Sherif Mokbel compares Lumix S1H Blackmagic RAW to Apple’s ProRes RAW, with results that may surprise you! Incidentally, Atomos just released a firmware update for the Ninja V enabling white balance and ISO/exposure offset adjustments in Final Cut Pro for the a7s III. The Ninja V currently brings ProRes RAW to over thirty different cameras.
Sony FE 50mm f/1.2 GM First Sample Footage
Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ.
How to Shoot HDR: A Primer
The secret is to (a) shoot ProRes RAW HQ; (b) use the false color of the extraordinary Ninja V as a guide; (c) avoid the false colors bright orange and red; (d) transcode to ProRes 4444 in Apple Compressor; then (e) grade in DaVinci Resolve Studio. The shadow, midtone and highlight wheels of Final Cut… Read More
Ninja V False Color
There can never be too many blog posts on exposing for HDR! False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red – colors that indicate overexposure. Although the tee shirt looks completely blown out on our reference display, after reducing exposure with the global wheel of the… Read More
Tribute to Sony a7s III
For a long while now, we’ve been keenly aware that highlights in skin tones and light-colored fabrics have been difficult if not impossible to recover in post, leading us to re-examine our ETTR method. After watching a video by Gerald Undone, we tried using two zebra settings, aiming for an ETTR of only +1.66 stops… Read More
Debunked: Sonys Suck in Mixed Lighting
We hear repeated online the lie that Sonys are dreadful in mixed lighting, so we set about to disprove this fallacy, recording in a cafe illuminated by daylight and tungsten. Of course, they’ll say it’s gotta be a mix of tungsten, halogen, neon, fluorescent and daylight and HLG3 at ISO 50 or some other such… Read More
Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part IV) RAW
Part I: Project settings Part II: Color correction Part III: HDR Palette, project render settings Part IV: RAW Part V: Addendum Exposure is critical. Avoid blown-out highlights and overexposed skin at all costs. Transcoding ProRes RAW to ProRes 4444 in Apple Compressor.
Bad, Bad Final Cut Pro
We just finished recording some more test footage, first to determine whether it’s true that Sony sucks in mixed lighting (it doesn’t) and secondly, to get to the bottom of why ProRes 4444 looks great in DaVinci Resolve but terrible in Final Cut Pro. XAVC S-I is evenly matched when it comes to terribleness in… Read More
RAW Power!
In the video, we demonstrate one way to create depth and contrast for HDR in a hopelessly cramped living space (16 m2) using lighting modifiers – specifically the Nanlite Projection Mount and Aputure Lantern Softbox – along with the Nanlite Forza 300 and Forza 60. We’ve spared no effort in order to get the most… Read More
Big Announcement!
Now that we were able at last to get our hands on an Arca Swiss QR plate and SmallRig swivel and tilt monitor mount for the Tilta a7s III cage, we’ve got a very portable setup leaving us no more excuses not to shoot RAW with the Ninja V. So in the coming months, expect… Read More
