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Messages - ibrahim

#26
Hi Rob,

I first used Lr when it took off with Magic Lantern. So it is a good quick start to become familiar with color grading but I would not recommend it since you will be dealing with several programs, exporting, in and out, etc...

If I were to choose to work with RAW then color grading and working with scopes would be my target. Scopes are included in davinci, After Effects and even Premiere.
If you intend to produce documentary, promo like videos then Premiere would be just fine. Davinci even faster but its editing features are not YET as sharpened as premiere's.
If you want to produce short film and therefore color grade and use LUT or/and filmconvert etc. then use either AE or davinci. Davinci is faster but AE has better image quality however AE is much slower to work with since it requires a lot of RAMs. Davinci requires a strong GPU.

Besides that nothing beats davinci in its color grading features and its export (render) time.

So to sum up this as soon as you know what highlights, black, etc. are doing exactly to your picture then leave Lr and move to either of these three programs. You will see the big difference.
If you want full control then use the scopes (RGB curves, luma lumetrie and vectorscopes) to color correct and grade. Use cinelogC or ARRi alexa logC as a starting point.
#27
Quote from: bouncyball on November 14, 2018, 08:55:22 AM
Yes (thanks to @Danne) no special recipe is needed. Turn on dual iso with "AMaZE" and "Alias Map" on and export dngs (sometimes dual iso lossless dngs can not be created and error shows up, so your best bet is uncompressed ones). That's all :)

Note: do not use "CinemaDNG Fast Pass" it will completely bypass dual iso processing.

Thanks man. Great stuff you guys are creating.
#28
So if I want to process a dual iso footage in MLVapp what settings do I need to apply if I don't want to color grade in this app but only remove the flaws?
I want to color correct/grade the uncompressed cinemaDNG in AE or davinci instead.
#29
Thanks bouncyball. What settings do both of you recommend to convert MLV to cDNG to preserve the highest quality possible?

The same question goes for dual iso footage.

I ask this because since this app has much more features that the other two apps.
#30
Is the conversion of MLV to cDNG in 16-bit in this app, just as it is in MLV Producer and raw2cdng?
#31
Quote from: Kharak on June 23, 2018, 02:08:52 PM
For ML Raw, I recommend a Variable ND. With a Vary ND you so much more easily ETTR, for perfect exposure. And also if you spend some cheddar on a vary nd, the quality loss is negligible.. And you will catch a lot more shots instead of fiddling with 3 different ND's, forcing you to set the fstop accordingly.

Vary ND sets you free to use any fstop you like and ETTR every time.

Heliopan have really good quality Variable ND's.

Could you explain how to use the ETTR with a variable ND filter?
#32
Hardware and Accessories / Re: External monitor
July 04, 2018, 08:19:53 PM
Yes of course I know very well what 14-bit vs 8-bit is Allemyr from having worked with it for quite some time now.

Just to clarify I need an external recorder for two different scenarios:

1) for live streaming
I want to use a LUT just to see what the final look will be like while recording with the atomos. I don't want to record in 14-bit (by the 5d3) since it cannot be streamed into live streaming software. Are you saying that the LUT on the monitor won't the applied to the final recorded footage (in prores/DNxHD) and only is meant to be used as a reference?

2) for 14-bit recording through the 5d3.
In this case I don't want to record by the monitor since it cannot record in 14-bit.
So my number one priority is to use the monitor for accurate focus peaking. At the same time, I want to use a rec709 LUT just to see that the final look is while making use of false colors and RGB curve in my multi-camera shots. I want to record through the ML in camera, not the monitor. Then in post I want to apply the same LUT. Since the hdmi signal is 4:2:2 8-bit in a 10-bit "container" (in the prores codec) wouldn't the difference between the LUT applied in post and prior to that be approximative enough?

Which external monitor would serve these two purposes without being an over-kill of course.
#33
Quote from: 50mm1200s on July 04, 2018, 04:05:30 AM
Well, I'm not an optics specialist, don't quote me on what I'm about to say, but here's my perspective. Each lens has its own "personality", that is, a blend of some variables that constitutes the formed image:
- MTF (resolution and contrast)
- Chromatic Aberration
- Distortion
- Vignette
- Flare

Canon lenses are very good, but generally they have this very diffuse light transmission. What I mean by that is that they try to replicate the human eye features and create a very smooth depth of field, high contrast and low focus breathing (the relationship of focus between objects). From my personal perspective, the image generated is very good for technical shots, such as architecture, but boring as an artistic choice. Also, they try to avoid lens distortion as much as possible, and that may be very good for movies.
That's why some of the most expensive lenses on the market (Cooke s5/i, Panavision G-series, etc) have what can be considered defects by academics. Cinematographers have to make artistic choices and these choices are not based on the most correct academic perspective, it's based on "look and feel" you want people to perceive in this exact story you want to tell.
Let me give you an example: many cinematographers, like Dan Laustsen, don't like to shoot on lenses that are too sharp, because they say the actors skin needs to be kinda soft while on screen or else it looks ugly. In the case of Laustsen, he even uses a Black Promist filter to soft the image even more. These cinematographers have the money to use the most sharp lenses out there ("diffraction-limited", like Zeiss Otus), but they choose not to.

