By Grégory LEROY
I've noticed a change in color temperature when I tweak the contrast setting on my Nikon D5500.
I set the WB manually, same WB setting for both camera and here is the result:
Standard Nikon color profile, Contrast 0, sharpness 0:
Nikon standard profile Contrast -4, sharpness -4, contrast and sharpness edited in premiere afterward, but I didn't tweak the color temperature at all:
How do you explain that the 2nd picture is more yellowish? Does tweaking the contrast level in camera impact the WB?
I prefer the 1st picture look (Nikon standard profile), as a result I don't touch my image setting anymore.
Hey guys, just finished this one we shot in 2014 (yeah, that's a long way back). This was my second time using 5dmarkIII and RAW except this time we shot way more material. It's not very good but we got it finished so I guess that counts for something ay? Sorry about the accents, we are from Finland so our english ain't the most natural. Learned a shit ton while doing this.
If you have any questions about 5dmarkIII raw, just shoot away. Everything is upscaled to 4k here.
By Neil Creek
Hi! I'm new to the forum, and a recent purchaser of the EOSHD 5D3 RAW video ebook which has been great thank you very much!
I learned about Cineform from the book, and at first glance it seems like a huge boon: smaller file sizes, fewer post production steps etc. But today after converting my first full 5D3 RAW video shoot with Cineform, I noticed it didn't seem to be as sharp as I expected.
Let me briefly explain my old and new workflow and perhaps someone can tell me if I'm doing anything wrong:
- Copy ML RAW video files to HDD
- Point Rawanizer to the folder and batch convert all clips into a DNG sequence using the dcraw option
- Import the DNG sequence into Adobe After Effects, using Adobe Camera Raw to apply some general grading, colour correction, sharpness etc
- Drop the import into a composition and scale the composition to suit the length of the clip
- Export to a DNxHD "DNX 120 1080p 25" encoded .mxf file
- Import all .mxf files into Premiere for editing
- Copy ML RAW video files to HDD
- Point Rawanizer to the folder and batch convert all clips into .avi files with the Cineform option (-422 parameter for the free version)
- Import all .avi files into Premiere for editing
- Apply grading and sharpening in Premiere
As you can see, the new workflow has fewer steps, and I end up with much smaller files, which is great. But even before I apply sharpening to the DNGs in the old workflow, those images are FAR sharper than the ungraded Cineform files. It almost looks like the files are 720p not 1080p.
I've attached a photo illustrating the dramatic difference. The Cineform is on the left, and the DNG is on the right. The DNG has had no processing done to it, this is how it looks with all ACR sliders set to their defaults.
Can anyone help? Thank you!
Digital Bolex is now holding pre-sales on their website. www.DigitalBolex.com.
It's a big moment in camera history! Congratulations D16 backers as well as the production team behind the D16.
Digital Bolex is fulfilling pre-sale orders within 8 - 12 weeks. One surprising factoid is that the camera has an internal hard drive option. It's the buyer's option to purchase a 250GB or 500GB internal SSD. Additionally, they are offering a number of different products including accessories and apparel.
As stated in the D16 advertising, the camera costs about the same as a Canon 5D III. However, if you are a hot-rod camera enthusiast like myself, you're going to find a great deal more camera accessories for the D16 than the 5D III. For example, the BMPCC Metabones Speedbooster. Don't let the name fool you. This lens option will push the D16's low-light ability beyond the BMPCC's big brother the BMPC. Just a reminder here, the BMPC and the D16 are the only two budget-minded professional Cinema DNG cameras with a single-plane sensor offering global shutter.
On somewhat of a side note, why is the camera called the Digial Bolex D16 and not the Digital Bolex S16? Could it be that by offering shooters the entire 4x3 sensor plane that this camera will be better suited for anamorphic shooters and/or cinema photographers interested in shooting unique aspect ratios? Either way, this sounds like a huge step up from BMPCC software developers. It might even come across as a parallel to 5D III shooters backed by the incredible team behind Magic Lantern.
By Ergo Zjeci
Bit expensive but still looking good
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