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Neufeldt

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  1. Like
    Neufeldt reacted to Dan Sherman in Panasonic GH5 10 bit internal recording not good enough   
    Please explain/articulate what you mean by more!
     
    The believe that 8bit is better, is confirmation bias tricking your mind.

    The various color profiles (ignoring v-logl for a moment) by nature don't change the amount of color that ends up in the footage, they change how the the color captured by the sensor is transformed. A given color is made brighter or darker, shifted towards red or green etc.
     
    Your eyes can't even discern the difference between two similar shades of 8 bit color, let alone 10 bit. You can verify this your self, by going into any 8 bit editor, like paint, or photoshop, etc. Draw a big box on the screen, and fillet it with one color say pure red (255,0,0). Mask of half the box so it stays pure red, and then make the other un-masked side (254,0,0). You will not be able to tell the difference between the 2 shades. keep dropping down from 254, to 253, 252 etc until you are sure you can see the line where the color changes.

    If you can tell the difference between 245 and 255 then you need a 10 shade spread to see a color difference. Now you need to realize that in 10 bit that becomes a 40 shade spread. Your ability to discern the difference gets worse with age, and it can also be skewed for a given color if you have any kind of color blindness.
    Dynamic range is a similar affair, the gh5 sensor is capable of a little over 12 stops at base iso. Your eyes are only capable of 10 stops, and again it can get worse with age and various medical conditions.
     

    Your getting beat up because you analysis reads as someone who has a serious lack of understanding about bit depth, chroma sub sampling, and their benefits or lack of, when it comes to video production. it a similar thing when it comes to codecs.

    Right out of any camera 10 bit isn't inherently better than 8 bit, 4:2:2 isn't better than 4:2:0 either. Higher bit depths and higher chroma sub-sampling are only really beneficial if you are going to push the footage around in post. higher bit depth and chroma sub-sampling can be pushed farther before the footage falls apart. This is important when it comes to major motion pictures and the like, because what comes out of the camera is usually drastically different to what ends up on the screen. 

    Codecs are the same, Noe one codec is inherently better than another by default. Prores or dnxhr isn't better than h.264. or h.265, or any of the other million codecs out there. They each have their pros and cons, and what is best is very situation specific.



     
    It sounds like you are confusing dynamic range with bit depth.
  2. Like
    Neufeldt reacted to Sage in GH5 to Alexa Conversion   
    @tihon84 Using a gray card is ideal. You'll want the gray card to reflect the key light
    Lenses with non-neutral grayscales will essentially 'shift' balance slightly throughout the grayscale. This is to be expected; its part of the 'character' of the lens
    A gray card will avoid complications of a white paper (tint/transparency). When it comes to minor adjustments of white balance, using the post WB tools (eyedropper/tint/temp) works very well (Its ideal to make sure that white balance is generally correct on set)
  3. Like
    Neufeldt reacted to Sage in GH5 to Alexa Conversion   
    "I am pleased to announce GHa V2, the reference grade update. For the last six months (since original release), I have been building a new version of the conversion from the ground up, to achieve a new standard of precision and smoothness (silk gradients).
    The changes in V2:
    - 25x the Number of Color Samples (25k Per Camera)
    - Custom Coded C++ Color Engine (Smooth Interpolation)
    - Alexa On Hand (For Repeated Iteration)
    - Corrected Lens Distortion of Original Conversion
    - Smarter Handling of of Exposure Placement to Maximize DR (both Emotive Color and LogC)
    - Cine-D Support (and Improved [PRE]s)
    - Premiere Pro Specific [PRE]s (for VLog & Others)
    - Improved Documentation"
    Here is the new PDF
    Emotion II (Updated to V2)
    (Edge/Explorer or Safari recommended for most accurate color; Chrome/Opera Ok; Avoid Firefox)