I myself did many tests about this. I use old lenses of years now and when I get on my hands some newer lenses from Canon I always am dispointed by the result.
I made this test to show you what I mean: The first image is from a old Komura 135mm f/2.0, wide open. The second is the same lens, wide open, but with a oval filter, trying to simulate the anamorphic 'feel':



ps.: sorry for any grammatical issues... english is not my mother language.

Interesting. I even read one of Kurt Lancaster's book where he mentioned the same regarding the fact that many tend to dislike the sharpening effect some lenses have, hence they soften the image in post. Thanks for the info, I'll take that into consideration.

Thanks for giving the tip Levas. I'll look closer into that lens.
#34
Raw Video Postprocessing / Re: MLVProducer: [v3200]
July 03, 2018, 06:11:15 AM
Quote from: reddeercity on July 03, 2018, 05:51:30 AM
Download on first post on page 1 mlvp.alpha.build3261 then to update to the latest version (3354) you need to download just the "MLVProducer.exe" update file from here then replace the old ".exe" with the new one , that's it.

Thanks man.  :)
#35
Hi,

Can someone explain what's the difference between the different selections in the submenu of False color in the nightly build on 5d3v1.2.3?
I am refering to Marshall, SmallHD, etc...

Is the false color through the viewfinder accurate?
#36
Raw Video Postprocessing / Re: MLVProducer: [v3200]
July 03, 2018, 01:57:13 AM
What is the most stable version of MLV producer today for testing?
#37
Hardware and Accessories / Re: External monitor
July 03, 2018, 01:54:09 AM
I was thinking of using the kodak 2393 LUT only as a reference; so that I would know how the final output would prior to rec. That's the LUT I usually use for dramas in 2.35:1.
Sorry for replying so late togg. I missed this thread.  :D
#38
Quote from: 50mm1200s on June 30, 2018, 12:53:02 AM
Great job. I got this Ubi sunt feeling.

Positives:

- Screenwriting is good. Liked how it uses the rain as a symbol of sadness (pathetic fallacy)
- Soundtrack is pretty good.
- Actors are good. The kid did great.

Some critics (as you would expect from a technical forum):

- The bokeh is too "Cannon'ish". I think you would benefit very much from some old pieces of glass. I've been using old manual lenses for years now and I can say they do a great difference on the look. A Helios 44-2 with a low-end anamorphic lenses (like a Anamorphot-50), would make the images more interesting.

- Most scenes inside the house are underexposed. This is not wrong 'per se', but I think it would be better to overexpose the scene by +1.5 f-stops and then on postproduction make it darker, if it's an artistic choice. This way you preserve more information, less noise and have more flexibility on color grading.

Keep your head up. I'm sure your next one will be even better. Ganbatte.

Thanks for the shared video.

Could you explain what's not so good with canon's bokeh vs the older lenses. Do you mean that the old ones have a rounder shape than canon's?

I am planing of selling all my canon lenses and save money to buy the zeiss milvus for drama filmmaking in 2.35:1 on my 5d3. From what I have learned these primes are fantastic lenses for filmmaking but quite expensive.  :D 
#39
Quote from: Kharak on June 10, 2018, 06:10:29 PM
Same here, i also noticed the jump zooming on random shots and cant figure out why.

Also ACR simply has the better debayering. In some instances in Resolve the bayer pattern becomes visible if there is a lot of detail in a shot, mostly in crop_rec footage. Also in low light footage, resolve has a lot of FPN.

But resolve is 100x faster and I see myself more and more dropping AE for different projects because it litterally is 100x faster to deliver.

True the debayering in ACR is exceptional.

Did you get the jumps while editing the cinemaDNGs or an intermediate prores version?
#40
Having been an Adobe user for years davinci 14 and15 has been the winner, however in my case in terms of picture quality I still use After Effects.
The primary reason why I returned to AE from davinci is due to the jumping (automatic zoom-in jump) I got on my cinemaDNG footage in davinci after having color corrected the raw footages. I have written a lot about this issue but unfortunately I never got help so solve it in different forums, including in the BM forum.
I compared the picture quality in AE vs davinci, I have to say that AE is the winner IF your PC is strong enough to pre-load since AE can be painful to edit. This, even though I loved the editing and color grading interface of davinci a lot.

#41
Quote from: allemyr on June 07, 2018, 05:29:57 PM
NO! 8 bit is 8 bit.

Ok thanks. So basically the successes in 3.5-4K 12-bit (crop mode) will not be able to be transferred through the HMDI.
So there is no use to buy a recording monitor that supports 4K signal other than one that supports 1080p 8-bit to 12-bit 4:2:2 such as the old atomos Ninja 2 or the new blackmagic video assist?
#42
So does this imply that there is no point in using a monitor/recoder as odysseyq7+ which can record in 10-bit over HDMI since my HDMI output is only 8-bit?

