chadandreo

Does any know what effect Enabling the new Extended Dynamic Range Monitoring feature has on Premiere Pro?

I cannot find anything online about it. 

1 hour ago, BrooklynDan said:

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key

An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs.

Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

I hear where you’re coming from. 
I was originally just responding to your question about a Fuji that’s medium format and can shoot video. GFX 100 is fairly new, so I wasn’t sure if you heard of it.

There are definitely cameras that works better for each specific job. I think the GFX as an amazing b-roll or specialty cam. 

1 hour ago, BrooklynDan said:

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I dont think it would be hard to rig with the smallrig cage and accessories. Although I normally shoot on Red or c300 II, I built one one my XT3s for cinema and it works fine as a cinema camera.

The reason why I mentioned the GFX 100, is because you mentioned a large sensor Fuji camera, which is by far the cheapest 4K Medium Format camera that can be used for cinema. It also does 2K60 and has a usable AF system. Comparable cameras that are capable of shooting video are $40K +. 

5 hours ago, wolf33d said:

I precisely said the stills, which we shot RAW so no picture profile to talk about. IQ wise video was great (I actually used the recommandations from this forum in a post I created prior to the trip and that was great).  

I edited hundreds of stills from both cameras, since we shot with a friend and myself. Many times we got "duplicates" like similar photos of a sunset for example taken with both the A7III and the XT3. And I confirm the A7III shots were much superior both in Dynamic range and noise control. It's just what I see on my screen. 

I was talking about photos. I wasnt sure if you shot in JPEG or Raw. 

That makes sense when it comes to DR and Noise from a fullframe camera. 

 

21 hours ago, BrooklynDan said:

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.

Do it, Fuji. DO IT.

GFX 100?

16 minutes ago, wolf33d said:

I have used during two weeks of shooting in a recent Asia trip the XT3 and Sony A7III. 

The XT3 was a massive disappointment. 
I had to use 4 batteries in a day where I used 1 for the Sony. The grip was awful. The AF was much worst than I anticipated.  The lack of IBIS ruined some footages and the stills we took at the same time same place are laughable versus the Sony.

I am much more interested to see what the A7SIII and Canon bring at this point 

The battery life isn’t the best, but you can get 400 shots per a battery and with the battery grip or a portable is usb-c battery, i can film a 10 hour wedding without issue. 
 

I think this is the first time anyone has said the Fuji IQ is laughable, especially when it comes to color science. Maybe you need to tweak your settings or picture profile?

i stopped using my 1DX II because of the XT3s photo and video quality. 

FF Equals a larger camera and lenses. Defeats the purpose on the X line. They should keep it the way it is and own the Medium format and APSC market specs And color wise. 

Does anyone if any PD portable battery pack will work with the Fuji X-T3?

I already own the PowerCore 10000 and 26800, but I am considering getting the 5000 for short shoots.

31 minutes ago, Super8 said:

I'm new to all things Fuji.

This footage looks great.

Is the X-H1 a relavent camera in 2020?  How does it compare to the newer Fuji cameras for video?

I noticed the Z-H1 can do 200mbps at 4K.  Can the newer Fuji cameras do this?

As a first time Fuji shooting what would everyone recommend? 

X-T3 unless you can wait for the X-T4. 

X-T3 Specs

4K, 10-Bit, ALL Intra, 4:2:0, 400Mbps internal recording (Up to 30p)

4K/60p (in H264 mode), up to 200Mbps

I could’ve sworn he posted a video recently talking about the money he makes from YouTube, but it looks like it’s gone now. 

9 minutes ago, MeanRevert said:

For the Canon virgins among us, doesn't the MkII already do 4K 60 and 1080 120?  Doesn't it also have DPAF as well?

It does. 

2 hours ago, Michi said:

A massiv crop would mean a massiv jump in resolution compared to the 1dx2, so at least that‘s rather unlikely...

But with gotchas or not: this will be a big and pricey camera, probably quite close to the C200. I wonder what kind of videoshooters would prefer a 1D to a C-Line camera. I can see it as a pricey B-Cam for highend shooters. But why pay 5-6k if you can have a Panasonic with comparable specs for less or a C200 with all the benefits for motion pictures for more or less the same price?

DPAF and color science will probably be their main selling point. 

XT3

1 hour ago, androidlad said:

You're clearly using the wrong LUT.

The latest official Canon Log LUT pack from Canon website is "canon-lut-201902.zip" and most of them are tagged version 1.1 or 1.2.

And if you use "CanonLog-to-BT.709_BT.709", yes it'll clip like that, this one does not have any tone-mapping.

Use the one with "BT.709_WideDR".

I download the most recent LUT pack from Canon last week. 

I tested out the following LUTs:

- CanonLog_10-to-BT709_FF_Ver.2.0.cube

- CanonLog_10-to-WideDR_FF_Ver.2.0.cube

- BT709_CanonLog-to-BT709_WideDR_17_FF_Ver.1.1.cube

- BT709_CanonLog-to-BT709_WideDR_17_FN_Ver.1.1.cube

This is the final result I got using PP Lumetri. I think it looks good, but I am not 100% happy with it due the amount of artifacts and noise at base iso, but I was able to correct those issues using Neat Noise.

