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Posts posted by ReinisK

  1. Exactly what Happy Daze said. The blacks ar not crushed, Premiere Pro is just viewing the footage that way.

    To get rid of this, select the 16-235 luminance setting in camera, not 0-255.

    If I remember correctly, the easiest way to get Premiere to 'see' the blacks (and also highlights, which are shown as blown-out, but actually aren't), would be to set output values in fast color corrector to 16 for blacks and 235 for highlights. You could also use RGB curve and lift the left end (blacks) and lower the right end of the curve (whites), while keeping the curve line straight.

    As to getting flatter image - I see you're using normal gamma with -4 contrast. Gamma DR with the same settings would definitely be flatter. Black level adjustment though, also gives flatter image, but I don't use it.

    When I plan to grade the footage, I use Gamma DR, -5 contrast and -2 saturation. With -10 contrast the image can get weird, and you have to perfectly nail WB, to not get weird colors.

  2. Here is one example photo - 100, 200 and 600 scale - https://failiem.lv/u/syqkr7qr#_

    It's not so obvious here, but if the background is very dark, it's very distracting.

    I've used that method to remove it in post, and I do it sometimes, but if the project has a lot of effects, it really slows down my PC, or I have to export the sequence and then put it on top. And then there are Warp stabilizer problems, where the pixel starts to move and other problems, which are just a needless hassle to do daily.


  3. I've tried the sensor cleaning, but it didn't work for me. 

    Kisaha - the dead pixels are more visible at high isos or if the picture is dark (high iso and dark picture is the best). Almost any camera has some of them. My Canon 600d had one very anoying dead pixel, but there was an option to remap the pixel. I can't find this option in the NX1.

    It can also be done when sending in the camera to service, but I doubt there is any service in my country, that has the software to do it.

  4. Hey guys!

    Since a lot on NX1 users like this forum, I wanted to ask if any of you have found a solution to fix hot/dead pixels?

    I currently have some, but I can't find a way to get rid of them. Any ideas? Also I can't access the dev mode anymore. Can you? I'm running FW 1.41.

  5. Very interesting discussion, although I haven't read it all completely (will definetely do, when it's not 1:00 at night). I, too, have always had the same impression as maxotics (at least from the part I read).

    That is - to get the best picture from an 8bit camera, the contrast (and saturation!) levels should be adjusted individually to each scene to waste less luma and saturation values. Therefore, the highest recorded (in camera) luma value should be 255(and only one such value) and the lowest should be 0.

    But in real world you cannot do this because it takes too much time and color correction would be too hard (imagine trying to match shots each with a different contrast and saturation settings in camera).

    So it is easier to just shoot in s-log, not thinking about each scene individually, and color-correct it afterwards.

    With 8-bit S-log you lose the middle luma values (after grading), but with a contrasty profile you lose highlights (blown highlights) or shadows, if the DR of the scene is too high for that contrast setting.


  6. I think, that such discussion would be very exciting for everybody, and we could learn a lot of new things.

    Doesn't matter, which NLE, just a plugin, which you like - maybe it is just better than others of that kind or it has saved you on some work, or maybe you just use it all the time. And also a small description of why you chose it.

    I'll start by naming 2 of my recent findings - Hitfilm light flare and MBR color corrector.

    The Hitfilm light flare is just a very configurable lens flare effect. The original lens flare in Premiere Pro is not very usable, but many times shots can really benefit from it (aerial shots, for example) to make them more shiny and cheerful. Can be used for simulating the sun, when there is just a gray overcast. This effect really helps to make it as realistic, as possible.

    MBR color corrector is a plugin for Premiere Pro, which can recognise color checkers and match cameras using the information. You put a color checker in the frame, film it with different cameras and the software adjusts color, so the cameras look the same. That's in theory. I actually haven't tested the plugin, because I don't have a color checker. A while ago, I was searching for this kind of functionality, and found this plugin. If it really works fine, it would be a very welcome feature for multi camera shoots.

    So what are your favourite plugins?

  7. Hey! Recently I did a Promo video for a XCO bicycle race, and the intro was shot using my DIY'ed anamorphic adapter from the 35nap 2-3.

    I'm pretty excited about the image I can get with it. The adapter though still needs some work to be a bit more precise in lens alignment, and of course some solution to double focus would be awesome. But for projects, where I have time, I'd try and shoot with it the next time also. Probably a bit too much color effects in the intro to fully enjoy the anamorphic image, but it still shows through.

  8. This is a good question, because there seems to be freerun timecode in the menu. So supposedly, it's written in the file somehow.

    Premiere Pro though, doesn't see it, so I'm wondering maybe there is some other software, which can see it. Since most NLE's aren't very friendly with the h265, maybe they just can't understand the way NX1 records timecode in the h265 file. 

  9. I was thinking about moving to Resolve, some time ago, but it didn't have some of the features I needed for editing. Premiere is unstable sometimes, but Resolve just didn't offer the features. I'm intereseted if it does now. I'd really appreciate if someone could give ma an answer about these things:


    1. Does Resolve have decent audio features like compressor, limiter, expander?

    2. Does Resolve have saveable presets of effects, which can be dropped on clips anytime?

    3. Customizable keyboard shortcuts?

    4. Customizable window layout?

    5. Maybe keyboard shortcuts for applying effects or effect presets? (Premiere doesn't have this afaik, would be a very welcome feature for me)

  10. So here's a short video of some shots I put together from the first time I've brought this kit outside - 


    Password - eoshd

    Shot on Samsung NX1, gamma DR, sharpness -10, UHD 25fps. Canon FD 50 f1.4 @ f2. Cropped sides and most shots stabilized, also added a bit of contrast with curves.

