majoraxis

I wear mask when in public and at work. I know it’s not supposed to stop me from catching the Coronavirus, but it stops me from touching my face, so in a way it helps me not catch it. I tell people when I can tell they are wondering about the mask and wondering if I am sick, that as far as I know I’m not sick and that I think if everyone wore a mask for a month it would help stop the spread if you do all the other things like washing and sanitizing your hand and don’t touch your mouth noise or eyes. I bet at some point The majority of people will be wearing masks, unless you are already a Coronavirus survivor or they offer in mass some type of vaccination.

@thebrothersthre3 Thanks for this thread! Please post if it works well or not and if so, a link to purchase it. Thanks! Mark

Seems like Kinefinity would like to encourage purchasing of their products before NAB, which is the exact opposite of what people should be doing, unless their is an immediate business case to justify their purchase. That said, at the right price it makes sense to purchase just about anytime.

I remember that was what they said in Los Vegas at NAB in one of the interviews. I liked the images I saw from NAB. Seems like they are on to something good here. The price is over optimistic and has to come down or they won't sell many IMHO...

In the "Blackmagic Pocket Cinema Camera 4K" thread it is mentioned that the sensor stack thickness of black magic sensors (being that they have a thinner sensor stack) may cause issues with the image with lens not designed for a specific sensor stack thickness. There is a mention of the Sigma 18-35 f1.8 being basically immune to this issue due to the fact that its is a very telecentric lens. Kisaha wrote in that tread : "3. How telecentric the lens is. (More specifically, how far forward the exit pupil of the lens is.) A lens with the exit pupil far away from the sensor is not affected by the thickness of the sensor stack very much. A lens with the exit pupil very close to the sensor is affected a lot." and drm wrote: "3. The Sigma 18-50 f/1.8 lens is pretty much immune from the problem because it has an exit pupil distance of 150mm." As sigma does not make an 18-50 f1.8, I assume he is talking about the 18-35 f/1.8. So the physics of the Sigma 18-35 f1.8 with its exit pupil distance of 150mm makes it very telecentric, which may explain in part why it is hard to beat as it finds itself on so many different sensor stacks thickness and still maintains its image quality. The telecentric quality of the Sigma 18-35 may also allow the image to stand up better when running through additional glass like a speed booster.

I was under the assumption that G2 was supposed to have a marginally improved image quality over the G1, but that does not appear to be the case, if anything it is worse. As slow motion is headline feature, it seems that the last thing you would want when shooting slow motion, due to the high shutter speeds and less light getting through to the sensor, is to have issues with your potentially under exposed image. Is this issue related to the specific sensor used for each camera? Doesn’t the Pocket 4K basically share the same sensor as GH5s? I have not heard of the GH5s having the green-under issue, so this is a mystery to me why this happening with these specific cameras. If it can be fixed in firmware, then the Pocket 4K would be on my buying list, if and when the green-under issues gets fixed.

I think Resolve is the future. The fact is that Resolve 16 is finally stable enough for pro users. I know people have been using it professionally for years, but having used all the versions starting with 12, it is finally ready for prime time, both feature wise and stability wise. It will become the industry standard in the next to 2 years, so learning it now will put you ahead of the game.

DaVinci Resolve - I am still using the dongle from my Black Magic Cinema Camera - never had to pay for an upgrade. They keep making it better and better at no cost. It's not just for color correction and video editing, but now includes audio mixing and effects, and visual effects compositing. You could make a career out of mastering this one piece of software. No subscriptions or excuses - the gift that keeps on giving.

I liked the shadow details a lot and it has nice dynamic range. Definitely a fantastic image. I would like to have seen it after processing with Sage’s Alexa LUT (when available). So close. Close enough? I have a feeling there is slightly more that can be had out of the Pocket 6K sensor. Hopefully, we shall see its limits in the coming months...

I own the Panasonic 12-35 MK II which I would use it with , but I am more interested in using it with some vintage lenses and Tilta Nucleus M. Sounds like we will get support for both when released, which is great! This can’t come soon enough and if there is a kickstarter, let us know here first , so we can give you our money to help speed development.