This product claims to use supersampling which results in a pseudo-10-bit color sampling for improved color reproduction. Does this mean that encoding with this product will result in better quality than the original 8-bit hdmi?
#43
With the nightly builds on 5d3 firm. 1.2.3 (respectively the experimental) what will the HDMI signal be in, 14-bit 4:4:4 or 12-bit, if I were to use a external video capture card to transfer the footage to a PC via USB 3.0? I want to video capture the footage and encode it through a live streaming software.
#44
Is there a way to use cinelog-C and then apply a rec.709 lut directly in an external field monitor/recorder?
I intend to do video capturing to PC for live streaming through vMix or some other live streaming software.
#45
With the expterimental crop_rec will 5d3 be able to transfer a 4K output through hdmi to an external monitor that supports 4K or is the camera restricted to 1080p even though a monitor would support 4K?
#46
Hardware and Accessories / Re: External monitor
May 18, 2018, 03:36:49 AM
Quote from: katrikura on May 16, 2018, 02:43:03 AM
There is no problem with ninja blade, everything works correctly.


Sorry for my bad English.

No problem. Which firmware do you use on the 5d3? Can you see both on your atomos and on LCD camera screen?
#47
Quote from: QuickHitRecord on March 03, 2015, 08:04:33 PM
I use a SmallHD AC7 when recording raw. No problems so far, though I am still using 1.13. I wouldn't mind if it were a little smaller (I think that 5" would be perfect for this camera), but sometimes the extra real estate is nice -- especially when dealing with the super shallow DOF of the 5D. It also has a useful anamorphic scale mode if you ever shoot with those lenses.

Interesting. Since you used 1.1.3 you could only see the monitor while the camera screen was black right? i.e. not being able to use both cameras and external monitor at once.
Are you able to see verything on the monitor from overlays, zebras, LUT, etc.
However, I am trying to find SmallHD AC7 but it seems that it no longer sold and discontinued. What is the new upgrade version of AC7? A 5 inch would be sufficient.
#48
Hardware and Accessories / Re: External monitor
May 15, 2018, 12:07:41 AM
Quote from: katrikura on December 08, 2017, 06:45:10 PM
hello, I use a  ninja blade, it has zebra tools, focus and also I record a backup file in prores, even when recording in raw.

Katrikura

Are there any issues with the ninja blade?
#49
Hardware and Accessories / Re: External monitor
May 14, 2018, 05:42:02 PM
The following features are important for me to film films/short films:

- waveform, histogram, false colors
- LUT
- in/out hdmi
- 16:9, 2.35:1
- 24 and 48 fps
- at least 5 inch
- and most importantly not gloosy monitor. Being able to see in the details on the monitor in harsh sun conditions.

Other features are not that important for me. I am only interested in recording in RAW uncompressed 14-bit, not through the monitor.
Eyeing for those features I have for several months now narrowed down my interest to these external monitors:

1- SmallHD focus 5 inch

2- Atomos ninja blade

3- Atomos samurai blade

4- Blackmagic video assist

5. Atomos Ninja Flame

6- APUTURE VS-5 or APUTURE VS-5X ?

7- MustHD 7" M702S-4K ?

Is anyone using a professional monitor from this list or outside this list that results in very little complications either with firm 1.1.3 or 1.2.3 on 5d3? And if so what issues do occur.
Note my budget is max 600 pounds.

I've gone through the entire forum on this topic but there isn't much new from recent year (2017-2018) that give me a clue if any of these work while recording RAW. For instance smallHD is told in old topics that it has many problems but nothing is updated about it for several years not. My cinematographers out there which do you recommend?

#50
Quote from: Containspnuts on January 21, 2017, 06:56:45 PM
Hi, I am looking to use my laptop as a monitor for video shoots using a rebel t2i, which I know I can do with EOS Utility. I was just wondering though if I can still use this EOS Utility feature while running magic lantern?  I am new to magic lantern and while it's running great so far I am concerned about the possibility of bricking my camera. I know the canon controls for aperture, iso, and the like can be controlled through the laptop, but since I will be running magic lantern, will that just not compute with EOS Utility and damage my camera? If so, does anyone know of any good external video monitoring solutions to use with magic lantern? 

Thanks!

Which field monitors do you strongly recommend to use on for raw 5d3 that has focus peaking, cropmark 2.35:1, 24fps, 16:9, scopes, that are compatible with raw 14-bit recording. I don't want to record to it only use it for focusing on my ronin-M gimbal and make use of scopes and false colors while recording on my CF card. Recording with the monitor is not my goal. My budget it max 600 dollars.
Since I will not be able to see my camera's LCD screen do I need to use firm 1.2.3. I have read some say that I will only be able to see the monitor with 1.1.3 while the cameras screen turns black. Is that true?
Another question. Will we be able to use a 4K monitor with 14-bit in 4K or is it so that the 5d3 can only output 1080p in hdmi? Just asking so that I would know if it is worth the extra money to spend on a 4K monitor.