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Attila Bakos

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Posts posted by Attila Bakos

  1. 2 hours ago, keessie65 said:

    Filmed with my X-T3 and anamorphic with Bolex 16/32/1.5x. Taking lens Contax G 45/2 rehoused to Leica M. Used Ninja V for recording. 

     

    Did you have a chance to compare the quality of internal files to ProRes coming from the Ninja V? I wonder if there is any noticeable difference.

  2. 4 minutes ago, thephoenix said:

    shutter encoder is just a gui that works with ffmpeg. i have to see if it does change the matrix but i know i can change colorspace to rec 709

    must be my eyes because i don't see fujifilm flog as input in resolve rcm ?

    i think i will install 16b2 i am in final 16 at the moment

    Yeah 16 doesn't have it, 16.1 b2 (the latest beta) added it.

  3. 1 minute ago, thephoenix said:

    what are your rcm settings as input ?

    i am wondering if i do it right.

    my workflow is that i shoot h265 internally then transcode to dnxhr using shutter encoder.

    importing transcoded files in resolve. so wonder if it still as to be interpreted as a fuji file ? doing this for both flog and hlg.

    same with ninja v usng dnxhr.

     

    I did my tests using Fujifilm F-Log as input color space, then Rec.709 Gamma 2.4 as timeline & output color space. I don't use HLG but for that I'd use Rec.2100 HLG as input, in fact that's automatically chosen by RCM if you import a Fuji HLG file. (in Resolve 16.1 beta 2)

    About interpretation of F-Log files (didn't test HLG yet):
    If you use the Ninja V then you're fine.
    If you use internal footage then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
    If you transcode the footage by doing a matrix conversion from BT.601 to BT.709 then you're fine.
    If you transcode the footage without a matrix conversion and you preserve the original matrix coefficients flag, then you're fine in Davinci YRGB and ACES, but not (yet) in RCM.
    If you transcode the footage without a matrix conversion and you omit (or simply rewrite) the matrix coefficients flag, then the footage will be interpreted incorrectly everywhere.

    It all comes down to how shutter encoder works. I can only help with FFMPEG.

  4. 8 hours ago, BrunoCH said:

    @Attila Bakos 

    I like your contributions. They’re very instructive. But honestly, I don’t see any difference between your pictures ( or not significant).

    That's kinda the point here, that once the interpretation issue is fixed in RCM there will be almost no difference. Right now RCM is different from the others but yeah, you have to open the files in separate tabs and click back and forth to see the difference. A real world scenario might be more telling.

  5. I tried to match the gamma & overall saturation here to see the color differences. Everything is done in the latest beta of Resolve.

    1. WDR LUT
    2. My ACES F-Log IDT
    3. RCM
    4. RCM with fixed YCbCr->RGB conversion.

    WDR and ACES are pretty similar, the WDR has more saturated reds.
    RCM is different in many patches, however if the input file is interpreted correctly it looks pretty close to the other two.
    So in terms of color the differences are minor, once RCM is fixed. I believe the most difference will be caused by WB adjustments.

    2_colortest_wdr_1.1.2.thumb.jpg.62f0f8b85a2bd1eab4db39042ac00949.jpg

    1_colortest_aces_1.4.1.thumb.jpg.418ff300406f716f6150edd5b570f81c.jpg

    3_colortest_rcm_1.3.1.thumb.jpg.7dc84e003fef0feeb40cebe119310d41.jpg

    4_colortest_rcm_fixed_1.5.1.thumb.jpg.a63aa49d5a30e09623e9115d0acc80f1.jpg

  6. I'm not sure about this yet, but RCM seems to have some kind of color toning. When I try Davinci YRGB + WDR LUT I get colors pretty close to what I get with my F-Log ACES profile. They both convert gamma and colorspace only, there is no special color treatment. But when I check the same clips in RCM they seem to be overall warmer, the greens are more yellowish, the blues are more cyanish, like a filmic LUT already applied :) In some situations it will be more pleasant to the eye but I wonder why it's happening. Part of this must be caused by the bad interpretation of the files, especially the yellowish greens, but this alone can't be the cause of such a big difference. Will continue testing.

  7. 22 hours ago, BrunoCH said:

    DaVinci Resolve Studio 16.1 public beta 2 released

    • Support for Fujifilm F-Log colorspace

    Now it's possible to use  RCM and make color grading without LUT.

     

    A slight downside: it seems that the fix they implemented for the bad interpretation for Fujifilm files in v16 (bad YCbCr->RGB conversion) only works in Davinci YRGB and not in RCM.

