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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. Avoid bright orange and red of the false color guide of the Ninja V. The touch of red at the top of the clothes rack will be a... Continue Reading →
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... Continue Reading →
There can never be too many blog posts on exposing for HDR! Ninja V False Color False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red - colors that indicate overexposure. DaVinci Resolve 17 waveform before color correction. Although the tee shirt looks completely blown out on our... Continue Reading →
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... Continue Reading →
Part I: Project settings, Project Render Settings, Generate MaxCLL and MaxFall HDR10 Metadata Part II: RAW Part III: The Grade Part IV: The State of HDR Film Emulation LUTs & Plugins Part V: Why HDR Production Monitors Matter Avoid Y’CbCr Limitations of Y’CbCr with wide colour gamut and high dynamic range Quantization distortions due to bit depth... Continue Reading →
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... Continue Reading →
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. Nanlite PJ-FZ60-19, Forza 60 We've spared no effort in order... Continue Reading →
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... Continue Reading →
A DPReview forum member who goes by the user name of iirrbloss writes: Got a newsletter from Atomos saying they're working on FX3-support with wb/iso-support in FCPX. It's almost like they're mocking those who bought the A7SIII. Technically it should be the same firmware fix for both FX3 and A7SIII as the internals are the... Continue Reading →
RAW video benefits from noise reduction. However, because denoising can end up softening the image, we've got to determine whether or not to add sharpening and if so, how much. In this video, we test drive Final Cut Pro's built-in noise reduction software. This is one aspect in post where it is really advisable to... Continue Reading →
This is just a superficial comparison between Sony a7s III S-Log3 and ProRes RAW HQ. Jump here for a more in-depth appraisal. Because I was recording them simultaneously, one internally, the other to a Ninja V, I had to settle on a compromise exposure. For S-Log3, I normally use the camera's own zebras set to... Continue Reading →
For a limited time, purchasers of DaVinci Resolve Studio 17 will receive a free DaVinci Resolve Speed Editor (value $295.00), reason enough to upgrade for many. For me though, it’s all about the new HDR grading tools. When working in Final Cut, I make my basic adjustments (till now I haven’t done any proper grading!)... Continue Reading →
The video was shot in available light, no reflectors or diffusers. Equipment used: iFootage Wildbull T7 tripod, Tuba cage, Bright Tangerine Titan arm, Ninja V. https://youtu.be/rYvf2ciK8zQ
I had a shoot yesterday where I was recording ProRes RAW HQ using the 135mm GM and the look’s nothing less than incredible, as you can imagine, the only problem being, with this combination the camera had to be mounted on a tripod. Which is why I’m looking into one of the new DJI gimbals... Continue Reading →
Those ProRes RAW HQ files are incredible. Far from the most photogenic human bean on earth, but when shooting with the a7 III, my skin always looked splotchy. a7s III skin tones are a ginormous improvement. Meanwhile, I’m still awaiting answers to a couple of questions about the Ninja V, in particular about the zebras... Continue Reading →
Working with ProRes RAW in FCP X couldn't be simpler. Pretty much every clip I've shot with the a7s III, whether internally or externally to the Ninja V, skin tones have been falling directly on the skin tone line in the vectorscope, something that I couldn't be certain of when shooting with the a7 III.... Continue Reading →
While grading my most recent S-log3 HDR video, I realized I'd failed to reduce brightness levels down to proper values in my previous ProRes RAW HQ HDR sample. In both videos, I'm wearing an orange cap and black jacket and sitting in a dark room a few feet away from a window on an overcast... Continue Reading →
The Daejeon Chronicles 