Thread: Gen 4 discussion

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  1. #11  
    Senior Member shijan's Avatar
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    Thanks for tip. With timeline set to BMDFilm Broadcast Film it looks nice now


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  2. #12  
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    Yeah I cannot update to the latest resolve build yet, as I am waiting on final feedback on a video project and afraid it will mess up my project.

    So yeah looking forward seeing more results from Ursa Mini Pro with colour science 4, especially low light stuff with lots of colors Red, Blue, Green and skintones.
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  3. #13  
    Senior Member Asyndeton's Avatar
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    Oh wow, using those settings with the Pocket 4K Film timeline color space on the UM4K is producing some great results with some stuff I shot earlier today.
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  4. #14  
    Senior Member CaptainHook's Avatar
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    Quote Originally Posted by Asyndeton View Post
    Oh wow, using those settings with the Pocket 4K Film timeline color space on the UM4K is producing some great results with some stuff I shot earlier today.
    Oh yes, I forgot the Pocket 4K Film was also added which will be the same as the Broadcast Film setting since they're both Gen 4. By those settings, do you mean you're also using CST to transform to Rec.709? Sorry this has gone so off topic, I just wanted to help shijan. Perhaps a mod will shift this discussion.
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  5. #15  
    Senior Member shijan's Avatar
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    Quote Originally Posted by Asyndeton View Post
    Oh wow, using those settings with the Pocket 4K Film timeline color space on the UM4K is producing some great results with some stuff I shot earlier today.
    Yes, seems Pocket 4K Film timeline + colour science 4 looks great! Way better than Broadcast timeline. Less milky blacks. Very close to ColorChecker correction.
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  6. #16  
    Senior Member shijan's Avatar
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    Done some more tests and it seems BMMCC/BMPCC + Pocket 4K Film timeline + colour science 4 still clips some extreme saturated colors.
    BMMCC/BMPCC + BMD Film timeline + colour science 1 produce less contrast and less saturation but don't clips colors in same conditions.



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  7. #17  
    Senior Member david evans's Avatar
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    Just to be sure. This whole pocket 4k or film broadcast timeline is just for when you're using the CST plugin, right? If you're not using it, one can keep working in Gamma 2.4 timeline and still be able to use the gen 4 in the same way, correct?
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  8. #18  
    Senior Member Note Suwanchote's Avatar
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    Interesting about that Pocket 4K timeline!
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  9. #19  
    Senior Member CaptainHook's Avatar
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    Quote Originally Posted by david evans View Post
    Just to be sure. This whole pocket 4k or film broadcast timeline is just for when you're using the CST plugin, right? If you're not using it, one can keep working in Gamma 2.4 timeline and still be able to use the gen 4 in the same way, correct?
    Its just for CST plugin, yes. They're actually transforming into Rec.709 in this thread which takes you out of Gen 4 into a smaller gamut. Personally I would just use Film Gen 4 from the decode option and grade from there.
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  10. #20  
    Senior Member CaptainHook's Avatar
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    Quote Originally Posted by shijan View Post
    Done some more tests and it seems BMMCC/BMPCC + Pocket 4K Film timeline + colour science 4 still clips some extreme saturated colors.
    BMMCC/BMPCC + BMD Film timeline + colour science 1 produce less contrast and less saturation but don't clips colors in same conditions.
    You need to use a separate gamma in the timeline setting. You're telling the CST plugin that it's getting pocket 4K film (ISO400), but it's actually getting BMCC/Pocket film (ISO800) which is a different log curve. So set the gamut/space to Pocket 4K but gamma to original BMD Film so that it matches the RAW decode settings. Or, just manually set that in the CST plugin instead of using timeline settings and then leave timeline as the default.

    Also, I wouldn't be surprised to see those lights clipping in the small gamut of Rec.709. It's not a great gamut for grading, I prefer working in a wider gamut and pulling into 709 manually for output.
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