Rick Lang
Forum Replies Created
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It’s not the 1.7 micron sensor pitch on the iPhone Pro Max that will provide much support of their HDR claims, but the image processing combining multiple exposures that will help. I agree few clients are asking for these improvements but the streaming services such as Netflix, Apple TV+, HBO Max, etc. will use anything they perceive as boosting their brand.
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The iPhone 12 cameras all share a DCI-P3 gamut that has been around for several years. So we are a long way from phones and monitors capable of displaying Dolby Vision in its full potential. But the phone is unique in producing a file with Dolby Vision metadata so any program that edits or uses the file can work in that space. Apple TV 4K would also be capable of working with that data, but it is limited by the (HDR or SDR) television that it is paired with.
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When you look at the Tech Specs page for the iPhone 12 Pro Max, it would seem ProRAW applies only to still images, it’s not listed as a video feature. Perhaps it will be in a future ‘A15V’ image processor. Yet elsewhere there is mention of FCP X support that implies video, no? All will be clear once people are using this camera for video in a few months.
The I watched the cinematic sample video on my Mac Pro’s XDR display set to the ‘reference’ mode HDR Video (P3-ST 2084) and noticed that light on the talent’s cheek was likely going to clip for most viewers not using a suitable monitor. Certainly Apple is throwing around the XDR term in describing their screen on the iPhone Pro phones but I wonder how comparable it is to what I’m using.
I do think LIDAR is a very important feature and right now it’s very under utilized by Apple, but this may change with firmware updates or the 2021 model that I will likely buy. I’m shooting on the Blackmagic Pocket Cinema Camera 4K (BRAW Q0) which I love in all it’s manual goodness (and also have the URSA Mini 4.6K) but the Pro Max camera has so many features that can possibly make it perfect as a B or C camera for certain short takes. Always afraid of the in-camera image processing that other manufactures use with a heavy hand, but maybe this one will use better judgment. Supporting Dolby Vision would imply that they are seriously considering it’s application beyond the point-and-shoot user.
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Long time since I’ve posted here. The pic in my profile was taken exactly four weeks prior to her death this summer. A moment’s silence to honour that bitch.
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Michael, well that’s thinking outside the box! I’ll take a look at Fusion (never opened it) but I can see how Resolve might work too with smart bins and keywords, favourites, etc. No neat file renaming on Import like Aperture would do for me.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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Ricardo, Resolve 12.5 includes a lot of support for tracking for stabilization including user-specified points in addition to the ‘automatic’ generation of points. I like the results I can achieve although it does take some time setting the various points in a clip. I cannot compare it to warp stabilizer, which could well be superior, since I don’t subscribe to CC.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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I may be out of date on this, but I think the desktop version doesn’t support NVIDIA GPUs. I’ve not had an NVIDIA for quite a while so not following that issue. Since I now use Resolve Studio, I always download the updates from the BMD site after I ‘remove’ the previous version as BMD recommends.
Prior to getting that dongle with the URSA Mini 4.6K PL, I did use the free version as an App. Can’t get rid of the persistent auto notification on all my screens that I have Updates from the App Store which are now irrelevant and possibly dangerous to upgrade.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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Charlie, do you know if that “Aperture formerly known as a Pro App” is supported in Sierra?
I still haven’t found something to replace it completely. Capture One (I don’t have it) great for stills including DNG; I don’t think it manages CinemaDNG though and it’s not as strong in the photo library management. To me that was what Aperture does/did best. Adobe Lightroom (don’t have) is still available for purchase so that’s an option. On1 (have it) is coming out with Photo Raw in a few months and that does include DNG (and supports batch processing so it might handle CinemaDNG in a fashion); but library management is rudimentary.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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Unless someone is requiring that you work in ACES, my suggestion is stay with DCI-P3 and avoid the problem at this point. Although it may be a poor man’s grading monitor, the new iMac 27″ 5K Retina with El Capitan lets you set the Viewer in DaVinci Resolve v12.5 to DCI-P3 which is what I’m doing.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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Oliver, great side-by-side comparisons and it does look that detail is very similar. I wonder if you could clarify the workflow for 4K-HD-4K to confirm what I think you did. I assume these were all graded in DaVinci Resolve 12.x.
The 4K workflow also may be ambiguous, for example, when you label John Brawley’s shot of the subject in that lovely coastal home as BMD URSA Mini 4K. That was shot I believe with the URSA Mini 4.6K sensor, in BMD raw 4608×2592. For the 4K workflow, was that put on a Resolve UHD 3840×2160 timeline? If that’s what happened, the image already is being fractionally downscaled with some of the inherent benefits of over sampling and detail preservation in the downscaling from the true native 4608×2592 images.
There are two ways to get to the final leg of a 4K-HD-4K workflow that has been discussed on the Cow recently. And they may give different results. The first leg is straightforward, 4K-HD, in which you acquire 4K (or 4.6K) footage and bring it into a HD timeline for work in the Edit/Colour tabs. The last leg, HD-4K, can be done in two ways. I think you may have left the project timeline in HD when you moved to the Deliver tab where you then generated UHD samples. In that method, you have actually used the HD rendered video to upscale that image from HD to UHD. And you’ve demonstrated the high level of detail retention possible.
The other option for HD-4K is changing the project timeline resolution from HD to UHD (or even 4608×2592) before you go to Deliver. Then when you create your UHD samples in Deliver, Resolve is actually going back to the original footage to render your output. If this is the method used, one is not upscaling resolution at all from the work done in the HD Edit/Colour tabs. I suspect you did the first option so your findings are illustrating the effectiveness of upscaling from HD. The second option though is likely worth investigating though when UHD and HD deliverables are desired. I hope I haven’t misunderstood or misrepresented what you have done in my remarks.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5
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Eric, waiting for Resolve 14?
Completely unsubstantiated rumour is that Resolve 12.5 may be followed by Resolve 14.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB, Resolve Studio 12.5