Nate Weaver
Forum Replies Created
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There’s some giveaways, not the least of which overcranking in about zero light.
500 speed 16mm pushed to 1000 or more is soft enough to see even on web video.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
When I see stuff like this, the first thought of course is lifted blacks, but you also have to consider that the noise floor of the film and/or digital camera was clipped out somewhere along the line, either on purpose or by accident (in this case, most surely on purpose, even if shot on 16)
I go to the Soft Clip panel, and start clipping up the blacks, but leave a 0 or very low “Soft Clip”. On the scopes a clip like this would be about 10-15IRE. You can change the tint of the clipped blacks by un-ganging the sliders. Then add black and gain washes in a node after.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
[Illya Friedman] “What was described to me was exactly as I stated “edge enhancement run amok” which created a light/dark outline. This info came directly from someone in an official capacity at Sony.”
It is and it was. It looks speckled in the sample I posted above, but in other shots it looks exactly as described. ~1 pixel non anti-aliased black outline on super hot white highlights. Beyond ugly.
It was fixed in firmware 1.02, they’re way beyond it now. My cam came to me in box with 1.01, with no updates farther than that available at that very moment (they posted fw 1.03 the next afternoon), so I had the dubious pleasure of shooting one day with it. Wasn’t stoked.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
One more note:
F55 shoots two formats to SxS card at moment…that’s MPEG and XAVC
If you are trying to bring MPEG shots into Resolve, I don’t think that’s going to work until they are re-wrapped by FCPX. XAVC .mxfs should be good to go.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
[Illya Friedman] “I’m pretty sure that is what you are seeing is the error listed and corrected with the new firmware here:”
Illya, sorry to disagree.
I had the problem that was in fw 1.01 + 1.02. It looked much, much different than this. It was like a hard, black 1 pixel line on SOME highlights. It ruined my very first day shooting with the cam until I got the fix for my SECOND day of shooting. I was upset the camera shipped like that.
What he’s showing in the stills above is the noise reduction. Sony uses a lot on the camera to facilitate 1250 ISO. The NR leaves edge ghosts around fast moving objects in the 5-20IRE range. HIgh key images hide it. Normal speed/slow moving objects hide it
The newest firmware (1.13) has better NR, they say. I’m sure it’s because people have been seeing these ghosts.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
[Chevas Rolfe] “I have a mid 2012 Imac 27, with 8 gb of memory, and graphics AMD radeon hd 6970m 1024 MB.”
The 1GB of memory on the Radeon video card is what I was talking about. 2GB would help, but there’s nothing you can do to upgrade that on an iMac. It’s what it is.
[Chevas Rolfe] “Should I upgrade my memory to 32GB”
More system RAM is always better. If it doesn’t help your specific problem, it help other things along quite a bit. It’s a good $200 spent.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
[Brent Cook] “In my last project I used 7 or 8 full res 16 megapixel tiffs in a timeline (with 1080p video) with keyframed transforms and dissolves between them with no hiccups whatsoever.”
There’s a very good chance it has to do with the RAM on your video card. FCPX leverages the video card in OpenCL to do a lot of manipulations.
If there’s not enough RAM there to buffer the video, hold the still in question, etc etc then things slow down by magnitudes.
Video card RAM is an issue in Davinci Resolve where I do a lot of work, and it rears it’s head with 4K video and less than 2GB of video RAM. 4K raw is simply not possible with less than a 2GB card.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
Douglas,
I think I’m confused whether you’re working in ACES colorspace or not. You mention making your own, which hints you’re making LUTs. Maybe you were saying that after trying ACES you tried to make a LUT to match?
There’s no making anything under ACES, the IDTs are either there to use for the camera or not. But I think you know this.
I understand your frustration though. Sony should have braindead SLog + SLog2 LUTs for all Sony camera owners to use. Alexa has this. We need it too.
It is possible to make a new LUT off of the original Sony 1D LUT that has a nice highlight rolloff and some saturation added. Have you tried that?
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net -
[jim bachalo] “Is this considered a ‘normal’ workflow?”
I’m not sure if anything is “normal” anymore.
That said, I see DITs making edit proxies on set using Resolve all the time. Relatively common.
The other reason DITs do that is any looks created on set can be passed to colorist later.
Nate Weaver
Director/D.P., Los Angeles
https://www.nateweaver.net
