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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 →
Colors are more intense as well as more accurate on the iPhone 12 Pro Max than on the LG OLED 55CX and there's also greater separation between the model and background, possibly because the mobile device is tracking the PQ curve more precisely. If the nails look like they're ablaze on your mobile device, it's... Continue Reading →
Since we picked up a set of Nanlite Forza LED monolights and started grading ProRes 4444 in DaVinci Resolve Studio 17, it's like we're dealing with a completely new camera altogether! Skin tones are the most accurate we've seen from any mirrorless camera and the image quality rivals that of cinema cameras costing thousands more.... 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 →
This is perhaps the first of my videos that really begins to use light in a way that takes advantage of HDR rather than being a video that just happens to be mastered in HDR. Not that there aren't numerous benefits to uploading even videos with limited dynamic range as HDR, including greater perceived sharpness,... Continue Reading →
Not that anyone would notice, but this is the first video shot with the Sigma FE 85mm f/1.4 DG DN where I bothered to turn on in-camera distortion compensation. 🙂 https://youtu.be/XKq2prHAvVg
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 →
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
The Daejeon Chronicles 