In my last post I narrowed it down to Resolve NR and Acon DeNoise 2. I decided to see if I could fix what I did not like about the Resolve NR for my noisy M/S stereo microphone dialog track. Hear for yourself how setting up your own M/S encode decode channel configuration can enhance Resolves NR capabilities for stereo audio. As it would be simple to do inside the plug-in, I would encourage Blackmagic to added and M/S option just like Acon has it as M/S option. Ideally there would be separate controls for both the mid and side channels - at least for the threshold setting as that is the one that you have to have access to optimize the NR on the side channel. The learn function would have to have separate noise file for the Mid and Side channels as well, captured at the same time. Here is the second audio NR test: Order of Appearance 0. Noise 1. Acon DeNoise 2 Adaptive Combined M/S mode 2. Resolve Studio 6.1 Audio Noise Reduction 3. Acon DeNoise 2 Noise Profile M/S mode 4. Resolve Studio 6.1 Audio Noise Reduction M/S though Sub busses and DMG Track Control for M/S encode, M/S decode and balance to isolate the mid and side. At this point, I am recommending that you stick with the Resolve NR and (don't spend a dime on any other Audio NR plugins for Resolve) as it can be configured to sound better than Acon IMHO, if you set up M/S bussing and processing in Resolve. If you don't use Resolve I would recommend trying the Acon demo in your DAW other than Resolve. Thanks! Mark

I was able to test 7 audio noise reduction plug-ins. I only did only one amount of NR and did not include the before except for the noise, which you can hear at the beginning of the file looped a few times to give enough lead time before he NR kicked in for the first example: In Order of Apperance 0. Noise 1. Acon DeNoise 2 Adaptive Combined Mode 2. Resolve Studio 6.1 Audio Noise Reduction 3. Acon DeNoise 2 Noise Profile Mode 4. Izotope RX7 Advance Dialog Isolate 5. Audionomix ADX-SVC 6. Accusonus ERA-D 7. Klevgrand brusfri Observations Acon DeNoise 2 using Adaptive Noise Reduction with the Combined setting and a 5 second window sounded best to me. This would work well if you have enough lead time with noise and automated the volume of the track to mute it for 5 second before the NR kicks in. Acon needs to figure out out to make it start working immediately to avoid this work around. Resolve's audio noise reduction is good and is similar to Acon using a noise profile setting. Acon handles the ambience and stereo better with the M/S setting engaged IMHO. Izotope Dialog Isolation and Audionomix ADX-SVC do not work in Resolve. Izotope is the better of the 2 and sound pretty good, but has some high frequency artifacts I don't like. ERA-D is both noise reduction and reverb reduction and is pretty good, but it does not play well with Resolve in Dual Mode, which is the setting used in this example. When you reopen a session the plugin does not pass audio and has to be re-instantiated. brusfri seems like it is more for guitars or synths rather than dialog and I could not get it to sound open without sounding distorted. It also took the the most make up gain about 7 db more that the other tracks. Out of the choices at hand for Resolve, Acon DeNoise 2 in Adaptive Combined mode sounds better IMHO than Resolves audio NR for stereo sources (in my case and M/S shoot gun mic), but you have to work around the wait time for its NR to engage. That said, Resolve Audio NR is good and I would not spend any money on the other NR options except for Acon DeNoise 2, which I think is better in either mode as compared to Resolve's NR. BTW - I only have Resolve Studio so I don't know if it comes with the free version. I looked on line but I could not find a Resolve/Resolve Studio 16 feature comparison chart.

@Sage My question is if one plans to do further tweaking like color correction, film emulation, reduction for contract and saturation, would it be better to have variations of the EC LUT to accomplish these tweaks because doing it in a single conversion (using just one EC LUT instance) would turn out better than using the EC LUT and following it with more nodes to tweak the look. Thanks!

@Sage Thanks the great example! Seems like EC is the way to get the most out of the Pocket 4K sensor In a single conversion/transformation (I’m not considering white balance and black point adjustments as a conversation/transformation for RAW or BRAW footage.) So would having a set of EC LUTS for emulation film stock or an ideal sensor response LUT would benefit from having an EC LUT for each target output to do it in a single conversion? Also, is there the concept of having different EC LUT versions that are tuned for high and low dynamic range scenes as well as the standard EC LUT? Or maybe this does not apply and only one EU daylight LUT is need for any amount of dynamic range in an daylight light scene?

Beautiful footage - great skin tones. Thanks for the tutorial! On the tutorial was the Blackmagic LUT applied after the skin tone magenta shift compensation node and the black level compensation node? Basically are all things equal except for the LUTs? Either way the Emotive Color LUT is outstanding! Thanks!

