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Showing content with the highest reputation on 10/22/2023 in all areas

  1. While I agree that it's very pleasant to grade a project where all clips have the same exposure level, I've found that I really like the ACES CC curve - because it's perfectly straight! This makes matching exposure a doddle. I just need to move the whole waveform up or down to match one shot with another. Again, if I could slap on a LUT and walk away I absolutely would - I would even burn it in! But for real world shooting it's incredibly difficult to nail exposure every time. And by "nail" I mean get the exposure that looks best to me. The topic of how to expose correctly is a rabbit hole when shooting outside of the studio: angle of the grey card to the light source, how to use a reflective meter correctly, worrying about K constants etc. Even when shooting negative film, there is always room for adjusting the brightness of the image in the printing or scanning process to compensate for "errors" in exposure. For me, with digital video, the ideal solution is to shoot log, adjust the signal in ACES CC space to balance all clips, and send that to a nice conversion. This is a slightly different approach to what @kye suggests in the first post, I think, which is to not accept a given conversion as is, but to grade each clip to taste after the conversion. Instead, I have a conversion that I feel is nice enough without further tweaking, but I am using ACES to digitally re-work the signal in such a way that it's very similar to what you would get if the scene were brighter/darker, high-key/low-key, warmer/cooler. In this way it's actually very similar to shooting RAW photographs and using a RAW converter. And it allows for conscious decisions such as ETTR strategies, as well as compensating for errors. So my post work involves a brightness slider, a contrast slider and a colour wheel. And that's it!
    3 points
  2. Yes, exactly! If you can get your NLE to make linear adjustments to the data then corrections are a breeze. I force Premiere to do it using LUTs. Log to ACES - corrections - ACES back to Log - Log to look LUT. It's a clunky workaround, but it works!
    2 points
  3. Hello guys, i just wanted to say that i just bought a Sony F3 with 444 RGB + the video assist (for just over 1200€) as my first camera after seeing what y'all said about it.
    2 points
  4. I plan to primarily use it with McPro24 for 10bit log, Motioncam rather as a luxury for raw cinema vignettes and image quality galore.:) I must say I was really impressed by some of the results i achieved with my Lumix LX15 i 8bit 4k. But under vety few conditions it looked like video no matter what grading trick i tried to pull off. Its raw files in photo mode have been a great joy to play with too. The M10 has a 1/1.33 sensor which equals a 2/2.6 sensor which is a tiny bit larger than the LX15 in its 4K mode, being about 2/3 inch sensor gate. So the M10 seems pretty tempting for its price. Buch better battery life too than a Bmpcc.😊
    1 point
  5. I zapped through the footage. Looks very nice. Looking forward to watch the whole thing with some snacks and some Radler. Thanks for posting. Presentation sounds also likeable, just like the presenter. Btw, the camping site video with the kids on the playground was nicely and engaging filmed. Like kye has responded to my criticism, footage looks like it can take some grading pretty well. I wished Panny would give us a compact cam with a dual gain one inch sensor and a manual focus clutch for 800 to 900 Euro/Usd. I will try the M10 or LG V60 route some time soon though. cheers
    1 point
  6. The dark side of nostalgia
    1 point
  7. I felt the image he created was nice but his analysis is balanced. Seems hopeful for the future.
    1 point
  8. It's literally all the same, the only reason the software looks different is that in video there are things you want to do across multiple images, e.g. stabilisation. You can colour grade video in Photoshop (I've done it, it literally exports a video file) and you can edit still images in Resolve. Every operation to an image that is done between the RAW file and the final deliverable is just math.
    1 point
  9. Actually, with proper colour management, it is Linear. The Offset control in Resolve literally applies Linear gain, just like setting the node to Linear Gamma and then using the Gain wheel.
    1 point
  10. If was able to nail exposure and white balance in every shot I wouldn't need any tweaking other than contrast. But I don't think anyone expects there to be a magic transform that doesn't require some small bit of work. We also want to leave ourselves a bit of flexibility in deferring some decisions until post.
    1 point
  11. Full circle achieved... Starting 36 years ago, I spent 5 years shooting and in the dark room with the camera on the left and then after a 10 year break from the industry, returned to it shooting weddings with one camera loaded with colour and the other, B&W. How far have we come now that it can do both, without ever having to load or change a roll of film and the cost of doing the equivalent, absolutely nothing. And at a flick of a switch, 4k video with up to 8 stops of IBIS. Other than a quick set up and play, not had a chance to properly put it through it's paces yet but it's got some mojo...
    1 point
  12. Pleasure! There is! 🙂 And it has got a faster readout speed compared to FF as well. I use it from time to time, if I am lazy to changes lenses.
    1 point
  13. Lol! I have used just one LUT for every single client job I've done over the last 5 years. It emulates the colour response of slightly overexposed Portra 400 film. I pop it on and adjust brightness, contrast and white balance in ACES space before the LUT. It takes 15 to 30 seconds to do most clips, and makes matching shots a breeze. I've made a new version for myself every time I get a new camera, so technically it hasn't been just one LUT, it's been three. But it does the same thing for each camera.
    1 point
  14. LUT’s and color are about TASTE. Most conversion LUT’s are for a standard like REC 709 and guess what…they don’t look that great. But they are accurate. So they make a technically correct transform that accurately maps a larger than REC709 gamma and gamut from their sensor into a very limited TV ENGINEER STANDARD transform that is super accurate (to REC 709). And even though we all say we want accurate color we really don’t, and not accurate color in a small restrained container like REC709. We complain. Fuji have at least some other transforms they ship with their camera and that’s the right way to do it. But if it’s a REC709 transform, it’s never going to look good. It’s not meant to.
    1 point
  15. It’s impossible to have a one size fits all LUT or else we would all be buying it. There’s so much variation in lighting and even sensor to sensor copy variation. Most people don’t realise that the color of a lens is usually DIFFERENT you shoot it wide open compared to three stops down. There’s no magic bullet for this. AI can maybe take over the color balancing at some point. Maybe.
    1 point
  16. For non paid I’m taking a break from dedicated cameras and will be looking to upgrade to iPhone 15 just shocked
    1 point
  17. I found a good test video of h265/LOG vs ProRes/LOG with the Blackmagic App.... for most cases you probably can get away with h265/LOG saving the clumsy SSD that defats a bit the concept of using a phone. Files are much smaller and you can do 4k 60p LOG internally.... good to have options https://www.youtube.com/watch?v=JpO06mdN7mk
    1 point
  18. Use Blackmagic App for free and record in h265. And recording to an SSD with the many solutions shown to be helpful is still a smaller form factor than a canon r5
    1 point
  19. I don't see anything wrong a/'the' due balance won't solve, really : ) This is SIMPLY amazing for a cell phone capture device at this point of the course. Hard to resist, we're going in the right direction. Overprocessing (not processing, actually ; ) have always killed my interest to use these toys and now that we cannot call it like that or we're just justifying why we're not in the mood to spend over a grand (!) for it, I believe there's not much to tell other than celebrate it, finally. I've tended to see film as oil painting realm, so I am OK with. Once people or object in the frame (because there are those outside : P) are well shot, why to portrait the lines of the imperfections of the subject? Brain must build up the leftover from the 'oil painting' we give to the viewer. We have the other cell phone cameras for the remainder as we need it. I don't. EAG :- )
    1 point
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