cameraeye

7 hours ago, Robert Collins said:

And Lightroom is pretty good these days

Lately I've been missing Aperture- not for the image processing results but for the workflow and interface. For me its more intuitive and faster than Lightroom. I started looking for Lightroom alternatives and so far I haven't found anything better, but more importantly anything close to what I liked about Aperture. I haven't test-driven everything, though.

Hope there's an alternative or someone makes one leaning towards Aperture design- Lightroom is clunky and slow.

@BTM_Pix Wow!

9 hours ago, Video Hummus said:

I think human kind will need a certain level of pain to change

Thats what people listen to the most and what happens when they don't listen to the ones who know.

On 7/19/2019 at 7:06 PM, BTM_Pix said:

Yes to camera agnostic

Awesome tech. Just curious if a version might/could possibly someday make its way to cameras like the Canon 5D III?

1 hour ago, Mokara said:

I don't rarely care about WB when shooting, since everything I shoot is saved as both RAW and jpeg. The jpeg images are used for preview purposes so I can get a general idea what I need to do with a particular image, but beyond that I adjust everything in raw for final images. Things like WB and hue are irrelevant in the workflow.

Kind of correct but in practice not in my experience. I thought that until I had to work with 1000's of raw images that all needed white balance adjustment but different for different lighting and some not needing adjusting at all- so no select all and change in one go. If it can be engineered to be correct 100% of the time, it saves on your post time.

Hoping they update firmware for the S with all they can from this. Glad I have the S due to payload capacity. I relatively recently bought the S, can anyone tell me if its in DJI's DNA to add features in firmware? Or are they more of a Canon-type company?

I get the impression Sony's success was due to fully jumping on mirrorless and the engineering advantages followed- like a smaller, nostalgic body and EVF. I'm not so sure they innovated per-se and thus didn't know their own products well enough to improve them in the areas that were lacking.

8 minutes ago, Andrew Reid said:

That's pretty much how I came up with EOSHD Pro Color!!

Ha, you did a lot of the hard work for me then! I used ProColour on a 10 minute short to mix the A7s better, well worth the cost. TBH the other clincher was the complete lack of latitude in the grade. If you pushed it a little hard the image fell apart.

11 minutes ago, Andrew Reid said:

Magic Lantern remember didn't even have access to Canon's source code, it is trial and error reverse engineering and they still managed to implement RAW

I think that's what makes using it so sweet. You get this very tangible sense that you're using this amazing technology to the fullest and not some artificially limited feature list. The only limits of ML are the limits of the camera.

19 minutes ago, Andrew Reid said:

I bet there are a LOT wrong with these big companies and we only are getting glimpses.

I think most have a lot wrong and it is simply down to the drive for money. Nothing wrong with earning money at all- but put it above everything else and it corrupts.

I follow the Sony A7 line news out of curiosity but, after owning an A7s II cannot consider them again. The argument of colour improving over time is crazy- why not take longer and get the colour science right- why should I wait multiple years, buying 4 generations of cameras to maybe get accurate colours?

I sold my A7s II for the horrid colour alone. The tipping-point was after doing extensive research to grade its video when the best solution I could find was to take a damn canon camera on set for reference photos- and match the Sony to the canon. I mean at that point what's the point? I was, like others, bamboozled by the immense specs of their A7s II. But you can throw the ingredients of a delicious meal into a pot- it's how you prepare them that matters. I am really not a fan of using paying users feedback to improve products- just use the things yourselves and release a well-rounded, considered product.

The mark 3 versions of the A7 look much better than my s II, but I will not give them my money to be a member of a focus group for a future version of the product. Also- no thanks to those menus- do they even use them themselves?

Wish I tried Magic Lantern before buying the A7s II, would have saved a lot of time.

@hyalinejim

- Can't thank you enough for your Cinelog recommendation and the script.

Wow.

What I also don't like is the idea that it's ok for advertisers to bombard us everywhere we go, but we're not allowed to photograph it. So, they can fill our mind-space with their products to make money- but we would not be legally allowed to record it ourselves. That's like a one way street.

Great news. I thought canon were finally blocking them from new cameras(?)

On 9/5/2018 at 3:55 PM, seanzzxx said:

I don't think the DNGs weigh anything

After some research on a film, data does indeed have a weight. All the data of the internet weighs about the same as a strawberry

On topic- After Magic Lantern on the 5dIII, raw/prores on this camera coupled with Black Magic's focus for a professional tool makes my next camera purchase easier to decide.

@Axel Thanks for your response!