  8. 6 minutes ago, Zeng said:

    Yes, their LUT is no good. I wonder who did it for them. Don't want to be hard on Nikon, they are new to this, but still. They should hire some knowledge into their team regarding video. Neutrals not staying neutral is not that bad in my book though... At least in my attempts to match Alexa I couldn't find a way to come closer without some cast in the neutrals. Your LUT, Attila, stays true to the neutrals, but leaves too much of the Z6 N-log inherent "greenishness", at least to my liking. And I prefer even gentler  roll into the shadows.

    Yes the LUTs included in my ACES packages are strictly technical, they don't include any fixes for possible color casts, it's up to the user to do that.

  9. 15 minutes ago, Inazuma said:

    That may be so, but the xt20 shared the same internals as the xt2 and had noticeably worse rolling shutter. 

    The readout was different though. The X-T2 had a 1.17x crop with full readout, the X-T20 had no crop but line skipping.

  10. On 7/22/2019 at 12:49 AM, andrgl said:

    @mercer

    You can generate a LUT from Lightroom grades with this program:

    https://generator.iwltbap.com/

    Kinda convoluted. You make a HALD file, apply you Lightroom preset, save it, then use the program to export a CUBE file.

    The LUT only affects color, so no texture, clarity, denoise, etc.

    If you don't want to install anything, I created an online version that does the same thing: http://colorizer.net/index.php?op=lightroom

  11. Just now, thephoenix said:

    thanks, but personaly i don't know anyone that could actualy build the cable even with wiring diagram :(

    i am not even sure that what is working on the crane will work with an other gimbal. not even talking of the nucleus nano

    Sorry it wasn't a reply to your issue, I just thought I mention it as we are talking about cables.

  12. I friend of mine has a bit of electrical engineering knowledge, he created a cable that allows me to control the X-T3's shutter and focus from the Zhiyun Crane Plus. It works on the Zhiyun Crane 2 as well. He won't create another one but I can ask for the wiring diagram if anyone's interested. It needs an optocoupler and a couple of resistors, so a part of the cable will be thick, but it's not a real problem.

  13. 36 minutes ago, The ghost of squig said:

    Yeah it's the 95MB/s write card. Interestingly, Sandisk lowered the specified write speed on the 170MB/s read cards to 90MB/s write. 400Mbits/s write is only 50/MB/s so both cards have plenty of headroom. The faster read speed will be welcome ?

    The headroom is smaller, the X-T3 can't write this card at full speed. It's somewhere between 60-70 MB/s, but it's still enough. It all depends on the actual body, afaik the GH5 can't even write at 50 MB/s to this card.

  14. 5 hours ago, thephoenix said:

    didn't know there was the same issue with hlg.

    well i use the ninja with the xt3 so internal files are only here as backup files.

    so to fix my issue i have 2 options, 1 is convert all my files 2 buy your lut package

    Yes, but hopefully they fixed all these issues in 16. Will report back once I can test it. I'm still on 15.

  15. 22 minutes ago, thephoenix said:

    well i re watched the video and ok it is clear when you apply the lut, but my concern is that you don't use rcm. it's funny how few people use rcm when you know how powerfull and usefull it is.

    i think i understood anyway why my test still had the color issue. i didn't checked the conversion to 709 in shutter encoder.

    i could use ffmpeg yes but

    1 i have over 100 files to convert so i don't have 2 days to spare to conversion

    2 shutter encoder does use ffmpeg

    good news is now problem is fixed in 16b3 and i shoot hlg so no issue with it

    If they fixed it then that's the best solution :) FYI hlg was also interpreted incorrectly, I had to create a different matrix correction for that issue. I hope they fixed it as well.
    I don't have the beta installed but it would be interesting to see if they only fixed this for Fujifilm files (as the changelog dictates), or in general. The issue is not specifically about Fujifilm files, but I guess Fuji people were the only one complaining.

  16. 13 hours ago, bolex said:

    Great work!!! Have you notice macroblocking issue like in xt2? Is xt3 log easier to work with then xt2's?

    Thanks! Some people reported about banding and magenta casts, but luckily I haven't seen any of those yet. 400Mbps and 10bit helps a lot, the quality of F-Log compared to the X-T2 is night and day. I can't say it's easier or harder to work with. Colors changed a bit, but it's a slight change. Gamma and color space is the same as before.

  17. 4 minutes ago, androidlad said:

    Looks like the LUT has a bit earlier/harsher highlight clipping compared to native film simulations? (Judging from the highlight patch around the lady's collarbone)

    At first I also thought that I messed up something, but I didn't. Unfortunately there were changes in light conditions, and I only noticed it at home. There was a tree above her that allowed a bit more light to fall to the collarbone in the F-Log shot. Because of this, please don't judge rolloff from that shot. It should be the same. Good eyes :)

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