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Llaasseerr

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  1. Like
    Llaasseerr got a reaction from Lars Steenhoff in Sigma Fp review (part 1) and interview - Cinema DNG RAW internal recording!   
    I'm glad they're adding log, but I would only use it for monitoring raw recording. For that, it's crucial. The log image with LUT will then match the RAW image with LUT in Resolve (different input but same output image). 
    So as long as:
    - They publish the log curve and wide gamut they are using. They need a conventional Cineon/AlexaLogC/ACEScct type of log curve that will hold all the highlight information of the raw sensor.
    - It can send a log signal over HDMI so that you can record DNG raw and monitor with a lut on the HDMI log image. If it's sending out raw over HDMI that's quite cool, but as far as monitoring,  you are limited to the Atomos Ninja V vs. every other EVF or external monitor on the market that allows a custom LUT. 
     
    As for exposing raw, the only two things you need to think about are:
    1. Expose with a grey card and a lightmeter like you are exposing film. You can also use false colour and a grey card but just make sure you're aware of what gamma setting the false colour is expecting, or make your own false colour LUT.
    2. Check where the highlights are clipping. If you need to protect the highlights further, then underexpose by 1 or two stops and push by the same amount in post. Use Neat Video to clean up the noise floor if necessary.
    Zebras are for a video world. They can be semi relevant for checking highlights in log since it puts everything in a 0-1 range. Again, we need log output for monitoring and if for example shooting for ACES we can put a log to ACES rrt/odt LUT on the camera monitor/EVF and see how the full dynamic range of the highlights are rolling off. Then get the exact same result on the ingested DNG raw images to ACES in Resolve.
     
    Log for monitoring raw recording is crucial as it allows any Chinese 8 bit monitor with custom LUT option to display the full raw image dynamic range and get a very close match to what you will see in Resolve with your beautiful DNGs - as long as you have your technical LUTs set up correctly.
    Published log and gamut is a MUST though. Sigma, please do a white paper documenting this. This way, we can do a direct correlation with the linear raw image. And allow sending log over HDMI while recording raw.
  2. Like
    Llaasseerr reacted to paulinventome in Sigma Fp review (part 1) and interview - Cinema DNG RAW internal recording!   
    I succumbed and bought one. 
    I will test more fully over the next week. Ergonomically from a stills view it's very much a urgh. No EVF makes life very difficult for me but i do have the VF on order so maybe that will change things.
    Cine mode. DNG. It's heaven. This is all you need from a camera. I've side by sided UHD 8bit onto SDXC vs A7sII UHD Slog2/Sgamut and there's no joke. It's almost comical. The low end and the highlights are literally playing in different ballparks. What crushes the A7sII footage is the compression. Simple as that. So that 8 bit UHD is remarkably good. I'm pushing and pulling it and comparing to the same thing shot  FHD in 12 bit and it's incredibly robust - so much more than it should be.
    Over the next week i'll push and pull properly. I got it as I needed a lightweight B cam to my Red for a shoot - so i need to intercut and i'll be finding it's comfort zones side by side with everything.
    So far the best resolve post in in ACES. My fear with going into any 709 space is that the camera native spectral response will be outside of 709. All Sony sensors push red way out and it's easy to see with bright red subjects. If you don't debayer into a larger colourspace then those reds get clipped or mushed into gamut. I don't know enough about DNG support in Resolve but visually into ACES appears much better. The only other valid option i think is Linear in, certainly none of the BMD Presets as they're for very different sensors.
     
    Cheers
    Paul
  3. Like
    Llaasseerr got a reaction from Lars Steenhoff in RED claim victory in Apple RAW patent battle   
    Agreed, slimRAW is a great workaround even if it does add a step to the ingest process. But it's a shame the Sigma probably won't see a lossless or lossy DNG variant that may have allowed 12 bit internal recording. Still, external SSDs are cheap and it allows for fast offloads. I do hope Apple ultimately prevails here though.
  4. Like
    Llaasseerr got a reaction from Emanuel in RED claim victory in Apple RAW patent battle   
    Agreed, slimRAW is a great workaround even if it does add a step to the ingest process. But it's a shame the Sigma probably won't see a lossless or lossy DNG variant that may have allowed 12 bit internal recording. Still, external SSDs are cheap and it allows for fast offloads. I do hope Apple ultimately prevails here though.
  5. Like
    Llaasseerr reacted to mat33 in Sigma Fp first shots - how does internal 8bit RAW compare to external 12bit RAW?   
    The Ikonoskop was way too expensive and the D16 had a polarising external appearance and the release firmware was bit flakey (especially compared to the later firmware with Bolex Log), but what a thick beautiful digital negative to work with.   It sometimes feels like we want to make Star Wars Episode V but because of all the latest technological wiz bang gadgets we end up making Star Wars Episode I where we end up spending too much time setting up and playing with everything than focusing on the creativity or art part.
  6. Like
    Llaasseerr got a reaction from webrunner5 in Fuji XT3 Issue   
    I've been able to fix this clamping issue in Resolve 16 Studio beta 050 on my Mac by disabling the hardware decoding for h265 in the preferences. I'm 99% sure I tried doing this months ago and it had no effect, but now it's working. Not ideal, but I was not planning to edit in h265 anyway. So I'm just punting the transcode to Resolve. I haven't done any time comparisons between rendering say ProRes out of Resolve vs a h265 to ProRes transcode in EditReady. But the advantage of doing the transcode in Resolve may be that it's part of a general ingest step where some technical luts are applied, as well as sound syncing.
  7. Like
    Llaasseerr reacted to Attila Bakos in Interpretation issues of Fujifilm video files in Davinci Resolve, Premiere Pro and Final Cut Pro   
    I just updated to Resolve 16 beta and the issue seems to be fixed. All Fujifilm files including HLG are interpreted with the correct matrix. The changelog mentions Fujifilm files but the fix seems to be general, it's seems that the matrix coefficients tag is now respected. The latest Premiere still has issues though.
  8. Like
    Llaasseerr got a reaction from thephoenix in Fuji XT3 Issue   
    Glad it worked for you! Right, I'm just making sure to set the ProRes clips to Full levels when importing to Resolve. The missing image detail is most definitely back. And just to emphasise, I've done tests with both F-log and HLG, and F-log is definitely recorded at Full levels since lens cap black comes in at 95 when the transcoded ProRes is imported into Resolve at Full levels. I'm 95% sure HLG is also meant to be imported as Full levels. I mean why would they make it awkward for the user and say F-log is Full range, but HLG is video range? The HLG black level is not 0 with the lens cap, it's about 32. But that's still half of "video levels" black with HLG which is 64. That's a stop more shadow data than "video levels" black.
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