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Attila Bakos

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  1. Like
    Attila Bakos reacted to MrSMW in I WILL be getting a Fuji X-T3!   
    I swapped XH1 for XT3 for video in order to get:
    60p 4K 10bit eternal.
    The sacrifice was the superior build and handling of the XH1 and of course IBIS.
    Just give me the spec of the XT3 with IBIS in the XT4 and my spec quest ends for at least the next 3 years.
  2. Like
    Attila Bakos got a reaction from kye in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    Changing gamma and color space with the right-click menu on the node only works if your timeline gamma and colorspace is set according to the clip you're viewing.
    So if you're viewing an F-Log clip, and you're timeline is set to Fujifilm F-Log, you can right click the node, set gamma to linear and adjust exposure with the curves the way I described before. It will be like a node between two colorspace transform nodes, but compressed to one node. But what do you do when you have clips from multiple cameras? I like the color space transform plugin better because I can see better what's happening. And sometimes you want to see what's happening between the transformations, in our case the linearized image. When you use the one-node method you don't get to see that, you only see the output of that node.
  3. Like
    Attila Bakos got a reaction from seku in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    Changing gamma and color space with the right-click menu on the node only works if your timeline gamma and colorspace is set according to the clip you're viewing.
    So if you're viewing an F-Log clip, and you're timeline is set to Fujifilm F-Log, you can right click the node, set gamma to linear and adjust exposure with the curves the way I described before. It will be like a node between two colorspace transform nodes, but compressed to one node. But what do you do when you have clips from multiple cameras? I like the color space transform plugin better because I can see better what's happening. And sometimes you want to see what's happening between the transformations, in our case the linearized image. When you use the one-node method you don't get to see that, you only see the output of that node.
  4. Like
    Attila Bakos got a reaction from kye in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    To anyone wondering about exposure controllers in Resolve:
    You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES.
    In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.
  5. Like
    Attila Bakos got a reaction from seku in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    To anyone wondering about exposure controllers in Resolve:
    You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES.
    In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.
  6. Like
    Attila Bakos got a reaction from KnightsFan in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    To anyone wondering about exposure controllers in Resolve:
    You can use the offset wheel in ACES, it's very close to a true exposure controller, but only in ACES.
    In normal Davinci YRGB mode you can linearize the clip using the Color Space Transform plugin, and once in linear mode you just grab the top right part of the curves and grab it along the top or right border. Because you're in linear mode this will be simple multiplication, so it's an easy way to control exposure. Then you use the same plugin to convert back to log.
  7. Sad
    Attila Bakos got a reaction from IronFilm in The video that shows Blackmagic Pocket 4K RAW image quality is same as GH5S 400Mbit   
    That's a fact, Panasonic did not release an IDT, they say the GH5 is not compatible with ACES. Bullshit.
  8. Thanks
    Attila Bakos got a reaction from heart0less in Sony A7III SLog2   
    It's the compression, I never release LUTs with such problems
  9. Thanks
    Attila Bakos reacted to Sage in Pocket 4K to Alexa Conversion   
    Attila does great work, he has an excellent grasp of the technical; highly recommended
    That 4K 60 sounds quite good (super-sampled 10 bit)
    Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun ) That being said, I think today I've fully tested it, and everything is working really, really well.
    This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison):
    V4:

    V3:

  10. Haha
    Attila Bakos got a reaction from frontfocus in I WILL be getting a Fuji X-T3!   
    Or not ? https://www.fujirumors.com/fujifilm-x-t3-successor-not-to-be-announced-in-january-but-in-february-march/
  11. Thanks
    Attila Bakos reacted to androidlad in I WILL be getting a Fuji X-T3!   
    I can't say anything other than we'll find out soon on the 24th.
  12. Like
    Attila Bakos reacted to Sage in Pocket 4K to Alexa Conversion   
    Another tricky thing is the hand-off from the measured space under a given light source (sunlight or halogen) to extreme gamut simulation. This is because extreme saturation is only achievable with color light sources (i.e. red leds etc.). This amounts to two different 'perceived' color spaces from the same sensor.
    The challenge is to preserve hue lines of the measured light source as they move into extreme gamut, while simulating the behavior of extreme gamut. Hence, extreme gamut cannot be an exact match - note the difference in cyan and yellow especially (though can be similar enough as to be perceptually equivalent)
  13. Like
    Attila Bakos reacted to Sage in Pocket 4K to Alexa Conversion   
    Happy New Year!
    Alexa has a distinctive red (when LogC is paired up with the intended display primaries). It is a deep magenta red, and twists moreso approaching extreme saturation. This can look stunning. Other cameras may opt for the default of twisting towards orange with increasing saturation because Cmos red clips to yellow, and the gamut clipping is more coherent. For example, the Alexa has an especially messy extreme red clipping at tungsten WB. With Gen 4, this extreme red behavior is simulated. Here is P4Ka v Alexa in extreme gamut, with EC709 (P4K at bottom):

