Marco Tecno Posted December 3, 2015 Share Posted December 3, 2015 Tried exporting. It takes about 2.5x times the lenght of the clip. Quote Link to comment Share on other sites More sharing options...
liork Posted December 3, 2015 Share Posted December 3, 2015 I wonder huw much time does it take export to H.264 50Mbps. Quote Link to comment Share on other sites More sharing options...
Marco Tecno Posted December 3, 2015 Share Posted December 3, 2015 50Mb per 4k in h.264 seems overly compressed. Or were you referring to 1080? Quote Link to comment Share on other sites More sharing options...
wolf33d Posted December 3, 2015 Share Posted December 3, 2015 Fotasy Adapter $15 - Cheap and works fine on Non-G lenses, very slight amount of playfotodiox $30- Better fit than the fotasy, new version doesn't have the issue with lens detected as not mounted.Best option, and only one for G lenses $300 : Novoflex NX/NIK Lens Adapter Have not given any of the ebay G adapters a try. Thanks! I was asking. Currently having an A7R II. Thinking about NX1 for video / D810 for stills (therefore Nik NX compatibility). Quote Link to comment Share on other sites More sharing options...
Marco Tecno Posted December 7, 2015 Share Posted December 7, 2015 Ppl are reporting crushed blacks: http://***URL removed***/forums/post/56891870 Quote Link to comment Share on other sites More sharing options...
homestar_kevin Posted December 7, 2015 Share Posted December 7, 2015 Fotasy Adapter $15 - Cheap and works fine on Non-G lenses, very slight amount of playfotodiox $30- Better fit than the fotasy, new version doesn't have the issue with lens detected as not mounted.Best option, and only one for G lenses $300 : Novoflex NX/NIK Lens Adapter Have not given any of the ebay G adapters a try. I have and use the cheap ebay/amazon rainbow imaging Nikon G to samsung nx adapter and it's been great.I use it for all my nikon AIS lenses and AF or G lenses, mainly the tokina 11-16. It's been great for the 6 months I've had it. Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted December 8, 2015 Share Posted December 8, 2015 Ppl are reporting crushed blacks: http://***URL removed***/forums/post/56891870I can echo this, blacks are crushed. I've set the camera to 16-255 to fix it, but I would prefer not needed to. BrorSvensson 1 Quote Link to comment Share on other sites More sharing options...
Marco Tecno Posted December 8, 2015 Share Posted December 8, 2015 I always use 16-235 as advised by Andrew... Quote Link to comment Share on other sites More sharing options...
Sekhar Posted December 8, 2015 Share Posted December 8, 2015 As I wrote earlier in this thread, it's just a matter of lifting the level back up, the plugin retains all the detail. E.g., see below for levels with the H.265 plugin before lift, after lift, and the corresponding ProRes levels. Especially note the apparently crushed blacks come back to full life after lift. This is a non-issue and the resulting H.265 is better than ProRes, so THERE IS NO NEED TO USE 16-255. Quote Link to comment Share on other sites More sharing options...
Marco Tecno Posted December 8, 2015 Share Posted December 8, 2015 Sekhar, do you lift shadows or blacks? By how much? Thx. Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted December 9, 2015 Share Posted December 9, 2015 Sekhar, do you lift shadows or blacks? By how much? Thx.You have to use fast color corrector and raise the black to 16 to get the same result as the conversion to prores. neosushi 1 Quote Link to comment Share on other sites More sharing options...
Administrators Andrew Reid Posted December 10, 2015 Administrators Share Posted December 10, 2015 I always use 16-235 as advised by Andrew...This saves you having to apply the Fast Color Corrector in post but you can of course record in 0-255 and bring back the shadow detail and highlight roll off nicely with that Quote Link to comment Share on other sites More sharing options...
sandro Posted December 10, 2015 Share Posted December 10, 2015 This saves you having to apply the Fast Color Corrector in post but you can of course record in 0-255 and bring back the shadow detail and highlight roll off nicely with thatCan you do the opposite? Record in 16-235 and bring back 0-255? Marco Tecno 1 Quote Link to comment Share on other sites More sharing options...