1 hour ago, Michi said:

This is what a Screenshot of your Grab with the lut BT709_CanonLog-toBT709_WidDR_33_FN_Ver.1.1 looks like in FCPX. Not great, but neither blown out. And it's just a screen grab from a screen grab... So I assume the lut should look better on the original video. You find it in the official lut-package from the C200 support page (i assume it's the same in other cameras support pages?): folder path: 3dlut -> 33grid-3dlut -> full-to-narrow-range

That specific lut is attached...

I tried a 2020-to-709 lut too and it gives the blown out highlights. So maybe your premiere project thinks your original media is in 2020 color space if this happens with a 709to709 lut? I'm not too familiar with the Adobe suite so can't help you with how to possibly fix that...  

 

BT709_CanonLog-to-BT709_WideDR_33_FN_Ver.1.1.cube 947.77 kB · 0 downloads

Thanks. Let me test out the different color spaces and see if it makes a difference. 

I made sure that I used CanonLog which is Canon Log 1. 

I am using Version 2.0 Luts and I do not see those two you mentioned. Maybe version 2 doesnt work well with the 5D?

Which color space do you recommend?

Also, I just added a couple of screen-grabs with scopes. 

I was wondering if anyone could help me with an issue I am having with Canon Log footage from the 5D Mark IV.

In Premiere Pro, when I add Canon's Canon LOG to 709 LUT to the footage from the 5D, the highlights are completely blown on and the image is very contrasty, even though everything is perfectly exposed. I have tried the LUT on low contrast indoor scenes and high contrast outdoor scenes and the results are the same.

Does anyone know what I am having this issue?

25 minutes ago, Rinad Amir said:

Oh shit here we go! Pal there about 50 lenses available as we speak for L mount

https://www.bhphotovideo.com/c/search?ci=17912&fct=fct_lens-mount_3442|leica-l-mount&N=4196380428

as for 1DX3 buries the S1H imho.. 

I own S1H and am not here to defend it but it BURIES your 1dxmiii ? the specs u listed for 2020 and price with no Cinema features like anamorphic or true Cinema 24p 

on other hand am really happy for canon shooters there finally getting 10bit internal in 2020 where is Panasonic shooters had it since 2017!

It definitely does for docu and run and gun shooters. Dual pixel becomes invaluable once you’ve tried it. Contrast AF isn’t reliable and too slow to be useable. 

Both cameras are built for different uses and shouldn’t be compared with each other. 

3 hours ago, dgbarar said:

Answers to your questions

There is about 2/3 - 1 stop improvement in dynamic range with HLG over Flog.

I am unable to tell if there is a difference in highlight rolloff.

Difference in noise?  I usually shoot at isos above base.  So I am unable to comment if there is a difference in noise.

One other thing about shooting HLG on the X-T3.  I am less prone to getting some unusual magenta casts in highlights with HLG.  The disadvantage of HLG is that you must record H265 and one has to transcode the footage to improve editability.

Don Barar

 

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. 

5 minutes ago, androidlad said:

There are a couple threads about your questions, easily searchable here.

As I mention, I did search. There are plenty of post that pop up for others cameras, especially the GH5, but nothing on the XT3. 

If you are familiar with any specific posts covering this and dont mind sharing, please do. 

Is there a noticeable difference in Dynamic Range and highlight roll-off between F-Log and HLG?

Also, is their a noticeable difference in noise since they use a different base ISO?

I have not seen a post that covers the first question.

13 minutes ago, BenEricson said:

Have you made sure you’re exporting to 59.94 and not 60? That will cause drift. 

I haven’t heard of it in a while, but the drive speed could potentially slow it down. Maybe try going to 422 or LT and see if you have the same issue? Just to trouble shoot. 

Is it happening on all of the clips? 

Ive attached a screen grab of the settings I was using.

All of the clips that were transcoded had the same issue.

I havent tried LT or 422 yet, but I will give that a shot. 

I am using Adobe Media Encoder to transcode H.265 Fuji XT3 files to ProRes HQ and the audio is off on the transcoded footage. In Media Encoder, I selected the ProRes 422 HQ preset and selected match source. Also, most of the footage was shot 59.94. 

Can anyone help me to resolve this issue?

For the highest quality video and color grading when shooting F-Log 10-Bit, is it better to transcode to a specific codec or edit H.265 with proxies? 
Is there a noticeable difference? 
What’s the best codec I can transcode to?

I own a Ninja V, but I only have one and most of my jobs require 2-4 cameras. 

5 hours ago, thebrothersthre3 said:

I thought the EOS R could do 10 bit 422 1080p to an external recorder. But turns out it only does 4K, which has unacceptable rolling shutter. One of my big reasons for switching would the much wider selection of Canon glass. Also canon DPAF would be super useful. Alas the EOS r is probably too gimped for me. 

I have a 1dx II and I think the Fuji’s AF is actually pretty good, although the Canon still has an edge and has object tracking. 

6 hours ago, BrunoCH said:

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good.
I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

Excellent work! 

Can you mention what exactly you’re doing in RCM?

Also, what ND filter are you using?