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Mark Romero 2

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Everything posted by Mark Romero 2

  1. Mark Romero 2

    I need a hug

    Continuing with the Gravity Falls theme from @Ingerson:
  2. Here are some difficult shots. The first one c0015.mp4 is kind of typical of most situations. The other two files ( c0047 and c0048 are more extreme, the first having completely blown out window with the second retaining the view but having way to underexposed interior).
  3. You need to tell me what your address is so that I may catch the camera when you throw it out the window. But as BrunoCH said, check whether your Saramonic has Mic Level Output or just Line Level Output. Can you plug headphones in to the Saramonic output and hear the sound clearly? Then that would be line level (I think).
  4. How much Dynamic Range does your toaster have??? Jeez, no kidding. I get about 8 minutes of video before mine overheats.
  5. Yeah, that is what one of my "competitors" does. The problem is that it takes a lot of time (on location) and most realtors aren't willing to pay a couple thousand dollars for a two-minute video. At least, I don't have any of those realtors as clients. https://youtu.be/h5zOW0t-Tms?t=101 https://youtu.be/Bfz_qTJOU1k
  6. Unfortunately, no HLG on the a6500, although they have added it to the new a6400 (another aps-c sensor Sony camera).
  7. I can but it is going to take me a little while. Getting ready to go out to a shoot right now.
  8. Good Question. In my particular case (being the OP of this thread), it is because I am trying my hardest to both capture the interior and exterior views of a house in real estate videos. People want to be able to see the views out the window without them being blown out, and they want to see the interior without it being too dark. Using Slog 2 (mostly) on my a6500 On this particular day it was fairly overcast, which helped to control the exterior view, but if it wasn't so overcast then it would have been difficult to retain ANY view.
  9. Thanks for posting this. It appears the X-T2 has more DR than the X-T3
  10. You need to post in this forum more often. You always have something helpful whenever you post here.
  11. Good question. Aside from all the theory, here is an actual test that SEEMS like it should be accurate testing the dynamic range of the various picture profiles. Unless there is some mistake in his methodology which I don't see. His testing methodology is based on 13 stops (12 lights one stop apart and the black background counting as the the 13th stop). Notice in the SLOG profiles - even when overexposed - there is still room at the top of the wave forms to squeeze in another stop and possibly two stops (meaning, he could have added two more lights following the sequence of being one stop brighter than the light before it). His methodology gives some indication of noise performance in shadows, although he doesn't attempt to clearly define what is "acceptable" noise and what isn't. I don't think he has measured other cameras this way for a comparison or not. And yes, sheer dynamic range isn't everything. On the other hand, Maartech's testing shows a much more conservative dynamic range (with HLG being the notable exception, although I don't think he says WHICH flavor of HLG he is testing) https://youtu.be/1yiX041goic?t=1437
  12. ...and scary... Ok, so the dynamic range is the height distance between the ground floor and the top floor, and the bit depth of the ADC is the number of steps the staircase has that goes from the ground floor to the top floor???
  13. Firstly, thanks to everyone that has responded. You've all contributed knowledge without starting a war, which makes me very happy to be a member of this forum. Will respond individually to everyone's comments when I have a bit more time later today.
  14. Thanks for the reply. Haven't tested it myself. Still trying to decide on which camera to buy Have seen lots of tests online though using different methods. I will definitely check out cinematography.net which I haven't seen before. The most optimistic online tests I have seen was just about 14 stops. I don't recall seeing one under 12 stops (there might be some, just didn't see any. Again, I will check out the site you mentioned.) But different testers use different methods, and they don't seem standardized. Part of this assumption is based on extrapolation on testing of the D750 by @Mattias Burling where he tested against BMCC (both RAW and PRORES codecs) and he felt confident that the D750 had 13 stops of DR when using flat picture profile. As my aps-c a6500 in Slog 2 has more DR than my D750 had in Flat profile, and the a7 III reportedly has more DR than my a6500, so... Link To D750 Test by Mattias: I've seen some tests of slog 2 versus 8-bit F Log, where slog 2 came out ahead, but I haven't seen any head-to-head against 10-bit F Log. Would love to see some.
  15. So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range? Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR. I've read Sony a7 III with slog 2 has close to 14 stops of DR. Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW). Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it). What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery). ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat??? (P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)
  16. Am I the only one who is pretty apathetic about Sigma art lenses??? I mean, i shoot mostly stills (which I think is the target audience) and I can't really get that thrilled about f/1.4 primes. Anyway, not trying to knock them. I know they are always highly rated and some people love them. Guess I am just weird that way.
