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Attila Bakos

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  1. Thanks
    Attila Bakos got a reaction from Stathman in Atomos Ninja V and Fuji X-H1   
    I finally figured out why I experienced problems with the LUT. An incorrect YCbCr->RGB conversion will result in values outside the 0-1 range. The LUT sees these values as 0 and 1 in Resolve, that's the reason for the inaccuracy. Premiere handles the LUT differently, there is no clamping there, and the results will be perfect, identical to using the DCTL version in Resolve. However it's possible the build a perfect LUT for Resolve as well, which will come in handy for non-Studio users. I actually built one, I plan to publish it alongside a video describing the problem in detail.
  2. Haha
    Attila Bakos got a reaction from kaylee in Penis camera   
    You're asking the guy who just so happens to have a gay porn actor as his profile picture
    I know, I know, how do I just so happen to know that... the URL of his picture is telling.
  3. Haha
    Attila Bakos got a reaction from AlexTrinder96 in Penis camera   
    You're asking the guy who just so happens to have a gay porn actor as his profile picture
    I know, I know, how do I just so happen to know that... the URL of his picture is telling.
  4. Haha
    Attila Bakos got a reaction from androidlad in Penis camera   
    You're asking the guy who just so happens to have a gay porn actor as his profile picture
    I know, I know, how do I just so happen to know that... the URL of his picture is telling.
  5. Like
    Attila Bakos got a reaction from androidlad in Atomos Ninja V and Fuji X-H1   
    @androidlad Upon further inspection I found out that the Rec709toRec601.cube LUT is not 100% accurate, sometimes it will be slightly off. This problem might be something that can't be fixed with a single LUT, or matrix. For a really accurate conversion transcoding seems to be the only way:
    ffmpeg -i INPUT.MOV -vf colorspace=all=bt709,scale=in_range=full:out_range=full -c:v prores_ks -profile:v 2 -c:a copy OUTPUT.MOV
    Just remember to switch ProRes to full range once it's imported.
     
  6. Like
    Attila Bakos got a reaction from androidlad in Atomos Ninja V and Fuji X-H1   
    That's why I believe that assumption is wrong and the data itself is different.
    EDIT: Forgot to tell you that I experimented with extracting the raw stream and inserting it into another container without any flags. In this case even Scratch shows the difference, so my theory seems to be correct.
    EDIT2: Or just use this script: ffmpeg -i INPUT.MOV -c copy -bsf:v hevc_metadata=matrix_coefficients=1 OUTPUT.MOV
    It only changes the matrix coefficients tag to BT.709, and immediately you can see a difference in Scratch. So it's respecting the tags.
  7. Thanks
    Attila Bakos got a reaction from thephoenix in Atomos Ninja V and Fuji X-H1   
    If you're a Resolve Studio user, you can try this DCTL, it does the same thing as the Rec709toRec601.cube mentioned earlier, but it won't clip values, and it's a bit more precise: https://www.dropbox.com/s/pm3nbyco6wg25kx/FujifilmColorFix.dctl?dl=1
  8. Like
    Attila Bakos got a reaction from webrunner5 in The peer-to-peer colour grading thread   
    Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.


  9. Like
    Attila Bakos got a reaction from kye in The peer-to-peer colour grading thread   
    Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.


  10. Like
    Attila Bakos got a reaction from mercer in The peer-to-peer colour grading thread   
    Here's a quickie. A BT.2020-Rec.709 conversion, a curve to highlight the person, some vignette to darken everything else, Kodak 2383 D55 on 40%, slightly boosted saturation and desaturated shadows.


  11. Like
    Attila Bakos reacted to androidlad in I WILL be getting a Fuji X-T3!   
    Fuji 2.5mm remote release pin out-

  12. Thanks
    Attila Bakos reacted to BrunoCH in User LUT monitor SWIT CM-55C   
    Yes the waweform has three options : Luma, RGB, parade.
     
    swit 55 parade.mov
  13. Haha
    Attila Bakos got a reaction from keessie65 in I WILL be getting a Fuji X-T3!   
    The name
  14. Haha
    Attila Bakos got a reaction from Kisaha in I WILL be getting a Fuji X-T3!   
    The name
  15. Haha
    Attila Bakos got a reaction from kaylee in I WILL be getting a Fuji X-T3!   
    The name
  16. Haha
    Attila Bakos got a reaction from thephoenix in I WILL be getting a Fuji X-T3!   
    The name
  17. Thanks
    Attila Bakos got a reaction from BrunoCH in I WILL be getting a Fuji X-T3!   
    Looks good, I use this phone holder until I get something better: https://m.aliexpress.com/item/32797019174.html?trace=wwwdetail2mobilesitedetail&spider=y&productId=32797019174&productSubject=Ulanzi-IRON-MAN-II-Aluminum-Metal-Smartphone-Tripod-Mount-with-Cold-Shoe-Mount-Cell-Phone-Tripod
  18. Thanks
    Attila Bakos reacted to Mike Mgee in ACES IDTs & LUTs for Fujifilm F-Log, Nikon N-Log and Sony S-Log2/S-Gamut3.cine   
    @Attila Bakos ah, i see the post you made now on the aces forum. Aight. For $10 I will give it a shot.
  19. Thanks
    Attila Bakos reacted to Deadcode in ACES IDTs & LUTs for Fujifilm F-Log, Nikon N-Log and Sony S-Log2/S-Gamut3.cine   
    This stuff is awesome! The results from the SLOG2/s-gamut3.cine is gorgeous. The highlight recovery is insane with ACES, thank you!
  20. Like
    Attila Bakos got a reaction from webrunner5 in ACES IDTs & LUTs for Fujifilm F-Log, Nikon N-Log and Sony S-Log2/S-Gamut3.cine   
    You can now work with F-Log, N-Log, and S-Log2/S-Gamut3.cine footage in ACES, or you can use LUTs that precisely emulate the ACES Rec.709 look. See the details here: http://colorizer.net/index.php?op=aces
  21. Thanks
    Attila Bakos reacted to androidlad in I WILL be getting a Fuji X-T3!   
    It's a minor glare caused by the metallic PDAF layer on top of the sensor, only happens when light hits the sensor in certain angles, mostly in backlit situation.
  22. Thanks
    Attila Bakos got a reaction from Dan Wake in ProRes on Windows   
    Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/
  23. Like
    Attila Bakos got a reaction from Mmmbeats in ProRes on Windows   
    Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/
  24. Like
    Attila Bakos got a reaction from Rinad Amir in ProRes on Windows   
    Good news for Windows users: https://theblog.adobe.com/adobe-pro-video-apps-now-support-prores-export-on-windows/
  25. Thanks
    Attila Bakos got a reaction from cam1982 in Nikon Z6 features 4K N-LOG, 10bit HDMI output and 120fps 1080p   
    Interesting results from Slashcam: https://www.slashcam.de/artikel/Test/Der-4K-Vollformat-Herausforderer-Nikon-Z6---Bildqualitaet-im-Videomodus.html
    Among other things, they doubt that it's a full sensor readout in 4K, and also there is a slight crop when using N-Log.
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