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Sage

Pocket 4K to Alexa Conversion

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Attila does great work, he has an excellent grasp of the technical; highly recommended

That 4K 60 sounds quite good (super-sampled 10 bit)

Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun :) ) That being said, I think today I've fully tested it, and everything is working really, really well.

This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison):

V4:

Untitled_1.1.1.thumb.png.0c6f13dd3cdd897a66edb9fe11d1ea60.png

V3:

Untitled_1.1.2.thumb.jpg.e08e966c0a04ebda79012bbc91b3409d.jpg

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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

All of this just makes me really excited for the X-T3 version!! Any estimates on when that one comes out? It's a really popular camera that really needs some of your help :)

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On 1/9/2020 at 1:27 AM, Sage said:

Attila does great work, he has an excellent grasp of the technical; highly recommended

That 4K 60 sounds quite good (super-sampled 10 bit)

Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun :) ) That being said, I think today I've fully tested it, and everything is working really, really well.

This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison):

V4:

Untitled_1.1.1.thumb.png.0c6f13dd3cdd897a66edb9fe11d1ea60.png

V3:

Untitled_1.1.2.thumb.jpg.e08e966c0a04ebda79012bbc91b3409d.jpg

So that may actually fix the dark and lifeless reds I've had? Anyway, looks like a great improvement. :)

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can't wait for the release either... Just got an OLED TV that i want to calibrate tonight. the new GHa release comes at the perfect time!

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XT3 is in the plans, indeed. At this moment, its down to documenting the process of adding a camera to the server, and then streamlining the Pdf writing process as best I can (later today). This will make a camera cycle as efficient as possible.

From the LogC alone, V4 isn't that different from V3 for the average image. When saturation becomes more extreme, V4 is quite a bit better (much, much more accurate to Alexa). And when using V4 on unintended formats (i.e. Rec709 footage), V4 holds up, while V3 doesn't. Here is a comparison with one of the more saturated images I've got (most notable shift), using Soft (most equivalent variation between 3 & 4):

V3

Untitled_1.1.2.thumb.png.bf26697555f91adfe082803aefe6e188.png

V4

Untitled_1.1.1.thumb.png.1e5f1a2d284aa6fc52756a470155a1ea.png

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He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

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17 hours ago, Sage said:

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

You are right, and you are a gentleman, because you didn't mention, that for ultimate precision your LUT is still the way to go. A matrix can get you close when you're lucky, but to transform all the color tweaks of a manufacturer, a 3D LUT is still the way to go.

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I could use some quick help.

I have just started using Resolve, basically for the first time. Fluent in Premiere, but complete and total novice in Resolve. 

I imported some clips and they looked as expected. Did a quick sync and edit. Then imported @Sage's luts into Resolves folder. So, didn't do or add anything to the clip itself. Once I had brought the Luts into Resolve, my clip immediately changed. Not in the media browser, but in the timeline, and I think Master bin. I can't seem to turn this exposure or color correction off.

Thank you.

1515749485_ScreenShot2020-03-17at8_27_31PM.png.e6dc5e15c5e3e61d9900de5e6da84b09.png1071408349_ScreenShot2020-03-17at8_27_11PM.png.2f2a4fe809fd1fec27c4c765199f924f.png

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Hmm, that's a strange one. When a bug like this happens at project level, I often start a new project and import everything. One can export the timeline when it is highlighted in the project bin, through File > Export AAF, XML. That will often strip the timeline of project level bugs when re-importing to a new project.

And, place the whole EC folder into the Resolve folder, and refresh in Resolve (as compared to a single cube, etc). This way, you can have the ABLs and Exps in folder order right next to the conversions. Here's -.66 + Day Lin + Abl2:

small.png.01b7afe0069153afde593af02b8556bd.png

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