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Llaasseerr

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  1. Right, Resolve doesn't support ProRes RAW. Neither does Nuke. Forgot to bring that up, they expect an intermediate transcode. While I'm testing this out, I'm personally using Scratch to trancode to either slog3/sgamut3 or to ACES OpenEXR. Apparently Adobe have added the ability to immediately convert to SLog3/Sgamut3 on import of a ProRes RAW file in a recent beta of Premiere, so you will then be good to go and have the same image as your Ninja V: https://community.adobe.com/t5/premiere-pro-beta/discuss-prores-raw-raw-to-log-conversion-support/m-p/11413274?page=1#M850
  2. To clarify this, the raw values are not overexposed, they are outside of the 0-1 viewing range of your monitor. If you apply the inverse of an Slog3 curve to your Slog3 image, you will get the same visual result as the raw image because it undoes the log encoding. Slog3 is normalising the entire dynamic range into 0-1 with equal spacing between stops in a 0-1023 range. When you apply your Rec709 LUT, which is expecting a log input, it is also shaping the DR into a 0-1 space but in a non-linear way using a filmic S-curve to aesthetically shape the knee and toe. A raw image has no gam
  3. I already mentioned this in another thread, but without checking myself in Premiere, I believe it's just importing the raw as gamma 1.0 whereas when you are monitoring on the Ninja V, it's converting it to Slog3. Unless you are working in Resolve, Nuke or Scratch then you need to transform from raw to log to be able to use the footage correctly in Premiere because it doesn't have a robust colour management pipeline that allows for wide gamut or floating point images.
  4. It looks like Premiere is interpreting the raw footage as linear gamma 1.0, which is correct, but Premiere isn't used to this kind of thing. On top of that, the LUT you added is expecting an S-log3 input image so it has only increased the crazy contrast. I've so far used Scratch to test out raw from this cam and it allows interpretation on ingest to a log format which naturally should be s-log3/s.gamut3., which is how the Ninja V seems to be displaying it probably because it recognises a flag in the footage that it's from this camera. To work with linear floating point wide gamut files, w
  5. I'm wondering if it's viable to attach a heat sink to the Ninja V to cool it down when recording RAW. I also am planning to use my FXLion Nano V-mount battery to power the camera and the Ninja V (in my hypothetical purchase scenario). So there would be no batteries on the back of the Ninja V, meaning hopefully there was space to jerry rig a heat sink. Maybe via a SmallRig Ninja V cage so that it makes contact but it's not permanent. I remember one of the drawbacks I read about with the Ninja V is the loud fan noise. I would do dual system sound though so that would help. I'm also guessi
  6. I should clarify, shot at base ISO 640 for the s-log3 clips. It shouldn't matter for the raw clips.
  7. Hey all, since the raw footage is starting to trickle out, can someone upload clips of a lens cap test with both in-camera s-log3 and ProRes Raw? Also what would be nice is shooting the sun with your fingers blocking it to see a highlight clipping point. Thanks!
  8. Well it may sound boring, but some regular 24p with a grey card and some shots with a bright source that clips the sensor but also enough shadow detail to check that out too. A night time scene with bright lights can be nice. A car in sunlight is good, I check the specular pings and the sun and then hopefully there's enough shadow detail in the wheel well. I mean that's what I would initially do, totally understand if you're not interested. I'd also like to shoot with an ND, probably -1 and -2 stops and check how it holds together when you push it in post. I say just go for whatever you want
  9. I would definitely be interested in some ProRes RAW HQ and internal s-log3/s-gamut3 captured together, I guess shot at base ISO 640 at the highest quality internal codec.
  10. The consumer mirrorless cameras are employing dual ISO, which while nice is not the same as the dual gain architecture in an Alexa. https://www.arri.com/en/learn-help/technology/alev-sensors But it is worth noting again that the Alexa and the a7s share similarly sized large photosites.
  11. Ok I get what you're saying and I won't disagree. Yes I'm talking about shooting way below Sony's prior requirements/workaround for shooting log at crazy high ISO with an earlier a7s. But hopefully with this latest gen sensor they've come good with the lower ISO and me and my ND will be good. There's nothing about s-log3's curve that requires shooting high ISO, it was more about the compromise of jamming that functionality into a consumer camera. Two other things: although the sensor characteristic is a constant, shooting in ProRes RAW makes s-log3 encoding a moot point. I'm not sure wha
  12. Going back to this comment. So I'm someone that wants my DR above middle grey and in this case I would be inclined to just shoot with a -2 ND and push it 2 stops in post. I don't like grainless images anyway. Looking forward to being able to test that theory out though haha.
  13. Just following up on this again. If I check the black levels of the Xyla on the vectorscope here, they correspond with the min black level in the s-log3 spec - around 96. So yeah, it appears the default Data levels interpretation is correct and I was wrong that it may be Video levels.
  14. Yeah that's a fair point about not carrying the light meter in the wilderness. The grey card is great to have in your pre-roll though. For me personally I found false color a great quick way of doing it. For on-the fly shooting I use a vari ND and a grey card and wait til I get green hitting the card on the false color then I'm good to go. I hate frankenrigs too, but maybe look at getting a cheap small 5" lightweight plastic hdmi monitor with false color and custom LUTs like the Fotga. Just an aside, from what I gather the Pana S1H has a tool for exposing based on looking at a grey card -
  15. Actually, I just checked and Slog3 and Rec709 both have almost the same middle grey value of around 0.41 - which I imagine Sony did by design.
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