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Hangs4Fun

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About Hangs4Fun

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  • Gender
    Male
  • Location
    Atlanta
  • Interests
    Wilderness Backpacking and Hammocking, Astro/Landscape/Wildlife photography, Video Production, family and happiness
  • My cameras and kit
    Sony a9, a7S3 (soon), Edelkrone Jib,dual heads, slider

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    http://www.Hangs4Fun.com
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  1. Maybe its the mountain roads I tend to find myself on, but I haven t used a Gumball yet that could keep my camera level around those corners. After the first part of an S turn, all turns after that it gets out of wack and struggles to get back to level. Now, Im talking smaller gimbals. Like RX100 and small gimbals capacities. I haven t tried my Ronin S with a full frame yet, so maybe that would resolve the problem im seeing with gimbals. But the G5, G6, Crane M, Cosmo Mobile, etc. They all secummed to corners. It wasn't until I tried the Cosmo Action that I got footage like you see in that video you shared (I would assume a GoPro 8 would do the same). In testing I turned it on several times in my commute home from Atlanta and it was smooth as silk (I use ND filters btw). Only thing i was trying to perfect with that was how it dealt with exposure. As driving into the after work and passing under bridges it would create a couple of frames that were to bright. But from a smooth standpoint was very pleased with either. This isn't due to DJI, I think the equivalent model of it would work too. But my Sony RX0 Mark II would not do well, because its gyro data got skewed when subjected to corners. Thats when I drew the conclusion that in camera horizon based stabilization would be the best for vehicles (not vlogs or other cases, but driving situations where there might be some lateral G forces back and forth, which seem to affect gimbals and gyros (at least the smaller ones) Good luck
  2. In my experiences with driving footage both video and time lapse based using gimbals or using digital and/or gyro based stabilization. Is that gimbals are fine until you get some curves and if curvy enough can really mess them up. Ive even used motorized panning while capturing audio. My guess is this is using a horizon based in body stabilization like a gopro or Cosmo action with a good suction cup attachment system. Of the suction cup arms I tried i found the Joby one to never let go and was seven strong enough to hold either a Genie or Edelkrone headone with a Sony RX0, Osmo action, or gopro. When attaching to the front of the car (on paint instead of glass), be sure to pick the glassiest smoothest surface and clean it well first. To achieve a higher quality version of this would require at least a two person team and rigging to support stronger gimbals and bigger cameras.
  3. Right now, I have only had luck recording ProRes RAW HQ to my Ninja V. But when I bring it into Premiere it os severely over exposed, even though it looks perfect on the Ninja V. To do this i installed the Apple ProRes RAW windows driver and then imported into Premiere , both at the latest versions. Someone else mentioned that I need to transcode it first and then import into Premiere. But what really sucks right now is that using my Sony XLR-K3M to do 4 channels of audio first, does not let me output 4 channels to the Ninja V whether ProRes RAW or regular ProRes HQ. And even using internal codecs only works if I go straight into Premiere, thrn I can see 1-4 channels properly. But if I wanted to go to catalyst browse first to use gyro based stabilization, even Sonys own Catalyst Browse doesn't have the 4 channels, which I'm hearing is the case in other places too. So will have to wait for each to add proper support for the new PCLM 4 channel audio. Obviously, Da Vinci Resolve doesn't support ProRes RAW (since they have BRAW which competes now against ProRes RAW... kind of)
  4. I have Resolve 16 and the ProRes RAW HQ or ProRes RAW doesn't seem to work at all there. What you are saying makes a lot of sense though. If I can just find a place to convert it to S-Log3 or something first. Was really preferring to do the color grades in Resolve, and then edit in Premiere (until I wean myself off of Premiere, lol). I will look at Nuke and Scratch, maybe they can handle this new RAW or maybe eventually Resolve will handle it and I can separately grade and export my files to edit with. Obviously for a cleaner workflow, it would be nice to grade and edit in the same place without a middle rendering. One thing I wonder is if I could bring these into Media Encoder and perform a transform there to S-Log3 first. And heck with that being said, If that works, then I could also potentially create an injest preset to use as default injests in Premiere like I already do for auto generating proxies. Will have to play around with that (though I was trying to wean myself over to Resolve).