@IronFilm Will do. I need to find time to do a listening test. I am thinking RX7 Dialog Isolate, ERA-D, Acon DeNoise 2, brusfri and Resolves 16 Noise Reduction. If I can get permission I am hoping to post the unprocessed, pre-processed with eq (Magpha) and dynamics and stereo management (DynOne3), and post processed with NR (15 db and 30db) and post the clips to SoundCloud to share them publicly.

I have brusfri as well. I am going to do some listening to each of the 4 candidates so I can give a fair description of each at best settings for extreme noise reduction.

Hi, Audio noise drives me crazy and so dose the sound of almost all audio noise reduction plugins when they are pushed to more than about 16 bd of noise reduction. Enter: Acon Digital Restoration Suite 2.x IMHO it is the best sounding least offensive extreme audio noise reduction available. I own Izotope RX7 Advanced and ERA-D - both are great for moderate audio noise reduction, but when pushed to their limits they introduce artifacts that are more offensive than DeNoise2 by Acon Digital. DeNoise 2 also sounds at least as good for moderate noise reduction levels as Izotope RX7 Advanced and ERA-D. So if you don’t already have great audio noise reduction plugin for $69.93 this is a great deal. It’s a new release for them with improved algorithms and is highly recommended and on sale through Monday December 2nd. if you are on the fense, download the demo and try it, I think you’ll be really impressed if you have extreme audio noise reduction needs. Usage tips: 1. Find a section of noise and hit the learn button. 2. Tweak the knobs to get a good sounding noise reduction. 3. Click the emphasis curve button and raise the level of any part of the sound spectrum that you want to reduce more noise. I typically pull up the high end to reduce more hiss and eliminate high frequency artifacts that typically follow heavy noise reduction. https://acondigital.com/products/restoration-suite/

I have an USRA Mini Pro that I would love to have Sage's GEN 4 Alexa LUT for. Instant buy. Thanks!

I’m still on a 1080pm 55” Samsung TV in my living room and from 10 feet away it looks good with HD content. There are multiple reasons that would trigger an upgrade to 4K (or even 8k if the prices were the same). 1. If my current TV stops working. 2. If the kids get a 4K gaming consul for Christmas in the future. 3. If I can have access to technology like OLED (or future panel tech) or advance upscaling algorithm that makes a significant difference and the prices are dirt cheap and I can’t resist. That said I am on a 5k IMac and would not purchase less than a 5k IMac in the future. So I could see 8k as a PC monitor for editing, but not exclusively for gaming or watching TV until it basically comes as a feature for about the same price as 4K. I also think that upscaling 4K content to 8k for 8k display with the right algorithm could be a selling point for an 8k TV. Sony was pitching the upscale angle when they first introduced their 4K TV’s and there was not much access to 4K content and it did look like more resolution than straight 1080p. Seems to me the cheapest best quality path is shoot 6k, deliver 4K and upscale to 8k for display (when prices are cheap enough). Ultimately, I am fine with perfect 1080p content on my 55” 1080p TV watching from 10 ft away. Even though I shoot 4k or 4.6k, I don’t even have a 4K TV and I don’t see the value in upgrading. Now if there was a 6k, 7k, 8k IMac I would upgrade (if it were under $4,000.) Currently, I do not see the value proposition of an 8k PC monitoring Infrastructure versus 4K or 5k...

Is each sensor a clean slate or would doing a version for the Pocket 6k be closer than the other versions as the Pocket 4K is now finished?

@Sage Incredible job! I actually like the Pocket 4K version better, though they are very, very, very, close. Congratulations - this is quite an accomplishment!

The off the shelf version is not parfocal - the information is the link says it is after the cine-mod. I have not used it myself so I don't know from experience. I also don't know if adding the speed booster changes the parfocal performance, though I don't image it would, unless it change the back focus distance.

There is a lot to be said about a fast, par-focal, constant aperture zoom lens with a long zoom range. There are some rehoused par-focal versions the sigma 18-35 by Cinematics and GL Optics, which could be an interesting option with a speed booster to act as a prime-zoom lens so to speak. http://www.pchood.com/index.php?route=product/product&product_id=376

That does look good - kind of like a cross between Sony sensor but with Blackmagic CNG style recording format - wait, that's what it is right? JK ; ) Anyways, that's a very nice image for the money.