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Blackmagic Pocket Cinema Camera 4K

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I think the red clipping has beed adressed somewhat already.

43879064_10161009924555494_1990007718609

quoted, not my words.

"The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway."

 

Give it a shot, to see if it helps, this interests me as well.

Best regards

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
4 minutes ago, jagnje said:

I think the red clipping has beed adressed somewhat already.

 

quoted, not my words.

"The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway."

 

Give it a shot, to see if it helps, this interests me as well.

Best regards

would be good to see a before and after.

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I have already tested this method. It works very well as far as you manipulate raw files. It desaturates the reds, providing some high light roll off without touching the rest of the image. 
But it is more difficult with prores files, because it can slightly desaturate not only the reds but also some other parts of the image, including skin tones. And it is worse with files recorded with a baked lut. 

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The user says that it happens with Ursa 4.6 as well...I have shot tons of footage with it and have not noticed it yet, so maybe it`s not that big of a deal. But then again I didn`t shoot that much ultra saturated reds.

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I have never used an Ursa, so I don't know, but I believe it's true, coming from Captain Hook own's words. Concerning the BMPCC4K, once you spot it one time, yo can see it in every night city scenes. Maybe you don't notice it on youtube, but on a big screen, it's very disturbing. 

Capture d’écran 2018-10-16 à 16.59.31.png

Capture d’écran 2018-10-16 à 16.59.55.png

 

6 minutes ago, Andrew Reid said:

Does it clip the blues as well?

No, the blues are much better handled. 

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4 hours ago, Slothorp said:

I dit another test with a simple domestic RGB led (hence the flickering) to show how the BMPCC4K reacts in the red channel, both in raw and prores. With other colors, when overexposed, there is a gentle roll-off, but in the red, it clips with a very harsh way, and a strange color shifting. There is also much more noise in the reds. 

 

Could you please upload few DNG from the video above?

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9 minutes ago, Slothorp said:

Later in the evening, yes. 

You can also download a prores file from my previous test here :

 

The prores is already clipped. RAW is cannot be clipped, because gamut is chosen in the post process. And i think this is the same problem what we already saw with sony cameras.

Probably the raw is perfectly fine with proper post processing. It should be. I hope so.

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You can lose information in the highlights, prores or RAW, once it is overexposed. But with the red channel, it clips without white creamy halo. The RAW post-processing allows you to bring down the saturation and give a highlight roll off. But if you do the same in prores, other parts of your image are going to be desaturated. 

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So they released the list of cards, drives that are officially supported:

https://www.blackmagicdesign.com/support/

And I find it interesting that they say that the Samsung T5 does different flavors of RAW depending on size, like the 500Gb can not do as much as the 1Tb. Anyone understands why? I might go ahead and get those Sony SDs 128Gb. So expensive but I've decided to go with SD for on the run and T5 for actual projects.

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56 minutes ago, TILT said:

I think it's the same on any Viltrox Adpaters.

The viltrox  doesnt have a lock screw as the threads are greased so you just adjust and it stays put. You can put some grease ( damping grease) in the metabones to do the same and do away with the lock screw.

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15 minutes ago, Slothorp said:

Attached you can find some dng files taken from the test. And in the link below, you can download the same test but shot in prores. 
 

 

 

 

A002_10130258_C022_000225.dng

Blue 400 iso.dng

blue 3200 iso.dng

red 400 iso.dng

red 3200 iso.dng

Thank you very much.

It's a processing error just like with sony footage.

Switch to bmdfilm log and gamut on the raw tab, and add a gamut mapping node to convert it to rec709 with saturation and luma knee. The color will roll-off perfectly fine in all of the examples.

But.

With v3 colorscience (i have resolve 14) the hue is shifted from red to orange. Strange. Maybe v4 is more accurate.

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FWIW, especially shooting in ProRes, I'd avoid shooting in Extended Video.

I did extensive testing with EV vs Film log and there's no reason to take the hit on DR...especially baking it in.

Monitor in EV if you like while shooting FIlm and then it's simply one step to apply EV in post which will look identical on scopes to EV in camera but with the latitide to get the full DR of the new camera.

Also, when shooting ProRes I don't bother with Resolve as FCPX is optimized for it and really fast  - even UHD, even on a MB pro.

Also, if using the EV LUT in FCPX, I've found dialing in to around 30% after balancing initially with the scopes is the sweet spot.

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I agree with you that it's better to shoot in film log. But it's also a fact that the red clipping takes away the possibility of shooting in prores with a baked lut in certain situations, which should not be. And the only way to avoid the problem in prores, even if you shoot in film log, is to use resolve. You can't simply ingest your file in your favorite Nle, such as FCPX. 

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