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  1. Wow. I'm a goof. After 3 days and like 6 visits into Premiere, I finally clicked on the correct source tab! Damn this tiny m1 Mac screen! If you click on Effect Controls tab, you then have to click on the Source tab nested under that (rather than the source tab at the same level as Effect Controls). Whew! Now I have the ability adjust Color Temp, Tint, Exposure, Color Space and Gamma as if I were doing it in camera!!! Too bad Premiere is the slowest piece of software on Earth. But, beggars can't be choosers.
  2. I'm really surprised with how much of a struggle I am having tracking down something that will do proper raw conversion of r5 footage. Are there any options at all? In all cases I've tried Cinema Raw and Cinema Raw Light in clog, clog3 and clog-off: Final Cut Pro opens the Cinema Raw files just fine (all types) with the Canon RAW Plugin for FCPX. However, I get no access to raw adjustments such as 'ISO' or White Balance in the info tab for the footage as I'd expect when converting Raw. This is known and documented, so fully expected. FCP only supports this feature for ProRes R
  3. It isn't the RAW that is a problem. It is the 10-bit HEVC 4:2:2 you get from using 4K HQ + Canon Log that crushes any computer without hardware support for that codec (almost all of them). AFAIK that pretty much limits you to late-model iPad Pros and m1 Macs. It edits smooth AF on an inexpensive M1 Mac. My 2019 3rd-gen iPad Pro won't even try to open them, though
  4. As a long time Nikon shooter (photography) that had been supplementing video with an a7SII, it was pretty simple to add a z6 to my kit. My Nikkor kit is 20/1.8, 28/1.4, 58/1.4 and 105/1.4 (along with some manual focus primes). Those never adapted great to Sony. They are amazing on the z6 (especially the 28 and 105 with power iris). I am pretty much in heaven now. I have a d850 and z6 and a great set of lenses. Sold off all of my Sony gear. The a7S didn’t quite cut it for travel photography so I often lugged around a large kit. Now a z6 and a few lenses is all I need to get it a
  5. Excited to dig into this profile. I have been using VH S-Log with great success but am always interested in trying out new profiles. Just purchased Z-Log this morning and will shoot with it later, but I will ask a question up front because it is something that had been bugging me with VH S-Log. Why do these profiles clip shadows and highlights early in the histogram? Separately, they also require 235 or lower setting on zebra for them to show up at all. Without much knowledge, it would lead be to believe that, at the highlights end, these profiles throw away some of the largest bucket
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