Randy Strome
Forum Replies Created
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****EDIT****
I had originally written in the gammas above at negative rather than positive values, but actually, I am suggesting that you try positive values such as +5 (which is what my favorite preset for bright high DR scenes is). A postive value in Gamma LOWERS the white point, which is what you are after. A negative value such as the -8 you had found elsewhere will only serve to push your whites further out of range.
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EDIT
The above should have read:
You may want to set up a few PP’s based on these setting at a variety of Gamma settings (0, +3, +5, etc).
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In addition to what I wrote on your other post, note that black at -12 is 8 under the floor. If there are near blacks or blacks in your scene, it is likely that you will block them up with this setting.
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We are using pretty similar settings, with the exceptions of detail (I would suggest off, as you can selectively fine tune this better in post if needed) and I have set black to -4 (which sets the curve to map a scene black to 0 IRE). Black can alwas bee deepened with levels in post. You may want to set up a few PP’s based on these setting at a variety of Gamma settings (0, -3, -5, etc).
I have also been using those color settings (credit due to Bill Ravens).
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I shoot in bright (and extremely variable) conditions all of the time with a huge Dynamic range.
Some suggestions:
-Set up a PP based on Cine1
-If you adjust Black (which is your master black) try -4. The default is +4, so -4 will pull black to a true zero.
-If you are still unable to fit the scene, and do not want to lose either end, adjust Gamma (which should really be called master white or white level) down (I have one PP set up as -5 and use it often).
-Use a Polarizer and if needed additional ND filters up front to control exposure.
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You will want to use the SDI as it seems by design that the BNC is the only really solid out on the camera. Also most of the small HD monitors will only display all EX1 formats through SDI.
Here is an unsolicited push for the TV Logic 7 Inch monitor. On camera Pixel to Pixel focus, and the ability to view a live waveform has opened up this camera for me and has raised the keeper percentage on tricky shots.
Additionally, for understanding the EX-1’s Gamma curves (which are not correctly published anywhere that I know of), being able to live view them as youu make changes, is enlightening to say the least. The same is true of the somewhat cryptic PP settings.
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Interesting stuff and thanks for the post!
I am noticing almost exactly the opposite. Most of the artifacting is minimized when 1080 is reduced to 720, and produces a cleaner final 720 result.
I had settled on “use 720 only when shooting for slow motion”.
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[Craig Seeman] “It’s like having an invisible Focus Puller (etc) built into the camera. Really neat when executing something that your fingers could never manage with right timing and accuracy.”
Yes sir. I would have preferred the name third hand or coffee jitter eliminator.
As I am become quicker at storing, checking and executing, this is becoming even more valuable.
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The Histograms in digital photography are based on a zero to 255 scale.
I am confused by the center reading which is shown as a percentage reading but goes to 108%. If 100% is blown, what is 108%?
I am getting more comfortable with making zebras and the histogram work for me regardless of the numbers behind them, but it would be nice to really get it.
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[john sharaf] “The 108 ire setting is the common level for “clip” above which all picture is clipped to white, where no detail in the image remains.”
Thanks so much John, a real schooling for me. The utility of the Brightness indicator has come clear and I think it will be very useful once I do some testing. So I understand, is the right boundary of the histogram based on a 108 reading or 100? Maybe simpler, what relevance does an IRE of 100 have if 108 is the level of clipping?
Thanks to all for putting up with what are obviously very basic questions for many here.
Randy