    Apart from desired hue twists, like Arri display gamut, hue twists when conforming color spaces via interpolation (in log etc) have generally been one of the main challenges in developing EC (to keep the true clean hue lines as they should twist). At many stages, I've coded the engine to preserve clean hue lines. Hue is perceptually salient in color, and has a privileged place in the engine today (whereas once upon a time, it was just 'one of three' in the engine)
  14. Like
    Attila Bakos got a reaction from Sage in Pocket 4K to Alexa Conversion   
    I think he posted some code screenshot in the past where he fixed hue twists. I'm 99% sure he fixes this issue but I'll let the man talk
  15. Like
    Attila Bakos got a reaction from tupp in A 41MP Olympus Mirrorless Camera will be Announced Soon   
    3 stops.
  16. Like
    Attila Bakos reacted to Gianluca in Sony A7III SLog2   
    I've purchased colorized aces slog2.cine3 and, finally, I can enjoy shot in slog mode on my a6300.... It's like have a raw file when you can get a proper exposure moving only one slider, i think that the same with withe balance.. 
    Color are super accurate with finally red object that are red and not orange.... Thank you so much.. 
  17. Thanks
    Attila Bakos got a reaction from kye in ACES IDTs & 3D LUTs for Z Cam ZLog2 and GoPro Protune   
    I found a clip where I tested the stabilisation of the GoPro, it has my face in it, so you can see how the DCTL corrects the Protune clip.
    Protune Flat/Native:

    DCTL:

    Normal contrast/saturation adjustment in Davinci YRGB mode:

     
    As you can see the DCTL corrects for the yellow skintones, also the jacket of the lady in the background is supposed to be red, which is not what you get with normal contrast/saturation adjustments.
    I believe my DCTL/LUTs can really make your life easier when shooting GoPro Protune Flat/Native.
  18. Like
    Attila Bakos got a reaction from Mark Romero 2 in Sony A7III SLog2   
    I actually know @Deadcode, we help each other where we can
    ACES won't force you to change the way you expose, it will actually be easier to correct an overexposed image. The offset wheel's effect is very close to a true exposure controller in ACES.
  19. Like
    Attila Bakos got a reaction from Mark Romero 2 in Sony A7III SLog2   
    The IDT is the entry point for ACES, it linearizes the clips and converts to the color space to ACES AP0. Then ACES will convert this to a logarithmic gamma (either ACEScc or ACEScct in Resolve, whichever you choose), and to AP1 color space. So yes, you can use the IDT with both.
  20. Like
    Attila Bakos got a reaction from kye in ACES IDTs & 3D LUTs for Z Cam ZLog2 and GoPro Protune   
    Unfortunately I don't have a GoPro (got the clips from a friend), but if you send me a clip with people, I can show you how it would look. Remember that the color mode must be flat, and white balance must be native.
  21. Like
    Attila Bakos got a reaction from BTM_Pix in ACES IDTs & 3D LUTs for Z Cam ZLog2 and GoPro Protune   
    Two new packages added to my collection. Details here: http://colorizer.net/index.php?op=aces
     
     
  22. Like
    Attila Bakos got a reaction from Deadcode in Sony A7III SLog2   
    Colorizer.net is my stuff, thanks @Deadcode for mentioning it. I also have Fuji film simulation LUTs specially designed for S-Log2/S-Gamut3.cine, if you're interested. (I used an A6300 for the conversions.)
  23. Thanks
    Attila Bakos reacted to jpleong in I WILL be getting a Fuji X-T3!   
    Check out Attila's work: http://colorizer.net/
  24. Like
    Attila Bakos got a reaction from tomastancredi in I WILL be getting a Fuji X-T3!   
    I was hoping for Classic Neg
  25. Haha
    Attila Bakos got a reaction from EthanAlexander in Pocket 4K to Alexa Conversion   
    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... ?
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