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The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →
The German website Slashcam, currently testing the Venice 2, had nothing but superlatives for its rolling shutter performance, pronouncing it the very lowest they have ever measured for a non-global shutter, leaving the competition in the dust. “When measuring the rolling shutter reading times, Venice pushed us to our limits. Or to the limits of... Continue Reading →
We're not gonna lie - it's great to be able to just hook up the SSD from the Ninja V and start grading the RAW files immediately in Final Cut Pro with no transcoding. Apart from using it to white balance our shots, we've ditched the bad old ColorChecker altogether. Color charts are made for... Continue Reading →
We've written extensively about the benefits of shooting RAW but once you've picked up your Ninja V, you might still be wondering which color space to use. For HDR acquisition, we recommend: Format ProRes RAW HQ or ProRes RAW Quantization 16-bit linear OETF S-Log3 Color Space S-Gamut3 or S-Gamut3.cine Dolby writes, "Where content is going... Continue Reading →
Both clips were shot at base ISO 640. The internal codec was XAVC S-I S-Log3/S-Gamut3, the external was ProRes RAW HQ via the Atomos Ninja V which was then transcoded to ProRes 4444 in Apple Compressor. Sony a7s III in-camera noise processing is splotchy and enlargement reveals unsightly banding artifacts, whereas the externally recorded footage... Continue Reading →
We added sharpening to the XAVC S-I clip just to make it a little more challenging. Can you tell which is which? https://youtu.be/LvywZXFZkFA Sony a7s III XAVC S-I internal noise processing is splotchy and exhibits banding artifacts. ProRes 4444 noise reduction in post. Settings: Temporal - Faster - Medium -Luma 2 - Chroma 2. Noise... Continue Reading →
ProRes RAW HQ transcoded to ProRes 4444 is brighter, less green, has greater contrast, increased saturation and significantly higher resolution than the internally recorded S-Log3/S-Gamut3 XAVC S-I codec. Below are screenshots of the HDR footage dropped onto a rec. 709 timeline with a custom curve added to preserve highlight detail and a hue adjustment to... Continue Reading →
ProRes RAW HQ 4.2K 24p HDR footage for download. https://youtu.be/CwajLXYxmGE Ninja V waveform monitor Ninja V false color Downward curve applied to ETTR clips Color correction using X-Rite ColorChecker, Hue vs. Hue and vectorscope Skin tone line on vectorscope
Having seen the reviews and checked out the footage, we're afraid we're going to have to take a hard pass on the long awaited a7 IV. The colors aren't as nice, it appears to have worse underexposure latitude, the rolling shutter is pretty awful and there's that 60p crop. For reasons they couldn't pinpoint, CVP... Continue Reading →
Back in May, when we tried racking focus with Imaging Edge, the app seemed sluggish and unresponsive. We thought we'd revisit the app again, and just as before, tap-to-focus wouldn't respond when tapping on the curtains behind us. The aperture was f/1.8, transition speed set to 1. https://youtu.be/EZSMZ0ElaHY If you notice something different about the... Continue Reading →
The Daejeon Chronicles 