Bruce Greene
Forum Replies Created
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Thanks Marc,
My scratch disk is a separate SSD in the computer, but next time I’ll try deleting the list and starting over. I have no color correction projects for a while, so I hope I remember your suggestion!
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
I see this on Slog2 on a Sony A7rII recorded in camera. I think, if you look closely, the artifacts are in the original recording. Over exposing by one stop helps a lot, but you loose the lowlight advantage.
The only cure I can think of is to record to an external recorder, preferably in 10 bits or higher with a non GOP codec like prores.
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
I had this issue and solved it by changing the video output settings to 8 bit from 10 bit in the settings tab.
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
I have the same issue running 12.1 on Windows 8.1
Never found a solution…
You can repopulate the stills store from the timeline and make a still for every clip, or remake them one at a time…. But it’s not a real fix of course.
Maybe the new 12.5 will be better…?
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
I’m a little bit late here…
Complicated question. In a nutshell, you MUST use a LUT.
But which? And where?
Case 1: no LUT.
Open the file, view on your display. You’ll see a washed out LOG image. If you grade from here and get it to look good on your display, you’ve created your own LUT. And you’re no longer working in log, but in your display color space, probably rec709. To out put to film, you or your lab will need to apply a LUT to covert back to log space for filmout.Case 2:
Apply a LUT in your grade to de-log the image, then grade normally. Arri has a site where you can create these luts. This approach has the advantage that the correct matrix transform is applied to your arriogc original file. You will then be grading in your display color space and you will also need to convert again to log space to output your negative as above.Case 3:
Apply a display calibration LUT to alter your monitor view to emulate the film print. This LUT does not change your file, so it is the only way to grade in log space as Gary recommended. When you render out this version it will already be in log space and adjusted for filmout. But now, you will need to create a new grade to work for electronic displays. This will require another grading pass like #2 above.Hope this helps someone out there:)
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
Thanks Peter! I’ll pass your link on to my editor. He’ll appreciate it very much.
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
On Mac with fcp7 also installed.
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
You are so clever. Never thought of that! That would do it, but I suspect, it wouldn’t work unless the Samurai records the 24fps time code over the 60fps clip. Unless….the KiPro mini looks for duplicate frames.
BTW, For detection, the Samurai manual suggests waving your hand in front of the lens 🙂
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
I don’t remember how to revert to the factory settings. It’s a very complicated camera! You’ll really need “Goodman’s Guide” to help you out.
And there’s more than one or two menus in this camera also. There’s the “video” menu, the “film” menu, the “VTR” menu…
Also, I would turn off “flare compensation” if you have a decent lens.
The biggest challenge, might be “shading” or adjusting the response of the camera to provide an evenly exposed frame. This should be set by a technician without a lens on the camera. If there are any lens files stored in memory, you may want to delete them. If you shade the camera using a lens and an evenly lit white card, the shading will correct THAT LENS at THAT FOCAL LENGTH and F STOP only. Not very useful for a zoom lens with a lot of light fall off at wide apertures that changes as you zoom.
It is possible to screw up the shading at the deepest level of the menu. I hope the “factory reset” will fix this as well. Now you know where the DIT’s came from, and why so many didn’t really understand what they were doing in the old days! Video engineers understood this stuff, but just couldn’t understand why you didn’t want the project to look like a football game broadcast.
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com -
The KiPro mini only works with 23.98, 25, 29.97, 50, 59.97 from the Varicam. The AJA IO/HD works with and reads all the frame rates. Maybe even the full sized KiPro as well.
I’m pretty sure it reads the time code to set the correct frames. The AJA IO/HD must read the flags as it works at all frame rates. Getting timecode from the camera does have something to do with it though as this is required for proper capture from the Varicam with both devices.
I don’t think the KiPro detects identical frames. What if your shot starts locked off, then pans? Ooops!? The Samurai tries to do this, but it doesn’t work with 720p to detect pull down…
Varicam/Steadicam Owner
Los Angeles, CA
http://www.brucealangreene.com