buggz

Just now, Newway12 said:

I use the .71 speed booster. I don’t get vignetting. 

This is good to know, thanks for the information.

"Let's make everything MORE heavy and MORE cumbersome than it already is." ©

11 hours ago, Kisaha said:

Sorry if I am braking your balls guys, but this week I will order a few lenses and I want to make it right.

I will have the lens regain/metabones 0.64X and probably some adapters (no speedboosters)

I am considering:

1) Samyang full frame Canon kit (the cheap one!)

2) Sigma 18-35 (because everyone owns one!)

3) Tokina 11-16 or 11-20

4) Canon 70-200 f4 IS or the new nano 70-300

5) probably some native PZ.

As you see I want to cover most bases.

Do you have any suggestions, advices? Shall I invest more on primes and less on zooms, or vice versa?

On my GH5 with the Metabones 0.67XL speedbooster, both the Sigma 18-35, and the Tokina 11-16 vignette a lot on the wide ends.

Dunno how different the BM 4K Pocket would be...

21 hours ago, noone said:

While adapting and trying different lenses is fun, MF lenses generally don't have anything readily available and reasonably affordable that I would prefer over better FF lenses like Canon FD (especially L's) and some of the better Nikkors and others.     Even after using a focal reducer.      There ARE some super fast MF lenses I would love to try but I doubt I will ever see any in real life or ever be able to afford them (mostly made for aerial photography) and most others just are not going to be different (even with a focal reducer) to what can be readily found for FF.     I do have a couple of Mamiya lenses for my old Polaroid that I would LIKE to try but they are slow.   That they have their own shutters is what makes them interesting to me though not something I can use.

 

Well, I am a long time stills guy, so I differ from your opinion.

I LOVE ALL of my MF lens, I have even tried LF lenses on smaller bodies.  I have experimented with a lot of different things, even using a back for my ol' Sinar F2, it's fun.

I have had great success with the Mamiya MF lenses, 35, 55, 80/1.9, 120mm/f4 Macro.  I even have the great 145mm Soft Focus.

I love all of them, and with my tilt/shift Mirex adapter, makes even more interesting combinations.

On 3/17/2019 at 5:17 PM, BTM_Pix said:

I haven't got a GH5 or a 0.67XL so I can't give you a definitive answer.

I have got a GX85 and a 0.71x though so I went outside to do a quick comparison with some white walls for you.

Top is the 10-18mm @10mm and the bottom is the Sigma 18-35mm @18mm 

As you an see, there is some vignetting on the Canon and I just adjust for this by zooming in a fraction as I'll still get the extra FOV, the light gathering and the sharpening but it can be put on a dumb adapter as well to avoid any vignetting.

And the vignetting that is there is more than the Sigma.

Hopefully you can extrapolate from that for your own system based on how you know the Sigma performs with your 0.67XL

Bottom line is if the Sigma vignettes on it then the Canon will too and a little bit more.

Hope that helps.

 

Thanks for this information.

I will give up on APC UW zooms, as I already have two good ones.  I will go with FF UW zooms.

On 3/13/2019 at 4:23 PM, BTM_Pix said:

It does need a modification but its perfectly easy to do.

Here is a full tutorial on how to do it for this specific lens (but can be applied to other similarly tricky EF-S lenses) although this is a far higher precision route to doing it than I did.

I took the "hacking" part of the title of this tutorial a little bit more literally !

 

How much is the 10-22 vignette on a GH5 with Metabones 0.67XL sppedbooster?  I have been thinking of trying this, however...

I use the Metabones 0.67XL speedbooster on my GH5, and both the EF APC mount Sigma 18-35 Art and EF APC mount Tokina AT-X Pro 16-28 vignette a lot at the widest settings.

I was thinking of trying the fullframe ultra wide zooms, Sigma 12-24 Art, or Sigma 14-24 Art.

While I dream of the Canon 11-24 FF...

18 minutes ago, mirekti said:

Should I have HDR monitor for this to be used on timeline? Rec 709 sounds correct to me, but of course I might be wrong.

Probably, I however do not have such, and the output looks okay to me.

Please let us know how you fare, eh?

Thanks.

22 hours ago, mirekti said:

@Sage I was thinking of experimenting with HLG a bit, but didn't find much description in v3.0, only that PRE needs to be used.
What about the input Color Space in Resolve, is it supposed to stay Panasonic VLog or something else should be used?

I found this a long time ago on another forum, I have been using GH5 opengate mode almost exclusively since then.  I like it.

- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space

21 hours ago, kye said:

Yeah, sounds like it was rendering proxies in the background.

Your big load is the deflicker plugin.  Most plugins work by doing something to one frame at a time, but this is one that has to analyse a bunch of them and I've noticed that it kills my machine too.  