Sekhar Posted December 10, 2015 Share Posted December 10, 2015 Sekhar, do you lift shadows or blacks? By how much? Thx.You need the lift the overall levels, NOT for a specific range like shadows (because that would alter the relative levels within the image). And yeah, you can do that any number of ways, like with the Fast Color Corrector or more directly with the Pedestal effect (set to +0.08). I myself actually use SpeedGrade to lift the overall offset.Can you do the opposite? Record in 16-235 and bring back 0-255?You can adjust anyway you want. The key (and this is critical) point is that the new H.265 plugin isn't losing any info, it's just interpreting the levels differently, meaning you can always recover full details in post. Since this happens with every clip, you might want to create a preset till Adobe comes up with a switch/option for the plugin. Quote Link to comment Share on other sites More sharing options...
Marco Tecno Posted December 10, 2015 Share Posted December 10, 2015 Can you do the opposite? Record in 16-235 and bring back 0-255?i always wondered the same thing. I mean...16-235 is a smaller discrete interval than 0-255. So, it's straightforward that you can map 0-255 exactly to 16-235, but is the opposite possible? What am I missing? Quote Link to comment Share on other sites More sharing options...
sandro Posted December 10, 2015 Share Posted December 10, 2015 i always wondered the same thing. I mean...16-235 is a smaller discrete interval than 0-255. So, it's straightforward that you can map 0-255 exactly to 16-235, but is the opposite possible? What am I missing?I think it's a just a flag on the file, it doesn't change the way it records. Quote Link to comment Share on other sites More sharing options...
Don Kotlos Posted December 10, 2015 Share Posted December 10, 2015 The 16-235 is considered broadcast safe. It should be used in camera only when one is not planning to grade the footage.I think it's a just a flag on the file, it doesn't change the way it records.The reason is that it DOES change what is recorded, by reducing the discrete steps that the full range of intensities are recorded. When broadcasting the footage most of the times it is not important but during grading the footage will be more prone to banding.There should also be a flag in the file that some programs use to display the footage correctly. This is a bug in premiere and it is easily fixed by applying an adjustment layer with the levels increased. But adobe should fix it. i always wondered the same thing. I mean...16-235 is a smaller discrete interval than 0-255. So, it's straightforward that you can map 0-255 exactly to 16-235, but is the opposite possible? Yes. Premiere (and most NLEs) work in 0-255 RGB mode. Quote Link to comment Share on other sites More sharing options...
nougat Posted December 10, 2015 Author Share Posted December 10, 2015 Can you avoid crushed blacks by leaving it at 0-255, but raising black levels to +10 in camera? Quote Link to comment Share on other sites More sharing options...
mercer Posted December 10, 2015 Share Posted December 10, 2015 The 0-255 vs the 16-235 is one of the biggest debates floating around the web. In fact there are probably a half dozen posts about it on eoshd alone. I think if you have any hopes, or expectations of having your work broadcasted, you should just stick with 16-235. Quote Link to comment Share on other sites More sharing options...
sandro Posted December 10, 2015 Share Posted December 10, 2015 The 16-235 is considered broadcast safe. It should be used in camera only when one is not planning to grade the footage.The reason is that it DOES change what is recorded, by reducing the discrete steps that the full range of intensities are recorded. When broadcasting the footage most of the times it is not important but during grading the footage will be more prone to banding.There should also be a flag in the file that some programs use to display the footage correctly. This is a bug in premiere and it is easily fixed by applying an adjustment layer with the levels increased. But adobe should fix it. Yes. Premiere (and most NLEs) work in 0-255 RGB mode. I actually thought it just tells player how it should be display. Good to know it actually changes the way it records, so you basically loose information when you set 16-235? Quote Link to comment Share on other sites More sharing options...
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