Mark Romero 2
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Posts posted by Mark Romero 2
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1 hour ago, zerocool22 said:
Hello,
I just watched an editing video, and this guy was using final cut pro. And the cool thing was he could see visually in the waveform what was clipping with colors(yellow and red). Is there any way you could set this up in davinci resolve as well. As it is way easier to identify the clipping parts visually then to play the whole track and view the output bus.
Thanks
I'm not sure I understand, but if you are in the color page, you could open the parade and that would show the wavefroms for the individual channels (R, G, and B).
But I am not familiar with final cut so maybe I misunderstand what you want to achieve in Resolve.
https://www.youtube.com/watch?v=Mbcat-2J9oM
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5 hours ago, IronFilm said:
I'd lean to say it is overkill to use an external recorder with an XT3, you've already got yourself good 10bit from it internally, save yourself the money and get a lighter (both in terms of weight and in terms of power consumption!) monitor instead of a monitor/recorder combo.
My perspective is about being practical, vs squeezing every last 1% out.And that's a good perspective.
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Sorry to hear about this, Andrew. Thank you for the heads up. I have a couple of Sony cameras I will probably / possibly be selling so I find your warning to be quite timely for me.
Hope things go well with ebay and with the home move.
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All my friends thought I was crazy that I found Maggie Chung (张曼玉) much more beautiful that Joey Wong (王祖賢). "She looks so typical," they would say. But when I told them I liked the "Girl Next Door" look, they all understood.
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On 4/5/2021 at 3:20 AM, Aquilasfx said:
If I use 4K longGOP 10bit in vlog- l internally, it will save the file as rec709 color space? It will save FULL or limited (video)?
I need to know in order to use properly DaVinci resolve color space transform. It ask me color space source and gamut source. Thanks
Unfortunately, the V-LOG L of the GH5 / GH5S cameras is not the actual full V-LOG that the color space transform (CST) was designed to work with in resolve.
You might be better off using a Technical LUT to convert the footage to REC 709 in Resolve.
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20 hours ago, Thpriest said:
Camera looks amazing. Is there a real difference in image quality/look over the S5? (Other than internal 6k). I mean, does 4K 25p and 50p 10bit look the same?
The 4K on the S5 is the same as the 4K on the S1, as far as I can tell. I am surprised at 150Mbs h.264 how "pushable" the files are in post.
Also, I have zero issues with shooting at ISO 4000 in 4K and delivering in 1080p. Whatever noise is in there isn't really a problem and the dynamic range is still quite good.
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Back button focus works great on the S5 and S1. I set the AF switch to MF, and leave the AF switch ON for my Canon EF 16-35 f/4 L. Hitting the AF on button then focuses the lens. I have it set up so that rotating the focus ring on the lens then brings up picture-in-picture for fine tuning focus.
No idea about sigma lenses and linear manual focus.
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4 hours ago, empedocles said:
Well I guess by "affordable" I meant less than 2 or 3K. From what I've gathered, the S5 is a pared down version of the S1, isn't it? Or is it an improvement over the latter?
Funny story...
At its release, the S5 was a MORE CAPABLE video camera than the S1.
But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5.
My S5 is my everyday work camera (for stills and video).
I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting.
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4 hours ago, empedocles said:
Well I guess by "affordable" I meant less than 2 or 3K. From what I've gathered, the S5 is a pared down version of the S1, isn't it? Or is it an improvement over the latter?
Funny story...
At its release, the S5 was a MORE CAPABLE video camera than the S1.
But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5.
My S5 is my everyday work camera (for stills and video).
I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting.
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On 4/9/2021 at 12:52 PM, Geoffrey said:
New here and just purchased an S5 - very interesting discussion. Really liking the camera. I'm not a pro but have quite a bit of experience with HD video. Not got top end gear so shooting in 25p, UHD 4k, 8-bit. Though the 1080p looked pretty good too (was stunned by the comment earlier that 1080p and anything 8 bit, including 4K, is 'garbage' - what are people on?).
Was wondering about some more basic stuff from users who have had more time with it: what ISO range and aperture do you find most efficacious for 'normal outdoor shooting? This is the best quality camera I have owned personally and with other cameras I always avoided cranking up the ISO (grain) and closing down the aperture too much (defraction) and so always use an ND filter as much of what I shoot is outdoors. I bought a couple of nice NDs for the S5 - 3 and 6 stop (Breakthrough). If I use the 6 stop, even with the aperture wide open, I have up the ISO a bit (but not that much), whereas with the 3 stop I find I have to close the aperture to 6 or more and leave the ISO on 100. But then the aperture goes up to 20 I am not used to this range or high quality ISO.