  5. One thing that is going to be a downside on this camera is that we can't disable the noise reduction which usually do for my astro photos and time lapses (I don't shoot nearly as much video when it comes to astro) I tend to lean on quality fast optics versus ISO when shooting astro (stills). I used my 16-35GM until the 24GM came out. At f/1.4 and hands down the best anti-sagital flaring I've ever seen in a lens, it one of the best IMHO. Only downside is I typical shoot between 16 and 18mm on astro. But what I've been having a lot of luck with is doing 2 or 3 shot pano's in portrait orientation. Since you are talking RAW, I assume you are wanting someone to try video of astro? I just happen to be camping with my A7SIII and my Ninja V, i would be happy to try it tonight. Only issue is Im under major canopy closer to Atlanta than I will be by Sunday. By Sunday I should be more in the open and up around Blood mountain in the North Georgia Mountains. Will definitely try that for you then, as I was already going to test astro photos and motion time lapses. Won't be much of a stretch to test RAW video. BTW... When ETTR'ing at 94+ (for the corrective LUT's I use), the RAW output looks beautiful on the Ninja V using the corrective LUT as a display assist. But when I bring it into Premiere the highlights and whites are significantly over exposed. No clue yet why, trying to work with each of the pieces of the puzzle to resolve, Adobe, Apple, and LUT maker via support tickets and passing along findings. So today I setup a color checker test and did regular output (ETTR 94+), RAW (94+), RAW underexposed 1 stop, 2 stops, and 3 stops from ETTR 94+. I don't have my SSD to USB cable with me, so I don't know which one is best yet once you get it into Premiere past the Apple ProRes RAW drivers. It looks perfect in the Ninja V when ETTR'ed at 94+ with the corrective LUT, so until I can get the footage into Premiere I won't know. My wife is sending me that adapter, so I should be able to see by tomorrow night and will share my findings. I mention this, because it will affect how you expose RAW on the A7SIII Have a great day, and be safe out there
  6. Thanks for that. Im new to RAW and 10bit 4:2:2 All Intra. But not new to Sony mirrorless and low light. I had success with a7R2 and a7R3 with low light, and even with my trusty ole a6500 paired with an f/1.4. Many times it seems like I need to do shooting around campfires, and late night astro photos. My experiences doing paid video have only started this year and it is nerve racking to say the least. So far with the a7S3 I have shot up to 100k ISO, but what im struggling with is how to turn off internal noise handling. I prefer to handle all sharpening and dealing with noise in post, but it is looking like we can only turn off sharpening on the a7S3. I will be trying to do testing in low light with RAW to see if Sony is mucking with the noise any or if its truly a RAW output. I did take some test video shots last night around the camp fire. I won't be back home until Thursday night and will share that footage then. There were some darker embers that weren't getting radiant light cast on them so between them and the obvious highlight and white levels from the fire itself, i think that is a good test of dynamic range. Just looking through that amazing EVF it looks impressive, but I font know until im back at my desk (plus im still a noob at this level of colors and dynamic range). As for my settings at this stage, im ETTR'ing at 94+ with S-Log3 and S-Gamut.Cine with Focus nailed. I try to shoot at 180 degrees and wide open, reducing the ISO level needed. Once I feel I have perfected that, I will then start closing down the aperture and increasingly ISO. Right now in the corrective grade, the Leeming LUTs are leading to needed adjustments to magenta and cyan (and a touch green). What surprised me from my OktoberKest footage is that just starting with the S-Log3 straight out of camera lead to only a sight adjustment to magenta and tiny tweak of cyan. Versus applying the Leeming LUT added extra color adjustments. Most of that shoot was a dark and this was time I had tried using those corrective LUTs with higher ISO levels and/or the practicals caused issues not sure. I took regular shots of my colorchecker and my 18%Grey card to keep an eye on WB, so thinking Leeming has some adjustments to make for the a7S3. Please let me know if I shouldn't mention who makes the corrective LUTs I've been testing with. I can just say corrective LUTs if that is more appropriate, im just trying to be accurate Im most excited to try low light and RA with this camera. In fact I have my Ninja V in backpack and will be testing low light in RAW tonight. Just know there is something VERY odd happening with RAW right now. I ETTR at 94+% and it looks really good on my Ninja V, but once I bring it into my computer (I have the latest Apple ProRes RAW drivers) and then bring them into Premiere (also latest version), it has very blown out highlights. No clue why yet. I suspect I need to scrap what I have been doing for S-Log3 internal and experiment what exposes the best. Kind of sucks because the footage is so good looking on the NinjaV, which makes me think there is an issue with either the ProRes RAw windows drivers or Premiere or both with respects to RAW footage from the a7S3. So I hesitate to resort to exposing RAW differently since my workflow was going to include 1 copy going to internal and one out as RAW. The internal was fine but the RAW blown out. I submitted support "tickets" to both Adobe and Apple, this was a week ago.
  7. I hope so, but if not I understand. Im feeling like such a schmuck. Seemed harmless at the time, but now I see that eoshd is a real community with people who watch out for and protect that community. And THAT is a real rarity online and one that I want to be a part of and make things right with. I will do what ever is asked to repair and make amends for what I did. I really appreciate the offer of forgiveness, that means a lot.
  8. You are absolutely correct. My apologies I was trying to address the rules that I broke and focusing on that. I should have lead with a sincere apology first. Im ashamed and truly sorry. Im used to dealing with people in person much more so than online. Not an excuse. I really want to work through this shame and prove over time I am a good person and eventually will have things of value to share. The integrity comment really hit me hard, and am reflecting on what I have done. I got wrapped up in the "unanimosity" and lost my sense of person and how my actions affect the group of people I am connecting with. I can only promise it will never happen again. But if you choose to ban me or what ever it is called, I completely understand. My deepest and sincerest apologies to everyone here.
