kidzrevil

I like 4k simply because I get a full pixel readout from sensor and downsizing to 1080 reduces apparent noise. To me that is the main benefits but I definitely understand that it can be way too sharp at times. I rather have good DR but good luck fitting anything over 11 stops in an 8 bit image without introducing major artifacting (a7s slog2 and technicolor cinestyle guys this is for you). Im comfortable prioritizing my exposure to fit what I need into 10 stops though. Consumers dont care for wide dr anyhow they like contrast and color. I remember sending clients images that looked "natural" to the eye only to have them throw a ton of instagram filters on it to show their audience *shrug*

I'm in love with the zeiss milvus 21mm and 50mm

@Bioskop.Inc thanks man I really appreciate that. I will never give up my style for anybody but I at least want to show whats possible using these luts.

just graded these with deluts. Some 4k stills from my NX1. Brought down the blacks so the lut didn't have that washed out look you guys hate about it

I personally love the look of muted highlights and washed out blacks

Cliptoolz on pc is one way to do it and they allow to select the files original luma range before transcoding

@Otto K +1 for internal

I magnify the screen then adjust focus till it looks as sharp as it can get

Im uploading in Cineform from now on. The compression quality is amazing

I always use NR before grading unless I cant get a good profile in Neat Video

Nikkor ai-s

@Don Kotlos @Pavel Mašek I recently shot a video using a tiffen pro mist diffuser and I have noticed a wider range of gradations captured in the highlights with 16-235 than 0-255. Seems to be an actual gamma shift introduced into the picture profiles depending on your luma range. I also tried playing with 0-255 with a raised master pedestal and didn't like it so I'm settling on 16-235 and just using a profile that is not totally flat. Getting a saturated (not over saturated) image that you can use straight out of the camera seems to be the best option especially when using something as limited as 16-235 I will be posting all of my findings sometime soon in like a pdf or something

still waiting for sony to give us a full frame a mount body with good video. Their answer to the 5d mark iii just with 4k and ibis and full pixel readout buttttt one can dream

could be ! The h.265 compression is a mystery, especially on the nx1. 16-235 seems to be the sweet spot. I'm testing 0-255 to see if the detail is truly there and can be brought back in range or it is truly lost. So far its looking like we are getting less dr out of 0-255 on the nx1

Is it just me or does it seem like you are getting a bit more visible detail with the 0-255 to 16-235 conversion @Pavel Mašek

@Pavel Mašek @Marco Tecno This luma range thing is a big headache man but we gotta get to the bottom of it. Damn thing is critical to the output of the image ?, I was going to try 16-255 and see how that works but I think i'll go for 0-255 with a +15 master pedestal

@August McCue 2 is fine. Depends on the lens though

I Think the luma range system works entire differently for the nx1 than the gh4 although it shouldn't. The luma ranges on the nx1 affects how it camera will compress the image. I just about always encounter weird artifacts and macro-blocking in some of my clips after a day of shooting with 0-255. 16-235 doesn't have these artifacts or they are "hidden" in the deep shadows where as 0-255 seems to be amplifying. My guess is that the picture profiles change how their curve is mapped based on the luma range selected

Tiffen black satin or tiffen black pro mist 1/4-1/8

Noticed the highlight clipping in 0-255 vs 16-235 as well @ReinisK there is def more DR there...strange. shot with 0-255 recently and regretted it especially when I see the results of 16-235 which were much better @Geoff CB Gonna try 16-255 next because premiere clips 0-255 blacks and when I grade with impulz luts it brings the highlights back into range but the results arent as good as the shadows. 16-255 could be a good balance, will test

Has anyone noticed macroblocking at high iso's take on a "wavy" texture in darker areas ? It almost looks as if the background is swimming ! I wonder if its a bitrate or NR thing or something that can be solved with mjpeg.

I liked my a7s, especially with my voigtlander m mount primes ! Hated it because of the color and blue clipping. Sony really needs to work on their color and batt life. Hoping they can fix this with a new a mount camera

weekly*

@Cinegain yeah Albert Fast has the magic touch. Definitely an understanding of the cams limitations and knowing what to do in post helps. Im straying away from LUT's since its making less sense to use a preset look with these luts when im already satisfied with the color of my nx1. Lets not forget the artifacting and macroblocking that some luts can introduce even when using noise reduction

Albert Fast's shit makes me want to get a g7 LOL im gonna hold out for the gh5 but the g7's image is amazing