A quick way to troubleshoot performance is to just play the timeline and watch the little FPS number above the viewer, and try turning on and off nodes and seeing where the load is.  Often there are nodes that you can get dialled in, and then disable while you edit, then re-enable before you export.  

Resolve has a pretty complicated suite of performance optimising and caching functions, it's worth getting to know them so you can easily adjust things as you work to get the speed and the accuracy / quality you require at different stages of the editing process.

For example:

• for editing you need speed so if you have compressed source footage then generating proxies will help, if you're doing dissolves or other effects then lowering the timeline resolution can help
• for image processing (not colour work) the load is in processing the footage so lowering the timeline resolution will help (as it has less pixels to compute)
• for colour grading you need high quality (and maybe not speed) so turn up the timeline resolution and just skip through the timeline, but if you need realtime playback then rendering cache on the timeline is the answer, but if you need high quality, realtime playback and can't wait for proxies to render then just hand your wallet over and someone will take care of it!

Thanks for this information.

A BM product manager says the OFX I use, Tiffen, which is now DFT, I still have both loaded, do not conform or meet the DR OFX spec fully?, and is the cause of major process time.

I will have to relate this back to Tiffen, as this was a huge expense for me, and I'd like to continue to use them, as they have really good tools.

Okay, after turning on the node caches for each node, and putting the deflicker node first, the playback speed jumped from 0.5-1.0 to 1-2, suggested in the Blackmagic Forum. Still very bad...

And then much later...

I went to dinner with the family, started watching a movie, and now tried playback again.
The cache may have been generated, or something.
Now playback is normal.
Amazing!

Ahh, I see the blue line, for cached files?
There is still a little red at the end.
Wow, this takes long of a time  to build the cache files, for 4 minutes of video?

Without the nodes, it processes really fast, compared to my older box.

source:
Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L6@High
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 50 min 58 s
Bit rate : 192 Mb/s
Width : 4 992 pixels
Height : 3 744 pixels
Display aspect ratio : 4:3
Frame rate mode : Constant
Frame rate : 29.970 (30000/1001) FPS
Original frame rate : 59.940 (60000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.343
Stream size : 68.3 GiB (99%)
Encoded date : UTC 2019-03-05 19:00:17
Tagged date : UTC 2019-03-05 19:00:17
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : HLG
Matrix coefficients : BT.2020 non-constant
Codec configuration box : hvcC

output:
Quicktime - Uncompressed - YUV 422 10-bit
4K DCI - 29.97
Video
ID : 1
Format : YUV
Codec ID : v210
Codec ID/Hint : AJA Video Systems Xena
Duration : 4 min 0 s
Bit rate mode : Constant
Bit rate : 5 701 Mb/s
Width : 4 096 pixels
Height : 2 160 pixels
Display aspect ratio : 1.896
Frame rate mode : Constant
Frame rate : 29.970 (30000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:2
Bit depth : 10 bits
Scan type : Progressive
Compression mode : Lossless
Bits/(Pixel*Frame) : 21.500
Stream size : 160 GiB (100%)
Language : English
Color primaries : BT.709
Transfer characteristics : BT.709
Matrix coefficients : BT.709

Node 01 -
Primary Balance
Log Grade
Node 02 -
OFX: Vignette
Node 03 -
Primary Balance
Hue vs Hue Curve
OFX: Dual Gradient
Node 04 -
OFX: Deflicker

I have Tiffen, and DFT OFX, as well as the Resolve Studio OFX.

I am not using any NR.

Wow, nodes are really killing my machine.
It comes to a total crawl.
Is there a way to compensate for this?
Optimized media?  Render cache?
I've tried both, still extremely slow, even used 1/4 rez for playblack.

Should it be this bad for the following hardware?
Seems like none of it get maxed out during use, CPU, nor GPU.

Resolve Studio 15.3.5
Processor: Intel Core i7-8700K Coffee Lake 6-Core running @ 4.3GHz
Motherboard: Asrock Z370 Killer SLI/AC
Video Card: Zotac GeForce RTX 2080 8GB Graphic Card
Memory: 32GB DDR4 3000mhz Gaming Memory with Heat Spreader

Yeah, this is not for output to HDR deliverable content.

I have not explored HDR deliverable content.

Is there a setting to allow HDMI out when shooting in open gate mode?

Not looking to record, just to show on my ext. monitor.

Hmm, have to look at the settings again.

Was kind of dismayed, that I could monitor a choral concert, and then hit record, boom, no video on the ext. monitor.

Yeah, ext. monitor is new to me...

Anyone order lately with B&H ?

I'd actually like to get one of these, but shows never in stock...

I'm no expert, so, if anyone can think of anything better, I'm all for it.

I got this info from another forum, it seems to work good for me.

- In Project Settings, under Color Management, Change to Davinci Color Managed
- Under Color Management select:
-- Rec 2020 HLG ARIB STD-B67 for Input Color Space
-- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space
-- Rec 709 HLG ARIB STD-B67 for Output Color Space

Nice, now, if only I could purchase the camera...

