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Attila Bakos

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Everything posted by Attila Bakos

  1. Oh I'd like to send a still as well! It's an 512x512 PNG and it has 262144 unique colors, is that a problem? I'll show myself out... ?
  2. That's for N-Log, he asked for Z-Log cinema, which is one of Andrew's profiles for Nikon cameras.
  3. Oh I thought there's some kind of an SDK and you can build your own app, maybe your own monitoring tools for the stream that's coming via wifi.
  4. @BTM_Pix How did you capture the stream from the Cineeye?
  5. DR400 update for the LUT pack. Previous customers will get it for free, I'll send out the download links this week.
  6. Thanks! This wasn't any harder to create than my other LUT packs, they are all math based, I don't do anything by hand. Although I had to choose S-Gamut3.cine instead of S-Gamut for a better match.
  7. Then you tell her no problem sweetheart, we'll fix you in post. ?
  8. My new stuff, details here: http://colorizer.net/index.php?op=slog2 If you have some S-Log2/S-Gamut3.cine footage, I can apply my LUTs to them if that helps to judge quality. Created using an A6300 & X-T3.
  9. Yup, that might be the reason why people think it has more DR, but it's just a different mapping of the same latitude with the same analog amp. It has a bit more precision because it also uses values below 95 (10bit), and this MIGHT lead to ever so slightly cleaner blacks (when both exposed to the right), but it's minimal really. Choose HLG if you run into those magenta issues or if you prefer the workflow, otherwise F-Log is just fine.
  10. I suggest you do your own tests, take a contrasty scene, expose both to the right and compare shadow detail in post. I didn't see a difference in DR. Noise was similar.
  11. I sell some technical LUTs that fix incorrect YUV-RGB conversion, for those it was absolutely necessary to reach values below 0 and above 1. I didn't have problems in Premiere, although I use different headers than in Resolve. (DOMAIN_MIN and DOMAIN_MAX instead of LUT_3D_INPUT_RANGE). Another example of Premiere supporting these LUTs is when you go to the technical Lumetri presets, they are actually 1D LUTs, this is the source of the Full to Legal range 10 bit ("c:\Program Files\Adobe\Adobe Premiere Pro CC 2019\Lumetri\LUTs\Legacy\FullToSMPTE10.cube") LUT_1D_SIZE 2 DOMAIN_MIN -0.07306 -0.07306 -0.07306 DOMAIN_MAX 1.09475 1.09475 1.09475 0.0 0.0 0.0 1.0 1.0 1.0
  12. What do you call a wide range LUT?
  13. Isn't the Shinobi better for the same price (on B&H)?
  14. Do we know anything about the firmware updates? Will the X-T3 get this new film simulation? Edit: nevermind, just saw this picture:
  15. I use the Studio version but the free version is great, lots of people from this forum use it. I'm typing from a phone now, can't go into details, but I found a feature comparison for v15, it's a good start: https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_15_Feature_Comparison.pdf
  16. Resolve is free unless you need the features of the Studio version.
  17. Hmm... why is this my workflow? I rarely use CST nodes and I don't use the official LUT's.
  18. Efficiency plays a role as well, HEVC is way more advanced in this regard. The advantage of 4:2:2 might be visible, but I'm not sure about that either. When I had the X-T2 I used it with a Blackmagic Video Assist 4K. In some cases like fine wall textures I could see a difference in detail at 200-300% magnification, but I had to zoom in to like 600-800% to see difference in color transitions (4:2:0 vs 4:2:2). Now with 4x the data rate and a more efficient codec, my guess is that the difference is almost invisible.
  19. I know the technical differences, but I'm not sure if you can actually see any difference, even when zoomed in. Would be great if someone could upload the same scene with lots of detail in 400 Mbps internal and ProRes as well.
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