  17. Thanks to everyone who has replied. Really appreciate all the input and tips. Here is the latest video I did over the weekend. I think overall the colors are a bit better, as I am becoming a bit more proficient with the qualifier tool. There are still some color casts, but I think that they are a bit better controlled (for the interiors, at least). As for the backyard shots, it appears to me that some of the brightest clouds have a pinkish / magenta tinge to them. Is anyone else seeing that? Mostly in the bright part of the clouds along the horizon, starting at the 1:19 mark. Did I just grade those exterior shots too warm???
  18. If ALL the footage for a project is shot in the same gamma / gamut, then you can use the Resolve Color Management under the settings page to defacto change the color space and gamma. I don't remember the color space transform node off the top of my head, but I would also suggest that you adjust the nits from the default of 100 to something more realistic (I use 350, which is about average for LCD displays, while some iPhones have displays over 500 nits). This will help you monitor your highlights better. If you can't adjust nits using the node method, then you could use the resolve color management in settings and apply it globally, and then for any clips that are NOT in V Log, you could apply a color transform node to those clips to have their input values as REC 709 (or whatever other gamma / gamut they were shot with).
  19. Well... you kind of hit the problem on the head (I think that is a metaphor???) The liquor bottles and the plants are saturated, while the walls are under saturated. I appreciate your suggestions about adjusting the color through color compressor and desaturating other colors (pardon the American spelling), but as you noted, "these are a lot of work in post." So I guess I would kindly ask then if you don't mind taking another look at the original video (by 2gems) and maybe see if you have some suggestions for me for IN CAMERA changes to make? Do you think I am shooting too flat or too desaturated? Your best guess is appreciated. Thanks for all the work you did on this. i really appreciate it. Yes, your images look a lot closer to what I was hoping to accomplish. But now you have to tell me EXACTLY what your recipe was At least, let me ask you how you added the glow to the highlights? Also, your grade seems to avoid some of the nasty color mashups on the walls (where in my video there seems to be kind of a purplish / greenish collision... don't know how else to describe it). And yeah, since this is sony footage, you have to protect the highlights, because if you don't protect highlights with sony 8-bit... well... Thanks for the suggestion. I am certainly not opposed to the Z6... my friend shoots real estate videos on his D750 (I sold my D750 about two months before the Z6 came out because I figured I would probably get a Z6... didn't work out that way). I think if the Z6 had 10-bit 4:2:2 internal I would get one, even though it doesn't have any opportunity for getting 4K 60fps. But who knows??? Maybe when I see the RAW footage out of the Z6 in to an Atomos recorder I will decide to get both. The Panasonic S1 looks PROMISING because (if I remember correctly) you will eventually be able to shoot 10-bit 4:2:2 internal with V Log (all with a paid update). Two problems FOR ME for the S1 are: 1) No 16-35mm lens (which I use 90% of the time for BOTH stills and video), 2) 4K 60fps will be in Super 35 format, but Panasonic doesn't have any aps-c lenses. And I need WIDE lenses.
  20. Thanks for doing the grade. I think in the real world it was more saturated than that, but I don't know how much saturation the files can take before getting all weird. Because... Sony.
  21. Yeah, the BMPCC4K is definitely on my list. Wish it had a tilting screen and / or was a little more gimbal friendly. Still thinking about the X-T3 though... or the Pansonic S1 if they ever develop a reasonable 16-35mm lens. Since 90% of my business is from stills so that means the BMPCC4K would have to be a video-only camera for me. Could go the GH5 route but I think X-T3 might be a bit better for stills and - all things being equal - might give me a bit better low light performance / dynamic range than a GH5 with the aps-c size sensor of the X-T3. If the Z6 had 10-bit internal I could live with that (even though it seems like there is no prospect of Z6 ever having 4K 60fps). Heck, my friend still shoots real estate video in glorious 1080p on his D750.
  22. You could certainly be right about both points. One man's flexibility is another man's overwhelmability... I have avoided LUTs in the past due to the possibility / probability of clipping highlights and nasty rolloff (and believe me, Hell hath no furry like nasty Sony rolloff). But might be worth a try. Yup. I think the benefit of slog for this is 1) most dynamic range for when I have bright windows and dark interiors and I need to do my best to capture the window view (because a lot of the value in the house is from the view of the San Francisco Bay), and 2) to give a bit more flexibility in reducing / adjusting color casts from tungsten / florescent lights.
  23. I think I was shooting at 0 saturation. Although that was a few months back and now I am not certain, I think I may have been using the GFilm recipe, which is actually S Log 2, Pro color mode, and +3 saturation. Wish there was a way to get the meta data for clips regarding the gamma / gamut / exposure value (meaning, exif for video clips).
  24. Here is one example of a troublesome clip with a lot of mixed lighting (and different wall colors) https://www.dropbox.com/s/9i16eqwqzosokob/C0096.MP4?dl=0 I am pretty sure I shot in SLOG 2 (although I usually shoot SLOG 2 at plus 2 and this doesn't look two stops over...) I will post another example later For reference, the window frames should be white. (or close to white). The walls in the near room are green and the walls in the far room (with the round card table) are blue(ish) As you can probably tell from the clip, I shoot with pretty low saturation. Maybe I need to bump saturation up???
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