sunyata

I think they jury is still out on 4k adoption rate. For broadcasters, they have a reason to take a cautious approach. The people that I know that work in broadcast have no desire to start working in 4k, the budgets aren't going any higher, just the opposite, and the time it will take to capture, render, copy, view work, meet deadlines, there's no pay off for us. It's really the people that sell hardware that are pushing for it. Content providers also are going to take a wait and see attitude, they got a little too excited about 3D.

New product.

mozim.. you can try using a negative green by dragging a color wheel a little towards the yellow to red side.. that should be the same as a negative multiply on the green while also doing a bit of a temperature shift in your scene to more of a sunset feel. it's gonna be a little tough though with all the moss on the trees, but moss can turn brown when it's dry.

Smells like clearing out inventory for a new product... it's tempting but I want to know what is going to replace it.

Nice, lens flares and the camera shake feels a lot like a super8 home movie. About the A7s gamut issue in S-Log2/S-Gamut mode: Just wanted to post this color transform matrix here for anyone looking for just the gamut conversion. S-Gamut to sRGB: 1.87785 -0.79412 -0.08373 -0.17681 1.35098 -0.17417 -0.02621 -0.14844 1.17465 This was actually inside Nuke 8. This is just the gamut color matrix conversion. The color space, gamma and illuminant conversions are not represented.

Well, I do with stills but just for personal use, and I develop my own E-6 and scan it, it's just a hobby. Cibachrome is dead now, the chemicals are too old, even if you can find them, so that's another issue with the end chemical printing format dying. Deluxe closed it's Hollywood lab in March of this year, and although people can still make prints, that's a clear sign of things to come. Avatar effectively killed film projection when all the theaters had to upgrade to digital to show 3D (Even the historic local theaters like the "Bruin" in Westwood are proudly digital now). But TV shows like American Horror Story are still shot on film - mastered to 2k and you can still benefit from the look of film, even seeing it through a digital medium, that doesn't exactly convert it to be the same as digital native. There is a tribe of younger cult-movie vegans in Los Angeles that are desperately trying to find

You can also develop E-6 yourself with this kit.

I'm with you on that.. I miss working with Cineon scans, it was well documented, standardized, looked great even at 2k. You should read this: http://jamesriverfilm.wordpress.com/2012/10/25/the-true-cost-of-filmmaking-in-the-21st-century/ I'm watching on an Epson HD projector a Jean Rollin film, with horrible effects.. bad acting, gratuitous nudity, of course it looks awesome. It was shot on location somewhere in the french countryside, early 70's. Could I watch a movie this bad if it was shot on a GH4? I probably would have stopped after around 15-30 seconds. (He's got serious focus pulling issues btw, but it makes no difference) The other issue is digital projection. If you love film, you're going to have a hard time finding a theater that will project light through it. We're basically watching high quality TV in theaters now. From the article: “Here’s a surprising fact that independent producers may want to consider before they write off film as “too expensiveâ€: There were 120 films in competition at Sundance this year. Based on our research and conversations with Kodak and Fuji only 5% were shot on film… and yet that small minority took 100% of the most coveted Jury and Grand Jury prizes in the US and World Dramatic competitions, as well as winning the Excellence in Cinematography Award in the US Dramatic category. It’s true that producers of sub-$1M independent film need to watch the bottom line… but isn’t the ultimate goal to win awards and thereby sell the movie?†Maybe at some point in the future though, someone will invent an affordable chip with a 3-layer process, flaws and all, with natural grain.. then this argument will probably be over.

jcs... I was responding to your comment below. ... not suggesting it was a fix for the color issues.

From the pdf. Recording system (movies): Color space = xvYCC standard (x.v.Color when connected via HDMI cable) compatible with TRILUMINOS Color http://www.sony.net/Products/di/en-us/translation_img/products/vq5f/overview/spec.pdf this is probably the reference. b.t.w. the sLog2 vs sLog3 image was just to show how much higher middle gray was on sLog3..

I just re-used another test project I had set up, check it out:

Yes, that's understood Luke... it's just an experiment, nothing empirically correct (not yet anyway). The issue was trying to fix the greenness in the skin tones, I personally don't use 3D LUT's for baking in color transforms, I primarily use them for pre-vis and only use 1D transforms for converting log to lin etc, because a lot of what I render has to leave the main plate untouched. In this case though it's an interesting challenge. jcs-- The difference btwn sLog2 and sLog3.. more detail in the low end, less in the highlights, people claim more noise vs Slog2.. 1.5 more advertised stops. -- It does look like with what Sony is trying to do with the A7s, i.e. cram a lot of dynamic range into 8bit 4:2:0, sLog3 might not be a good fit, harder to correct, you may have to stretch the top end and compress the toe even more. And it looks like it would be more prone to clipping... hate to sound like a broken record but these profiles need 10bit.