    Probably didn't have a perfect alignment of the lenses, but I think it was close. Now need to make a better mounting. Will post some pics of the setup too.

  11. Hello guys!

    I'm new to anamorphic adapters, have never really looked into these things, but a week ago I saw a 35nap 2 3 projector lens on sale on a local advertisement site, and after a quick research I decided to take it home. It's huge and since I like to have my gear as small as possible, this didn't make me happy. But ok.

    First thing I did was take it apart, to have only the lenses, so I could focus closer than 9m. Then I mounted the lenses on my rail system somehow, and tried to test the quality. The mounting system was quite bad, first results were not very encouraging, and I almost gave up on it. The picture was quite soft and of course the experience with double focus is not the best too.

    Then I made a somewhat more stable mounting for the lenses so I could align them better. The front lens though is lower than taking lens and rear anamorphic element, but it seems, that it's nowhere near as important to align them vertically as to align the lenses horizontally (and also correct rotation), which immediately gives a sharper image.

    I did the aligning using a Canon FD 70-210 f4 set at 200mm f4. It really helped to use such a narrow FOV to get critical sharpness. With the current setup though at 200mm f4 it's not very usable, but stopping down or using a wider FOV increases the sharpness, and once I got the best sharpness at 200mm, the sharpness with 35mm lens was just amazing.

    All I can say is - I love the image and I'm really looking forward to making a nice mounting system for the setup. The image is supersharp and it seems like that all across the frame. I even couldn't believe it at first. I did this test with Samsung NX1 and Canon FD 35 f2. There were black sides though with this setup, but those can be cropped off.

    Will post pictures with the setup soon and definetely some video examples.

    The squeeze ratio seems to change very much depenting on the focus distance. 1m and below does squeeze the image a lot less than further distances. How do you cope with it?

  12. How are you guys changing the normal gamma settings? When I go in the menu, where you can select the gammas, I see a small arrow on top of gamma C and gamma DR, where by pressing "up" I can change sharpness, saturation etc. I see no such arrow on top of Normal gamma, if I select it, and can't customize the normal gamma with sharpness or other of those settings. Can you really customize Normal gamma? And if so - how? I'm using the NX1.

  13. I've had the Mavic for about a month. Before that, I had a phantom 1 with a gopro 4 black for 2 and a half years.

    To own and fly the Mavic is a pure joy. It's so small, yet flies so good and you can take it anywhere anytime, really. With the phantom it always was a question if I want to take it with me.

    I bought it for professional use for filming. The camera is nice. For 1080p delivery, not high-end projects it's enough in my opinion. I have to say, that it's winter here, so it hasn't seen many colors yet, but I've got the feeling, I won't be disappointed.



  14. Hey! I want to use a colorchecker in Premiere Pro for matching 2 cameras. I know, Resolve has this feature, where you can show it the colorchecker and it automatically matches the cameras (to some level). Can't find a way to do this in Premiere though. Does anyone know how to do it?

  15. Always manual including white balance. I don't really follow the 180 degree rule, though. Used to do that, but I hated the loss of sharpness due to my crappy variable ND, so I just started not using it. After a while of shooting like that, you can tell, where you're going to get problems because of high shutter speed and learn to avoid that. Or dial the aperture down. Or use motion blur in post, which works fine 90% of the time.

    With that said though, I am still wishing I had a good variable ND, but I have kind of lost hope in them. The best would be to get some regular good quality NDs with a fast swapping system (for example, magnetic, like I remember seeing somewhere), but it still would be quite slower than just adjusting the shutter. Usually for the work I do, speed is the main priority.

  16. Actually ML had two kinds of HDR. 

    The older one called HDR video was recording whole frames at different exposures. One frame at iso 100, the other at 1600, for example.

    Then came Dual ISO mode (if I remember correctly it was only for raw video). This mode recorded every line of pixels at different iso values, like Kinoseed wrote. 

    But if talking about the first way, which is HDR video, wouldn't it be possible to write a script that would change the shutter speed or iso for every frame? 

  17. Hi guys!

    I was thinking about the Samsung Gear 360 camera, do you think it could be possible to hack it?

    Since it is running tizen OS, I would assume the process could be similar. I think it could definitely benefit from a higher bitrate (now it's 30mbps), and probably some other hacks could be done, too.

  18. I have a question - monitors have a parameter called "max. input resolution". If it is 1920x1080, what would happen if if gets 4k signal? Will it show it zoomed in? Or wouldn't accept at all, or maybe would still scale it correctly? 

    I have the NX1. Apparently, if I buy a monitor with 1080p max. input, I could set NX1 to output 1080p, while recording 4k internally, right? I don't have a monitor, so cannot test this one myself. I am just afraid to buy a 1080p max. input monitor and not be able to see the proper picture if I shoot in 4k...

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