On 2/21/2019 at 7:34 AM, Snowbro said:

What do you guys think will yield the best result? Iphone XS HDR frame combining or Galaxy S10 HDR10? 

I am a long Samsung user, and still like them, however, I do NOT like that Samsung continues to restrict 3rd parties from the complete camera API.

In my opinion this is great mistake on Samsung's part.

Not that I watch TV anyways...

I've seen the commercials, not something I am interested in.

As I am a long time owner of Samsung phones, I would like to update, however, Samsung will probably continue to cripple access to the camera API as they have done in the past.

Sigh...

As well as Resolve training videos, they are now making available commercial training books in pdf format for FREE download.

https://www.blackmagicdesign.com/products/davinciresolve/training

• Training Videos

Introduction to Editing
Perfect for both new editors and anyone switching to DaVinci Resolve, this video teaches you how to import and organize media, edit andtrim video, addtransitions, effects, titles and more.

The Art of Color Grading
Learn how and why you should usethe primary and secondary grading features, along with how to read scopes. This will teach you how to make informed decisions so you can accurately balance shots.

DaVinci Resolve Mini Panel
Learn how to adjust multiple parameters simultaneously and grade without using a mouse. Thisvideo teaches you how using a panel allows you to work faster and gives you more creative options.

Fusion VFX and Graphics
This video will teach you the fundamental concepts of the Fusion page in DaVinci Resolve 15 and its node based interface for compositing, tracking, keying, animating text, paint and more.

Fusion VFX in 3D
This video will show you how to work in 3D, extrude and customize text, animate, particles, glows and more. By the end, you’ll create your own animated 3D text with glowing, swirling particles.

Fairlight Audio Production Part 1
Learn how to create a professional soundtrack using the Fairlight page. This video covers dialog editing, balancing, voiceover, track layers, dialogue splits using words from other takes, and more!

Fairlight Audio Production Part 2
This video expands on audio production and teaches you about normalization, compression, equalization and sound design, aswell as bouncing, mixing andpanning finished tracks for delivery.

Managing Media
This video teaches you how to use the Media page to import and organize footage, work with metadata, batch process clips, andperfectly synchronize audio and video by timecode or waveform analysis.

Delivering Content
Learn how to prepare your content for delivery! This video teaches you how to use the Deliver page presets, how to create custom encoding settings from scratch, set up a render queue, and more.

• Training Books

The Definitive Guide to DaVinci Resolve 15
The Definitive Guide to DaVinci Resolve 15 is a hands on training guide with step by step lessons that will teach you how to edit video, create visual effects and motion graphics, color correct images and mix audio with DaVinci Resolve 15.

Advanced Editing with DaVinci Resolve 15
These hands-on lessons will teach you the art and craft of editing using DaVinci Resolve’s advanced editing features. You’ll learn how to cut dramatic, documentary, music videos and action scenes, and how to build eye-catching effects on both the Edit and Fusion pages. Then you’ll learn how to mix audio and deliver your final film for digital cinema, broadcast TV or streaming services.

Introduction to Fairlight Audio Post with DaVinci Resolve 15
This hands-on training guide will teach you the art of sound editing, sweetening, recording, mixing and mastering. Beginning audio editors and assistants will find clear workflow driven lessons, while seasoned audio professionals will quickly learn Fairlight’s user-friendly tools to create incredible soundtracks.

Color Correction with DaVinci Resolve 15
This hand-on training guide takes you through a series of practical exercises that teach you how to use DaVinci Resolve’s color correction tools. The workflow based lessons begin with primary tools and scopes for balancing images. Next, you’ll learn how to use secondary tools for more targeted and creative corrections so you can make your own Hollywood caliber grades!

While I use, and enjoy Filmic Pro on my S7, I read many sites that say Samsung continues to block 3rd party access to the full features of the camera API.

I may jump ship, when the true 5G phones come out...

20 hours ago, liork said:

Launch is almost here, Full Frame with 4K 60p, maybe 5K, many Video options, Auto focus is still a mystery...

I am a hobbyist enjoying the GH5 and have many lens options already secured, anamorphic as well.

I think this kit will last me for a long time, I would have to see a huge revolutionary development for me to think seriously about upgrading.

Also, the cost of the higher pixel model is currently prohibitive to me.

On 1/24/2019 at 9:46 PM, Mokara said:

My understanding was that anything other than Samsung (preferably the pro line) was lesser.

WD are not a memory manufacturer, they are just a generic when it comes to SSDs.

I thought WD bought Sandisk?

Great information in this thread.

Thanks to all!

I STILL use Reaper for audio.  Yes, I payed for it after just a few uses.

I like it, and have many plugins I like and use.

I just import the audio to Resolve Studio, and delete the other unedited audio track.

Shrug, works good for me...