  9. No products or services to sell. I only mentioned Leeming LUTs because I thought they were considered neutral corrective LUTs. I don't care what LUTs people use, but do want to communicate what I have chosen to start with. I shared a Vimeo link because its better quality than YouTube and no commercials. I just want to share what I could on a camera I've been waiting a long time for and learn and work through the new options. Its hard starting out on these bigger forums and getting any feedback. If you look back over my posts, I think you will see how much I've shared what ever I could find and put a lot of time into it. Right now I'm trying to work through my new A7S3 so I can get the most out of it. Im new to 10bit and RAW, so was hoping to get these new workflows dialed in. Along the way I was planning to share what I learned. Sony agent? Now that made me chuckle. I do have a Sony PRO Support account and try to get info from them to share here, and have. Even taking questions from here and getting accurate answers from Support. I do have mostly Sony gear, kind of stuck now, too much glass and time with the system. In the past I just made hammocking videos and published to my tiny YT channel, named after my trailname Hang4Fun).. But this year I am starting to do paid shoots. Been trying to learn the ropes and share as I go.
  10. Hey John, here is the updated video with the 5 different video settings in camera (as it should have been the first time, lol) https://vimeo.com/464041748
  11. I gotta stop using my cell phone and use my studio setup more, when publishing stuff... smh. I just had Premiere publish it straight after the export, since I was rushing out the door. Then I checked it quick on the road with my phone, and it looked fine. It wasn't until someone mentioned the blacks and the AUTO option, and I checked it as soon as I was back in studio and was about horrified, lol. I've never used AUTO before and didn't know what damage it could do, but I also didn't want to do my own interpretive grade. I think if you naturally focus on the brighter area's there was quite a bit of white and highlight detail, maybe they were also on cell phones. No clue, I'm just glad we caught it. I'm still looking for the most neutral corrective grade beyond the Leeming corrective (since just doing that produces a dark image). Any suggestions? Something repeatable that most would agree is as neutral and plain of a starting point as possible.
  12. Ironically, I am shooting at a brewery today, lol. Doing an OktoberFest, plus some B Roll for an upcoming commercial and interview series. I'm scrambling, I think my capture is good, just have a lot of work to do with the 10bit footage in post (I have not worked with much 10bit 4:2:2 before now). The A7SIII is performing great, I just need to step up my game now I think your image looks great btw, checked it out on my big screen and on my studio monitors (pair of BenQ SW320 which I calibrate weekly for my large scale printing). Now if only I drank beer, I could have all the free beer I wanted tonight. Just never liked the smell so I never tasted it (plus my dad drank enough growing up for the two of our lifetimes, so..)
  13. funny you ask, was already working on it and put that 1 minute clip on vimeo. Again, I am JUST trying to arrive at a neutral starting point that is ready to grade in any direction (camera match, creative grade, etc), so this is not what I would consider graded. Let's just call it a "corrected, straight out of camera" https://vimeo.com/user122394328/review/464521609/7b8f73ae37
  14. OK, I reset everything and now just looking to apply the corrective LUT and some level of a neutral starting grade. Here is just 24 second clip of one of the first clip. Just goes to show, I was so focused on the highlights, I completely ignored my blacks and shadows. I think from here, a decent creative grade could be done, with plenty of room to push it. https://vimeo.com/user122394328/review/464516430/65a7a1eb4d Below is my workspace AFTER removing the damage from AUTO, and doing what I was trying to avoid (basic grade that might have my interpretations in it, but oh well). And here is the cringy BEFORE, where I hit AUTO on my video layer and later when I went to see what it did on my adjustment layer, it looked to be no changes, when in fact it was. Notice just how crushed the blacks were with the auto button and it just goes to show you, not to focus on any one aspect. I would really appreciate feedback on what is considered a good neutral starting point after ETTR to 94+ and then applying the Leeming corrective LUT for S-Log3. I'm looking for some good starting point that you could then take and apply a creative LUT to match another camera or do a custom grade to taste. Any suggestions would be greatly appreciated.
  15. I figured out what happened. I use Adjustment layers in Premiere, and normally work on it. I applied the corrective LUT first to the layer, and then went and did more edits. At some point the "AUTO" was done on the video itself, and I went on and did other things. Then when I checked the first time, I went to the Adjustment layer and it looked like AUTO didn't do anything, so it was just the Leeming corrective LUT. When back on each video clip was the mess that AUTO had done.. SMH What I was hoping to achieve was a neutral display of the various codecs and options with movement and challenging light. Your process commented above, is more of a full grade. Any suggestions on how to keep this as neutral of a test as possible, yet still get the footage past the typical dark starting point of the Leeming corrective LUT? I'm looking for a very repeatable process that will take us right to the point, anyone would start with that corrected footage and apply creative adjustments from there. Also, it sounds like you have your RGB Parade in 8bit, since you mentioned 16-235 (on a 0-255 scale or 8bit). Mine is set on 10bit which obviously is showing 0-1023. Since I am publishing this Vimeo that supports 10bit, I was thinking I should be in the 10bit color space. What are your thoughts on that?
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