  4. Like
    Neufeldt reacted to deezid in GH5 to Alexa Conversion   
    Great work man!
    Can't wait to try out the Cine D conversion. Was avoiding 60p for many reasons until now (1080p60 10 bit is oversharpened, UHD60p 8 bit in V-Log is almost as messy as GH4 8 Bit V-log was...)
  5. Like
    Neufeldt reacted to Sage in GH5 to Alexa Conversion   
    Thanks Jeremy!
    On their own, as a conversion to VLog, they are really accurate. Looking at the point cloud throughout the color space, they're near perfect.
    But it is my impression that Vlog is superior for locking in skintone nuances and absolute smoothness. This is essentially because combining two really intricate conversions magnifies translation error. This doesn't apply to the simpler PREs (i.e. Premiere 10bit VLog and ProRes), because of their uniformity.
  6. Like
    Neufeldt reacted to Sage in GH5 to Alexa Conversion   
    Thanks deezid! The stars of the show are the main conversions, which are really, really accurate (and smooth). Huge leap for Tungsten.
    Luma for Daylight is placed very differently; it will result in a lot more effective highlight range when exposed for V2.
    Thanks tihon84; its just good ole' V-Log (and only Daylight Main V2 applied). The scene was very striking, with late day sun pouring into the little yellow room, overlooking the sea.
  7. Like
    Neufeldt reacted to Sage in GH5 to Alexa Conversion   
    Hey dxotic, you should have an email from me
    Exposure placement for Day V2 is quite different; this is how I described it to David L'Abbée:
    "Before, clean range was being rolled off into the noise floor with Daylight; this wasn't very smart. Now, range is allotted to the highlights, which allows more meaningful DR when exposed for V2. For V1 footage, you can place the luma per page 8, and slightly increase saturation to compensate"
    Hehe, because I'm crazy! I got it to make this conversion perfect, because that was a much better proposition than trying to measure it on borrowed time (which is basically what limited the fidelity of V1). I did upwards of twenty measurement redo's for V2, all told. tweaking the approach along the way. This was critical, as the first V2 run through was really far off of what was needed for the code to ingest
    Also, it is the most unwieldy thing. Its got minimal kit needed to run (no battery, Frankenstein hdmi monitor, etc.); its a heavy computer with wires, in 2k. The GH5 with IBIS allows me to shoot in my particular style, which is all about motion
    Also, per my promise to you a few months ago, here are the raw side-by-sides:
    Daylight Alexa & GH5 Raw Footage
    Tungsten Alexa & GH5 Raw Footage
    (Use DaVinci Resolve for these - accurate Arri ProRes)
  8. Thanks
    Neufeldt got a reaction from Mmmbeats in Panasonic GH5S 14.6 Stops of Dynamic Range   
    "How do you define dynamic range?" is the question that underlies and undermines most of these discussions. We could measure it as the difference between maximum signal and the point at which signal:noise reaches 1:1 (how DXOMark measures RAW still dynamic range). We could decide that 1:1 is too noisy, and that "usable" dynamic range starts at 8:1 meaning 3 fewer stops of dynamic range. We could measure from any signal at all, adding one or more stops of dynamic range relative to the 1:1 reading. We could weight RGB in various ways, perhaps considering the beginning of dynamic range to be when any one channel starts to have signal and then terminating only when all three channnels are saturated (this gives the highest possible rating).
     