I read the Apple white paper, a few articles and a few youtube videos around the differences too. Looks like the best way is work in 2020 (assuming a more important project- cat videos need not apply) and then grade another version in 709 for the majority of services for now. It's cool we have an NLE that can work in 2020 if we need it, and regrade past projects to take advantage of it too. I understand from the white paper that upon making a 709 version you should check for clipping and adjust accordingly.

I actually came back to FCPX because colour management in Premiere Pro ruined a grade for me. Albeit the fault of my display, at least Apple have different options and seem to communicate via ColourSync better with their own displays.

P.s. I don't make cat videos.

I'm working on a project and this is all of good use to me, thanks for the information everyone.

Can anyone clarify though, if I update to 10.4.1 the CC I've done remains, but do i have to re-add clips and then effects to see the bug fixes? thats a lot of work.

Also, is there any benefit to changing to 2020 once updated? I'm working on a P3 Wide-Gamut Macbook Pro display and will need the CC to appear right on as many devices as possible online. Will I need to regrade everything after changing colour space and do I then export back to 709?

Sorry for all the questions- man colour management is a never-ending rabbit hole.

I did a search and couldn't immediately find anything on this and I wanted to share my findings here to maybe help others.

Long story short, every export of a film I was working on from PP came out desaturated in Quicktime or the web. Bring it back into PP or view in VLC, and it shows accurately.

It's because PP doesn't have colour management and will only work in sRGB. Even if you change your display profile Premiere ignores it (you can watch it when you switch profile). The problem lies when you use a P3 wide-gamut display (all modern macs have them). What you grade in premiere then changes viewed anywhere else other than the same colour space.

At this point, I will never grade in Premiere until they bring in colour management. Hope this helps anyone dealing with the issue, or feel free to delete this post if it's been said before or obvious.

@eoslover interesting.

This reminds me of an interview with Steve Jobs RE. iPod Touch sales cannibalising iPod Classic sales. Basically he said, it’s better if you cannibalise your own products with the next generation of innovation/design, than another company doing it for you.

There will always, or mostly always, be someone pushing technology forward- why not stay at the front and forgo your legacy sales when something better is emerging? It’s a better investment in your future rather than resting on your laurels.

It's just tiring to see a company become so big they're scared to change for fear of losing money. You have to pay a lot more to get the features you want in the cinema line which is fine because the work pays for it- but with cameras like these it's kinda like buying an artificially speed restricted car.

The only reason we can make films is due to technology improving and becoming more affordable, yet they obviously are too afraid to allow the potential of the technology be utilised (look at Magic Lantern on the 5diii)

I guess it all makes business sense, but then that's the problem- Canon need a shakeup.

Thanks to everyone who replied to me, very helpful.

18 hours ago, EthanAlexander said:

I've been using two 256GB 1066x Komputerbay cards for three years no problems at all. Just test the speeds when you get your order and return if it doesn't match as advertised.

256GB in the 7D? I've been trying to find the maximum working capacity for the 7D.

8 hours ago, tweak said:

128 1066x are good for me.

Komputerbay? Continuous raw? I've seen people have luck with them, guess its a slight gamble.

I'm new to ML Raw and I've done some experimenting with my 7d. I've done some searching around for CF card suitability, are 64GB 1066x versions still the best way to go? It looks like the newer 128GB Komputerbay 1050x cards should work but with all the bad press around their 128 1066x cards I'm not sure if best to buy. P.s. Raw is incredible and ML is amazing.

Thank you, Davey.

I have a question that I can't find an answer to in the thread and from the guides. Can you use Eoshd cinema/log with the fs7? I want to match an fs7 to an a7sii as close as possible before touching it in the grade.

So far I'm loving the colours more from my a7s II, as much as to say I'm happier with owning one. @Andrew Reid, may I ask your thoughts on the canon 1dx II? That seems like a perfect camera for both stills and video, albeit more expensive.

12 hours ago, Don Kotlos said:

Log profiles with low bitrate 4:2:0 8bit codecs should only be used when it is really (I mean really) necessary like high contrast scenes. More so with slog2/3 from Sony that is one of the most aggressive log curves out there. Shooting everything in slog with codecs like that is a common mistake that leads to banding and bad tonalities. 

Thanks very much for your reply. Would using an external recorder to gain 4:2:2 resolve the banding at all?

Is anyone finding, with the Sony A7s II, extreme banding in all out of focus areas shooting in log profiles? I'm not sure if it's me, but using any LUT and applying an S-curve or pushing the footage makes it practically un-useable. I've tried Resolve and FCPX and whilst improving the footage slightly it is still there.