seku

9 minutes ago, Lars Steenhoff said:

You can download two cdng stills from cinema 5d , one 8 bit and one 12 bit.

Yeah, reading that comment thread eagerly! i cannot wait to get home and work on the still in Resolve!

yep, and it even seems to have ok-ish rolling shutter @ 20ms. Maybe i will get one and pair it with a bolex 1.5x or Kowa C35. Now we just need a l-mount to EF/Nikon adapter with integrated VariND, and this little cam will pack a hell of a punch.

The only thing i am worried about is the flickering issues, and wondering if the sensor is fully read out, or is line skipping/skipping around the sensor.

About the 300mbyte/sec CDng RAW: i plan to run it through Slimraw, at 1:3 to 1:7 compression. This gives me 5dmk3 RAW filesizes, at 4K! If RED won't allow compression incam, i will compress it out of cam :3

Edit: did i mention the losslessly or lossy CDng opens fine in Resolve?

i tried 8bit RAW with Magic Lantern in the days. Quite noisy in the shadows, not much detail. 10bit fared way better, i wouldn't go below that.

28 minutes ago, Cliff Totten said:

Couple of things....wasn't BlackMagic forced tp drop in-camera CinemaDNG because of the violation of RED's pattent? Did Sigma work out a deal with RED?

8bit raw? I dont think any modern sensor today samples that low. So, my guess is...if this is a Sony sensor with on-board A/D converters...is that they are taking in 12bit readout and dropping out 4 bits to produce 8bit values?

Something is fishy here.....has the L Mount Alience forced Sigma to stay at 8bit raw to not compete with Panasonic?

Weird....what about 10bit or 12bit raw over HDMI to an Atomos recorder?

Really strange.,,,,,

i think Sigma might go for the uncompressed "external" angle. afaik the RED patent only covers compressed 4k RAW? i really like the idea of uncompressed 12bit 4K raw ... reminds me of the ML days. now this or the S1H, i am torn

no clue, frankly. i guess ML has always stayed a fringe phenomenon, so maybe not worth going after

5 minutes ago, amanieux said:

the algorithm to convert raw data to uncompressed 8 bit is much less computational intensive than compressed 10 bit, not sure if this camera have enough computational power or good enough heat diffusion to handle that internally

Even the olde 5d mk3 manages to do it  i suppose the problem is more along the lines of the RED patent

14 minutes ago, sanveer said:

Uncompressed RAW would be a monumental disaster with a camera this size and with this feature set (even REDs would have enormous file sizes with uncompressed RAW). The ZCams have ProRes to make their cameras extremely usable (in terms of file size). Sigma could do immensely with various flavours of ProRes (or BRAW, though I think Blackmagic won't be allowing anyone else to use their codec on their cameras), and having better storage and a lower price point. 

It would surely be a hassle, but doable : have a 1 or 2 tera NVME drive for filming, then later offload and compress it to normal SSD storage. 

You could use Slimraw (it does up to 7:1 compression on cDNG), or CineForm Raw. Maybe we will see some BRAW solutions later?

wow, this really feels like a throwback to Magic Lantern... can't wait to see where this will go.

Now for me the question is ... will i go with the IBIS full-decked anamorphic S1H, or do i want a little plucky fp that has no IBIS, no opengate... but feels just right.

The later is way bigger, but still at a very handy and portable size. The 8/19 is a baby scope.

I love both a lot

I understand all the love for OSX (i like using it on small macbooks) ... but not for video editing. 

For me, the OS matters little once i start up DaVinci Resolve ... PC or OSX, it is all the same.

About hardware costs: i really really want to see how the new minimal cheesegrater config compares to my dual octacore sandybridge setup with 64gigs o ram ... those processors sell for 90 bucks a piece on ebay.

cheapest parfocal? if you dont mind extending zoom tubes.... i would recommend the minolta 35-70 3.5, comes even with a macro mode in the latest iteration... got a mint one for 70 euros. awesome plucky lens. if you got a bit more spare cash, go for a contax zeiss 35-70 3.5 :  around 130 euros.

yeah, it all is based on intent... it's no easy task

I am also waiting for a couple of screens to arrive, that i want to use for scopes and false color.

Btw, once you get to 50IRE, it becomes way punchier :

Splendid kye, just what i needed to hear, a lot of thanks for the very detailled breakdown!

I like contrast way too much for my own good, and it seems i am scared of images not "popping" enough, so i've got some unlearning to do.

It's kinda scary to go to those low IRE but i gave it a go at around 30 IRE skintines... it looks horrible as a thumbnail, but fullscreen it *kinda* works... second screen is at 40 IRE :

i was not happy with my early attempts either...

kye, could you give me some honest feedback about this one? (i didn't bother denoising and regraining it, my question is more about gamma linearity, and quality of skintones and general balance)

had some more fun with this ... this thread is a great idea

tried to go for a more sober, "normal" look this time

which browser are you using? Chrome seems to be most color-accurate.

As for export process, i did a Grab Still -> right-click Export, then PNG. no big look differences.

Or are you running some color profiles on your screen?

here's my take at it, please be gentle

It's a Bolex 8/19 1.5x stretch anamorphic, on a Voigtlander Ultron 40mm II lens.

if you go m43 like in this picture, you can go quite a bit smaller as well.

Here is my most portable setup. Does either 4k 21:9ish or 6k 16:9ish

no clue. but at least they are working hard at it.... i could get one of their betas right now, but i rather have the finished body with it.

As for ML, i am still invested in an Apertus ... i rather they got my money than Canon. Still, a blackmagic or Panasonic are never out of reach

similar here. FullHD video was the reason i got the 5dmk2, and only ML made me upgrade to 5dmk3. Nowadays i am quite happy with my GH5, but i admit that i lust for that panasonic fullframe announcement. Canon glass is the only thing that i have left... and frankly, with the new mount coming up, i think i will sell that as well... and go for some older Contax or Leica glass.

Hi @Sage, having quite some fun here tinkering with the LUTs. A question tho : In the documentation you recommend exposing VLog middle gray at a higher IRE than the Alexa. I usually ETTR, but do you have any exposing tips for HLG converted to LogC (middle gray, clean mids, shadow threshold)?

@hyalinejim : thanks a lot for those tests! Out of curiosity, have you tried to apply a color space transform from Arri ... to let's say Rec.709 on the Main LUT yet? I don't have Arri reference material to try it out

For me it was a roundabout thing :D

I always liked video more than stills. When i got my 5Dmk2 back in the day, i was stunned by the video it could do. Soon i noticed i missed essential stills knowledge. Shutter/aperture ... framing, storytelling. I also discovered what RAW could do, ETTRing, different focal lengths.

Then Magic Lantern RAW came along. And suddenly i could apply all i learnt about stills to videos. Literally everything. But whereas stills "capture the moment", or as you said, get the whole story.... i feel video allows for storytelling :D And so i am back to mostly video ... but i think some stills knowledge is essential.

130" wide screen here on JVC x30 (1080p). upgrading probably next year to a 4k laser sony. but ... eventually i do see an 8k beamer on the horizon.

4K makes sense for sure. and i think 8K might as well. pondering of moving the color correction setup to the screening room