Remember you're shooting 8bit 4:2:0 - unless you are exporting 10bit - I wouldn't shoot against this uniform, neutral background, this is the worst case scenario for noise. I would go brighter, pure white even, because you can still get macroblocks as you go darker against a uniform wall like that.

Not sure about the "nonlinear S-gamut Color Mode", but I was doing some research and found a Sony whitepaper that had some useful formulas for s-log conversion, although it's a little dated. In the appendix there was this conversion matrix for S-Gamut to a "conventional" color space (HDW-F900) that is described as: 4.1 S-Gamut (Color Space Conversion) 4.1.1 F900 Color Space "This color space should be used when users would like to match colors of images (like F35) to that of conventional Sony’s camcorders representing the HDW-F900. S-GAMUT to that for conventional cameras is shown below:" (it's kinda camera specific) But I tested these values anyway in a Nuke ColorMatrix node on A7s footage, after a manual sLog2 to linear conversion, and it actually looked pretty good (color-wise), maybe still a tad desaturated. Still looking for XYZ. [Updated] Had to use Alexa LogC to Video gamma, extended to extended, noscale, then apply an "S-Gamut to sRGB" 3x3 transform. So basically, got in range of correct with gamma and then the S-Gamut to sRGB, although now slightly over-saturated with blues compared to the F35 to F900 transform. It still needs work, but it's not too over stylized. Just a 1D gamma from Arri and then a 3x3 color transform, you can add whatever gamma and grade you need after. Still trying to make a better S-log2 to linear 1D transform.

Seems like an obvious suggestion but have you tried dustbusting the sensor, physically?

Could you record at a high iso against something very low light w/o any lens on at all to confirm? We're isolating the fpn noise with the BMPC by recording with the cap on at 600 ASA, but it takes about 150 frames averaged to isolate the pattern. Some dead pixels - or way off - always show up too. At the end of the video you can see the single pixel spots: http://vimeo.com/97086596

It doesn't look that over-saturated to me, just more contrast.

Want to qualify by saying the image looks very nice as a static in RGB, color grade preferences aside, but this is what a moderate 2d histogram test shows on the blue channel:

The website doesn't say this in the specs area but there is this graphic: and So I guess that's a confirmation, but only @ 24p.

I don't think the Ninja Blade has an internal scaler. In a previous post about exporting 10bit from the GH4, the test was outputting a 10bit signal via HDMI scaled 4k to HD 1080 before it went to the Blade, which was recording at 1080 10bit. I also noticed, doing a quick luma test, that it looks like the GH4 is undersampling, not exactly horizontal line-skipping but something similar. Assuming you can get 13 stops in video mode, "usability" would be limited by the 8bit 4:2:0 color space. I was told that the Ninja Blade didn't have a scaler, so you couldn't give it 4k.

I'm sold, spray me with organic glow!!

Ebrahim- I've never had to fix rolling shutter issues, but I did come across this tutorial when researching it: http://www.premiumbeat.com/blog/rolling-shutter-adobe-premiere-pro/ For Premiere, it seems to be a built in filter.. probably also in AE. It looks like unlike removing camera shake, the gate doesn't move around. There are 2 modes, "warp" and "pixel motion".. pixel motion appears to be temporal, warp appears to be progressive and a mesh warp like effect. Gate seems unaffected with both. Since you're already going to be dealing with a blurry image, I think the quality loss issue is probably negligible. Interesting fix btw.. the 4 lines at once trick, assuming that doesn't create some visible line separation.

Earlier in NYC: Quite possibly the most nauseating drone footage I've seen. Crank up the audio and go full-screen.

Just in case you missed it, a couple of guys wanted to fly around the Washington Bridge with a Phantom 2, only problem was that they forgot NYPD is not too crazy about unknown aircraft flying over their city. http://www.latimes.com/nation/nationnow/la-na-nn-nyc-drone-nypd-helicopter-20140708-story.html The NYPD claimed the drone almost ran into their chopper (that was chasing it), and that it was flying at 2,000 feet! But regardless, that was seriously batshit stupid.

I like it, but it feels like they may be relying a little too much on the one idea. On the showing mistakes topic though, I was lucky to catch some of Bruce Conner's films recently here in Los Angeles. He used to intentionally scratch, perforate or otherwise violate the surface of the film, as in "Three Screen Ray" which used some of his earlier 1961 work. IMO he's the father of music videos and a very certain style of motion graphics. But mainly exploring the idea that all the stuff that would normally be cut out, or deemed undesirable, was interesting visually.