Thoughts / experiences?
Hi and Welcome.
I am most familiar with shooting in V-LOG on the S5 (and S1 cameras).
They have dual native ISO. You should be able to look for this setting. It may not be too helpful with your ND filter situation, but it might be.
Generally, from what I have seen, you want to shoot at the native ISO for that profile, or go maybe two stops past it, then go to the High gain ISO
In V-LOG terms (as that is what I am most familiar with) shoot at ISO 640, on up to about 1600. After that, shoot at the High gain ISO of 4000 (and stop down the aperture).
I shoot outdoor in V-LOG quite a bit but normally have to stop down to about f/8 or f/11 when I use my 3-stop hoya ND filter (I am not real thrilled with that filter... distinct blue / magenta color shift).
If you don't want to shoot in V-LOG outdoors, you can shoot in HLG. However, I think it uses the h.265 (hevc) codec and some computers really struggle with it.
But probably the easiest way is to shoot outdoors with Flat picture profile and the saturation, contrast and sharpness turned down if you want to lightly grade in post.
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Panasonic full frame cameras have this for sure, and I suspect the GH5 has this, too, but don't want to swear by it.
Plus the Panasonic full frame cameras have something like 12 custom memory profiles you can set up the way you want.
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Panasonic GH6
In: Cameras
20 minutes ago, Video Hummus said:It has been forever since we heard even a whisper of a rumor about hybrid GH cameras. They are either entirely reworking the model line or they are going to kill it and focus on S series FF cameras.
Well... the GH5 is still a very viable camera. It's kind of hard to see where they are going to go from here without some serious redesign, on their part and on Sony's part (since I believe that Panasonic is still dependent on Sony sensors for their cameras).
Is there an m43 sensor out that allows for 4K 120fps readout speeds? If so, is it cost prohibitive?
How about dual gain optimized tech, like the sensor in the Canon C70? That could give m43 sensors another stop or two of dynamic range.
And everyone would love improved autofocus. But would the current m43 lenses be capable of exploiting a new autofocus system if it were released in a GH6? Maybe there are design limitations in the current lenses that prevent them from benefiting from phase-detect AF.
And since a full frame Panasonic S5 sells for less than $2000 now (maybe just a temporary sale price), at what price can Panasonic sell a whole lot of GH6 cameras at?
Anyway, I don't know. Now sure what Panasonic will do. Although I get the feeling they will do SOMETHING interesting.
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8 hours ago, MrSMW said:
8K? No thanks.
Oh yeah, forgot to mention...
There was some sample 8K video of cherry blossoms and bees posted on youtube the other day.
I tried to watch it on my 2560 X 1440 monitor.
So even after pressing pause, and allowing the video to load halfway first before pressing play again, the video just stuttered along.
My computer isn't that much of a potato: i7-6700, 24GB RAM, RTX 2060 Super with 8GB VRAM, win 10 on a SSD.
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8 minutes ago, kye said:
Goodness! We'll be talking about content next!! What has the state of the camera forums come to?!?!?!
Just imagine what people could create if they buy cameras that have a thick and luscious image to begin with, AND ALSO learn to colour grade...
Well... I would do that... but I am too busy saving up for the new Sony 50mm f/1.2 so I can take some epic footage of my cat...
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1 hour ago, MrSMW said:
When Toneh Northrup did a blind test on all major manufacturers, didn't Sony come out on top there also?
I seem to remember...
You are correct, sir.
In another test, another youtuber showed a lot of non-photographers lots of photos, some with a very shallow depth of field, and some with "normal" depth of field, and overwhelmingly the people preferred the photos with MORE depth of field over the photos with shallow depth of field.
So there we have it.
6K and 8K Resolution???
Overrated.
Straight out of camera colors???
Overrated.
Super shallow depth of field (aka, Cinematic Look)???
Overrated.
Oh, and then there is the video by Jordan Drake where he says he has been "living in denial" or something like that because he shot a video and purposely didn't use the 180-degree shutter rule, and no one seemed to notice. (Everyone seemed to notice instead their use of gee-whiz transitions and jump cuts.)
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16 hours ago, kye said:
I'm also just looking at skin tones. I should probably try to zoom out a little, but it's interesting to see how we each perceive these things.