    The ARRI linked pdf only tested out to 11.75 stops and didn't find dynamic range limitations, if I'm reading it correctly. It didn't test for the limits.
  9. Like
    Neufeldt reacted to Julien416 in NAB 2018 - Kinefinity and Atlas Lens Co Orion Anamorphic   
    There was a topic about that rumour last year. Seems it was deleted by Jon who was a still moderator at the time. Because this rumour was disturbing I tried to retrace where it was coming from. A lot of the original messages involved got erased but here what supposedly happened from what I was able to gather online.
    Last year on reduser forums, when the atlas Orion were announced, John Barlow from rectilux posted some mail exchanges between him and the guys behind Atlas that had taken place months before. They were asking John how much it would cost to rehouse shneider cinelux anamorphic projection lenses with a rectilux. The deal never got through but when Atlas showed their Orion lens, the lens signature was so close to a shneider cinelux coupled to a rectilux that a lot of people in the very small anamorphic world asked themselves if they had not done a rehousing with another partner, hence the barlow mail leaks.
    The thing is that the technology Atlas used to focus its anamorphic group is called a variable diopter. The same exact method used by rectilux. However this very simple technology is widely used in the anamorphic world and doesn't belong to John Barlow. I am pretty sure the new cooke anamorphics use it, the iscorama also used it - it was even patented - and I know it was also used back in the 50's in some exotic french anamorphics. Let's say this clue is inconclusive.
    Another thing to add is that it's highly unlikely to imagine Atlas buying all the cinelux online and rehousing them. 
    But still. There were some messages between Barlow and the Atlas founder unless the former is lying. 
    So what really happened ? My personnal opinion, which is absolutely not a fact, is that Atlas might have have been inspired by a cinelux / rectilux combination to built their prototype with a third party partner (let's say a chinese optics factory). But the housing is undisputably 100% atlas, glasses are also 100% cut from brand new optic glass. There is no way it's a rehousing. I bet the coating is a new formula as well. Remains the optic formula which is nothing new, as anamorphics is simple as it can be by today's standards.
    The truth is we will never know. Everyone is inspired by other's people work so I have no problem living with the small possibility that Orion was inspired by cinelux lenses. It kinda looks the same but it looks great, and the housing looks genuinely good. It's certainly more expansive than buying a cinelux and a rectilux but you won't have to deal with fishy clamps ... Sure anamorphics cine lens are way too expansive but that's the way it is. High demand, etc. Fun fact : 6 or 7 years ago, a DOP I know bought a kowa anamorphics series for 5000€. You'd be lucky to get it under 50K nowadays... 
  10. Like
    Neufeldt reacted to mercer in NAB 2018 - Kinefinity and Atlas Lens Co Orion Anamorphic   
    Congratulations, you have just received my first downvote, and probably only downvote... something I swore I would never do because I really don’t find them productive and I believe they only create animosity... which is the exact opposite reason for visiting this forum.
    But I honestly don’t know what to say about your recent posts, Jon? I’m thinking that maybe you have some personal issues going on in your life because you used to be one of the most friendly, jovial, and helpful members of this forum. But now you are full of such vitriol, and vindictive behavior. I sincerely apologize for bringing this up publicly, but this is getting out of hand now.
    In this specific instance, you were asking DBounce for his review of the lenses, but then when you heard HIS honest impression, you went on full out attack mode... to the point of calling him a liar with ulterior motives?!?!
    C’mon man it’s just camera stuff, it’s not worth having a stroke over. 
  11. Downvote
    Neufeldt reacted to jonpais in NAB 2018 - Kinefinity and Atlas Lens Co Orion Anamorphic   
    My guess is you are making this all up; that you have some axe to grind; that you conveniently lost the business card and can’t even recall the name of this major distributor you supposedly spoke with. Because you are straight up calling Dan Kanes a liar and seem to think you know more than all the filmmakers who’ve handled these lenses and specialists like Tito. Why don’t you stop spreading malicious gossip? According to your tale,  you chatted it up with some anonymous person at NAB who just happens to be an authority on all things anamorphic; and not only that, you didn’t even trouble yourself to do any fact-checking. We get it already - you were disappointed in the build quality and feel the natural human desire to lash out at somebody. That's like totally understandable, man. But this isn't a rumors site. Maybe fb would be more appropriate. Better still, why don't you confront Dan Kanes face-to-face? Any coward can post shit on the internet.
  12. Like
    Neufeldt reacted to IronFilm in Blackmagic Pocket Cinema Camera 4K   
    I feel even ignoring the BMPCC4K release we're still creeping near to the "beginning of the end", with cameras such as the Panasonic GH5S. (arguably some people could even say that happened years ago with the GH2/5Dmk3/etc)

    Just like in the stills world, if you've got a D800 then you really can't fault the sensor performance. Instead it is all about usability/ergonomics/wifi/AF/IBIS/etc.. improvements that have came in since then, but the days of peering at test charts for of say a D300 vs D700 vs 5Dmk2 vs 50D vs etc are "over". The sensor performance from any affordable stills ILC released today in 2018 is going to be good enough, and you're better off worrying about "everything else" that it implements. 

    My point is I think that day is not too far off for the video world with these affordable cameras as well, and likes of a GH5S/BMPCC4K are hinting at that day is nearing closer. 
     

    I imagine for people trying to shoot with 4K on the BMPCC4K with an ultra frugal budget, that their shooting style will have a lot of similarities to the way RED ONE folks shoot (for those who don't have the SSD module, or only have a limited number of gigs on it). At least until CFast prices fall further. 

    What they'll do is for the tripod shots they'll use their USB-C (just like RED ONEs using their RED-DRIVE for tripod shots) but then switch over to using their CFast card when handheld (again, just like how RED ONE owners would then switch over to CF or SSD when then going handheld). 
  13. Like
    Neufeldt got a reaction from Sage in GH5 to Alexa Conversion   
    Just want to say the LUTs are great. It's interesting how different GHa is from the GHaLogC-ARRIAlexaLogCRec709 pairing.
    Thoughts on a more neutral LUT with basically just the highlight rolloff (no longer having oversaturated and color shifted highlight transition is wonderful), or should I just use the Leeming LUT?
    One note for anyone else using Resolve on a non-cinema wide-gamut hardware-LUT display (not specific to this conversion at all, just in general for color grading): Accurate color absolutely requires the usage of a flat system ICC profile, a monitor-loaded LUT, and a 3D LUT in Resolve (3D Color Viewer LUT) as Resolve does not appear to be ICC aware in any way, shape, or form. This isn't particularly noticeable with SOOC footage, but Log footage run through a LUT (let alone complete color grading) is pretty painful otherwise.
  14. Like
    Neufeldt reacted to mkabi in Red Copies Panasonic With New Dual ISO Camera   
    You think Red copied it from Panasonic?
     
     
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