jonpais

And now it’s the turn of the smartphone users.

Back to the sensor controversy for just a moment: if pressed, do you think for an instant that Panasonic would admit that their Leica Summilux 12mm f/1.4 was designed by Sigma? ?

Off topic again, apologies to @maxotics. ? How about HDR? Log or RAW are required for delivering high dynamic range. Rec.709 is limited to five or six stops of dynamic range (assuming perfect exposure and white balance), and SDR displays have at most seven stops: whereas HDR has several stops more. Up until recently, while cameras like Arri have been able to shoot fourteen stops of DR, we’ve been limited to seeing less than half of this because display technology has taken years to catch up. If I understand you correctly, Log is a trade-off: less saturation for more highlight detail. But now that we’re able to see as many as five stops more dynamic range isn’t it worth sacrificing a bit of color information? BTW, I’m one of those who did terribly in math!

@maxotics Thanks.

@FoxAdriano Press and hold any function button for two seconds.

Serious. Are you trolling me or just joking, Mattias?

Why would someone bother to use a $2,500.00 production camera to shoot women taking selfies with their GM5 in harsh afternoon light? What a farce!

@maxotics I know you’re an advocate of linear profiles, but aren’t they more contrasty, with less highlight information than LOG? Why is it that the pros all shoot RAW or Log? I watch shows like Chef’s Table (shot on the Red), and can’t believe the beautiful color. Right now, I shoot HLG, which is the best of both worlds for me at the moment. ?

@Alex Uzan Yes.

@yiomo Why don’t you have a look at this video?

@Spgreen65 It’s available in both 4K and 1080p.

It is if the footage is all blue when that’s not the intent or doesn’t reinforce the story. I find the color far too cool. YMMV

footage?

If anyone’s got any steady handheld, gimbal or shoulder rig footage shot with the GH5 with IBIS turned off, no slo mo, and no stabilization added in post, I’d love to see it. Not someone else’s footage, mind you - your own! ? That should settle the matter, no?

He still concludes that the GH5s ‘is not for me’. Two other observations: all but two shots are slow mo bcs it’s nearly impossible to get steady handheld shots with no support, especially with a humunguos tele like the one he uses at the beginning (which is child’s play with IBIS); and two, he says his rig isn’t heavy, but I’m shooting with virtually the same setup this morning, and I can assure you that with a cage, Ninja Inferno and two NPF batteries, it sure as hell is! I’ve got a Bright Tangerine Titan on mine though, so that’s going to make it even worse. ?

ETC mode. ?

@Axel I actually set it to 1080 24p. I am a little closer to an answr, but this is really frustrating. First, UltraStudio is supposed to be compatible with just about every system and NLE under the sun. It says so right on the box! ? I thought I’d post my question in the BM forums, but there are 10,000 questions, very few answers! ? Anyway, this is where we stand now - Desktop Video is working. UltraStudio is working. Ninja working. However, when you install Desktop Video, there is another app called Media Express that also appears in the Applications folder. I believe it is a player. I believe it must be opened in order to use an external monitor. But when I go to open it, it doesn’t recognize the UltraStudio and won’t open. I Googled and couldn’t find a solution. If I can figure this out, I can continue publishing workflows. If not....

@Axel I just finished watching Arri’s master class part two on lighting for HDR and Karl Walter Lindenlaub talks about being able to pull highlights down in post, but you’ve got to be extra careful about clipping I guess. Arri stresses the importance of having an HDR monitor on set, something us mere mortals could never afford. ? I also found the part about motion judder interesting - apparently it’s something DPs have had to deal with since the digital era, but now it looks like they’ve got to be extra careful. Edit: Arri diesn’t actually insist on HDR monitors on set, the reason being that they are not widely available, but if possible, they recommend having both SDR and HDR monitors on set, not to guard against clipping but to ensure that the creative intent of the scene is represented in both formats.

In one of Arri’s papers covering the basics of HDR, this stood out the most (concerning making trim passes for diiferent deliverables): Should I grade HDR or SDR first? There is no consensus in the industry yet, which color grading strategy is better. Both approaches are being used today by HDR productions. The advantage of first grading for SDR is that most displays currently are still SDR, so you are grading first for the largest audience, and then making an HDR trim pass to also have an HDR deliverable. The advantage of first grading for HDR is that we have often found that this in turn also makes for a better SDR grade. However, the client who has seen the HDR will not be happy with the SDR. [italics my own] ?

@Inazuma yes, the footage looks bad, but fun to see all the ways they come up with to showcase Arri. Or painful.

This for all those whining about the lack of IBIS on the GH5s. This is how the pros do it. ?

Here is part III of my workflow for grading HDR in FCP using the Ninja Inferno. This part is a little sketchy, but it's getting late, so I'll have to double-check everything and maybe even call customer support in the morning if I can't figure it out. But we're getting close to our objective. Part III

A crash course in HDR (and how the major studios make as many as 400 different types of deliverables). (

not obvious to me I guess.

I just might be able to understand posting a topic like this years ahead of the next release if the GH5* wasn’t already an enormously capable filmmaking tool jam-packed with videocentric features like wave form monitor and vector scopes, anamorphic de-squeeze, dual IBIS, dual SD card slots which, unlike the Sony, both record at the same high speed, unlimited record time, world camera, headphone jack and mic input, decent preamps, internal 10-bit 400Mbps ALL-Intra, no overheating, sensible menus, class leading battery life, 4K 60p, HLG, the ability to store LUTs and save settings to an SD card - all at the ridiculously low price of $1,800 - making it even more of a bargain than the GX80/G80: but I’ve yet to see any work at all from the complainers that even begins to approach the level of filmmaking displayed in Wex Photographic’s lovely Slovenia video or Bernard Bertrand’s all too brief boxing video, as well as dozens of of others shot with the GH4, GH3 and GH2. I would recommend instead doing what others like @Oliver Daniel are doing - which is to go out and hone your skills as a filmmaker. If better low light performance, a full frame sensor and PDAF are what you want, these needs have already been amply documented. What exactly is the point of this thread?