As @TomTheDP said, Alexas are commonly a bit green. I was completely surprised when I heard this for the first time because you never see it in the final footage, but it's just a thing that everyone deals with apparently.
I think that knowledge of colour grading is perhaps the biggest differentiator between how primarily amateur groups and primarily pro groups discuss image quality - the pros seem to view SOOC footage as a raw material whereas amateurs discuss it like it's a final product (or it's only a LUT away from a final product).
I saw someone on another forum comparing two RAW-shooting camera models from the same company and their comment was that they really wanted to like the later model but there was a slight texture to the skin tones they didn't care for. The thing is that both the cameras share the same sensor, the person who made the test used the same settings and just applied a technical LUT to get a straight comparison, and they were taken outdoors non-simultaneously so small differences between them were inevitable. They were talking like the 12-bit RAW footage wasn't changeable, yet it is the most neutral flexible codec available.
Even the way that cinematographers do latitude tests on cameras that shoot RAW indicates they're viewing the camera with a "shoot it so after colouring it I get the best image" but that mindset is almost completely absent elsewhere, other than the odd cult who have sold all their possessions to this deity they don't understand called ETTR.It's a bizarre world where the leaders are running around screaming "shoot in LOG so your footage looks miserable SOOC, but let's not ever talk about colour grading - you should buy my LUT instead!" and no-one questions this. You'd imagine a counter-culture would have emerged by now, but unfortunately it seems that if anyone is rejecting this premise they haven't done it by empowering themselves by learning about grading..
You are right. I don't remember going to see a lot of movies shot on an Alexa and saying, "wow, those skin tones look green," unless there was a scene under fluorescent lighting where things are SUPPOSED to have a green tint.
But your larger point that there is a BIG difference between what you get SOOC and what the footage looks like in the hands of a pro colorist is absolutely spot on.
I guess these kinds of tests have a point; if you are not going to be doing some serious color grading, then certain cameras are going to be better for your production than others.
Just don't compare SOOC with what can be done with the footage in the hands of a competent colorist.
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18 hours ago, TomTheDP said:
Arri does tend to have a green push.
So it looks like Tom Antos and friends had a revised test, and the cameras favored the most by viewers were...
The FX3 and FX6
So either the new Sony cameras have sparkling fresh colors, or so much for the myth of color science.
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For the Tom Antos tests, I had my prefered list as pretty similar to what everyone else had (except switch around alexa and Red)
1) Ursa Mini Pro
2) BMPCC 6K
3) Red
4) Arri
Mind you, I was looking primarily at skin tones.
Maybe I am losing my mind, but the Arri skin tones just looked so green in that test.
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13 hours ago, TomTheDP said:
Thanks for the compliments everyone! Means a lot from people on this forum as I know we are all pretty picky when it comes to this stuff. 😂😄
For the Z-cam I used a set of Rokinons 24, 34, 50, and 85
Everything on the Panasonic was shot on a Rokinon 35mm 1.8
We also used a Sigma 14-24 2.8 for a few interior wide shots where we need that ultra wide FOV.
I have a set of Canon FD lenses which I would have used had I owned them last year. The Rokinons do the job though. I really love Minolta lenses though they can't be adapted to EF so only some cameras can use them.
I'll do a little breakdown for you if I can remember perfectly.
0:05 Rokinon 35mm 1.40:12 Rokinon 85mm 1.4
0:15 Rokinon 50mm 1.4
0:18 Rokinon 50mm 1.4 (1.8 crop in post)
0:19 Rokinon 50mm 1.4
0:22 Rokinon 35mm 1.4
0:31-0:47 Minolta 35mm 1.8 (shot mostly wide open)
0:50 Mavic 2 pro
0:53-1:03 Minolta 35mm 1.8
0:52 Rokinon 24mm 1.4
1:06-1:20 Rokinon 35mm 1.4
well you get the idea at this pointThanks so much!!!
I am partial to the look of Minolta MD and Takuma lenses myself.
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2 hours ago, PannySVHS said:
You have a better battery than I do.:) Mine lasts rather 2h. Nothing close to a GH4 or even GH5.
Yeah, not meaning to pile on to @MicahMahaffey but my S5 gets about 2 hours of batter life. My S1 can get close to 3 though...
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Video looks great. Let us in on what lenses you used, please.
Resolve waveform clipping
In: Cameras
Posted
Hmmm...
If you expand the track height for the audio track and then make sure you are showing waveforms for audio, does looking at where the audio peaks (on the waveforms on the audio track) at least give you a head start on finding where the audio is clipping?