. Honestly, I was surprised at how much detail the fence had... although mushy. But any brick work will be a disaster on a Canon, and the fringing with that lens doesn’t help either. I’m right with you, I tested so many cameras over the years, it’s hard to keep them straight. Here’s a video I love that was shot with the 80D... the filmmaker did a great job using the camera’s strengths to his advantage... good storytelling didn’t hurt either...

Yeah, unfortunately, as you know, Canon and wide angle shots do not mix. Of course, the Fuji didn’t look too much better. With rumored 4K on the upcoming M50... it may get better.

Sorry, didn’t mean to insinuate that you were a noob. But that’s not really the best shot to show off any Canon camera’s strong suits.

Yeah, I don’t care if you love or hate the camera but that is a tough shot to expose, with a slow lens, when you expose for the sky and expect the dark fence to be clean... you can’t always protect your highlights.

Thanks but no. I had the camera last year. I really liked the camera, though but eventually moved onto the 5D3 and Raw Video. How do you like it? I’m hoping the rumor that the XC20 will have an interchangeable lens mount is true.

Sell it now and go Full Frame. But congrats on finding it... that must have felt horrific.

What lens were you using and what ISO did you shoot the 80D with? I’ve seen some clean 80D video online.

Yeah, since you’re a hobbyist and if you could get a 5D Mark III within your budget, then I can not recommend it enough. Raw video will change your life... LOL. But if you don’t feel like messing with the workflow, have you seen Mattias’ D750 review? That’s another great option. Good luck with your new camera.

@jonpais And yet your best footage posted on this forum was shot with a Fuji... those bastards and their lack of zebras. ?

@kidzrevil are you using Neat Video for noise reduction with ML Raw?

The question of the ages, right... If a C200 autofocuses in the woods but there is nobody there to FaceTrack in Raw, did it ever really autofocus at all?

Yeah, I honestly think for the kind of work you do, you would be better off with a D850. You’ll get great DR and color with clean shadows. I love my 5D3 and ML Raw but it’s not really the right tool for lowlight interiors. Cantsin also made an excellent suggestion with the XC10. Great color and clean 4K in an all in one solution.

Of all the camera companies on the market, I actually believe Panasonic will be the next to bail out of the consumer/prosumer camera business. I assume the GH line will be moved up to their cinema division by the release of the GH6 and with it... a price increase. But to stay on topic, I think the Terra 4K is really exciting and has a beautiful image... a true cinematic image at a reasonable price point... and I’d love for Kinefinity to take on BM where it will hurts... the Pocket Cinema Camera niche.

Even Resolve’s Default Timeline Color Space looks pretty good for a quick turnaround.

Thanks! Between this and the MLVApp, it’s almost impossible for even me to mess up this footage... lol. I recently processed this through the MLVApp as LogC. Even though it’s in B&W, I used a LogC to Rec709 LUT and an S-Curve before desaturating it.... I love my Nikkor 35mm 1.4...

Thanks Stathman... as I expected... user error. I went back and downloaded everything again and now it’s working brilliantly. I have some reading to do but it seems pretty amazing I don’t know why I’ve been fighting this. I suppose the “local host” is a good way to preview your clips and see the metadata before opening in Resolve? But I noticed there are some fixes you can do... pixel fix, vertical line fix, etc... I didn’t click any of these before opening in Resolve... do you recommend I do?

Do you know anything about the Mac version? I downloaded OSXFuse (or whatever it’s called) and followed the directions but I am not seeing any options for MLV when I right click. I see there may be a script to upload somewhere, but again it seems unclear... but I’m sure it’s me. In FCPX, when you cut a clip and then delete the unwanted portion, the gap left in the timeline is instantly and automatically filled by the remainder of the clips in your timeline. It seems your right clip selection sounds what I’m looking for... thanks.

You have to do fade to color. And yes, there are some silly effects included and it’s silly that I can only save one effect at the top but then again everything else works better than any other editor I’ve used. It’s more intuitive than Premiere or Resolve. Or I think there is a fade in in one of the drop down menus... maybe.