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Attila Bakos

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Posts posted by Attila Bakos

  1. 8 hours ago, BTM_Pix said:

    It comes in over wifi and 3C and the Nucleus Nano talk to the camera over BLE.

    There's nothing particularly elaborate going on currently as I'm just splitting their app and scaling the UI of mine to make it work.

    Its a bit clunkier than I would like to initially setup but works perfectly once it is.

    The question is whether its worth doing the extra work to do a single app that properly integrates their feed. 

    My current view is that it might not be as it might well work well enough for most people as is (plus I've got a fair bit on at the moment) but I'm going to study it a bit closer.

    If nothing else I'll just go with a startup option on 3C to put it in reduced UI mode and a tutorial on how to set everything up so people who've got a Cineye can benefit from it if they want.

    As I say, in the way I have it set up in the initial post with the Nucleus Nano wheel its a very nice little setup.

    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.

  2. 10 minutes ago, androidlad said:

    Guess you all forgot these two threads:

    HLG shifts 2/3 stop DR to the highlight compared to F-log due to the difference in ISO rating (1000 vs 640, it's NOT actual gain). Their underlying analog amplification are all ISO640.

    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.

  3. 33 minutes ago, chadandreo said:

    Thank you for the detailed reply. I’ve used F-Log and loved the results I can’t imagine what the footage will look like with the extra stop of DR. I’ll give HLG a try. 

    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.

  4. 24 minutes ago, androidlad said:


    Fujinon XF 16-80mmF4 R OIS WR with lens firmware 1.01 offers smooth flicker-free zooming in the entire range, making it the most video-friendly lens in the Fujinon line-up.

    I'd love to see a video about it.

  5. 16 minutes ago, Sage said:

    Its an optional Lut parameter that I've never seen used (when 0-1 is not enough). I learned of it out of necessity, doing extensive reading on the nitty gritty of what Luts consist of. I was coming up against a wall, and thought that perhaps look-ups weren't up to the task (why it had been written sometimes that they clip extreme data when used in a non-destructive color workflow). Resolve, for example, can't export them. I wanted to call them 'HDR' luts, but that would add confusion, as they will be set to 709 primaries. BMD Film is the rare instance in which the parameter is needed (for HR)

    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

  6. 7 minutes ago, andrew_dotdot said:

    I use the @Attila Bakos workflow where you use a CST node to convert from rec.2020 to rec.709,  and then make adjustments in whatever various nodes before hitting a second CST node to take it back from rec.709 to rec.2020, then apply the Fuji LUT (which is expecting rec.2020) at the end.

    RCM, it seems to me, makes all of Resolve behave like the bits between the two CST nodes above, where you're always making adjustments in the rec.709 color space. You wouldn't put the Fuji LUT there between the two CSTs. Does that mean that the Fuji LUTs are no longer useable if working using the RCM with F-Log workflow?

    Hmm... why is this my workflow? :) I rarely use CST nodes and I don't use the official LUT's.

  7. 2 hours ago, thebrothersthre3 said:

    Prores 422 4k is twice the data rate, so I don't see how you wouldn't see any improvement. Could be wrong of course. Its also 422 vs 420

    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.

  8. 4 hours ago, thebrothersthre3 said:


    Like a lot of things there's gonna be subtle differences as you are getting 422 and almost no compression with prores. Its gonna be low returns for most people. 

    I got a Ninja 2 to record with my XT30 though. No time limits, 4k downscaled to 1080p prores, which is convenient as I downscale and transcode to prores on my PC regardless. So it saves that step for me. Plus I'll get 10 bit 422 where as the XT30 only does 8 bit internal. I got one for $160 with a 256gb SSD, so its honestly a damn good deal I think. 

    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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