Thread: Blackmagic raw!

Page 14 of 31 FirstFirst ... 4121314151624 ... LastLast
Results 131 to 140 of 304
  1. #131  
    Senior Member Taikonaut's Avatar
    Join Date
    May 2012
    Posts
    2,959
    I always consider Alexa to have 1.5 stop over Mini 4.6k but with the Gen 4 colour and BRaw combo which improve the latter by 1.5 stop that different with the Alexa has narrowed. Is the UMP going to be marketed as a 16.5 stop camera from now on?
    Reply With Quote  
     

  2. #132  
    Senior Member
    Join Date
    Sep 2012
    Posts
    148
    Quote Originally Posted by Samuel H View Post
    I could buy a 256 GB Transcend CFast for $350 plus $50 for a good reader, or I could buy a 256 GB Sandisk Extreme SDXD card for $140. I guess it's not a difficult decission.
    Here's something else to mess your mind up!
    https://www.amazon.com/gp/product/B0...G2LZFK00&psc=1
    Reply With Quote  
     

  3. #133  
    Senior Member
    Join Date
    Apr 2015
    Posts
    121
    Quote Originally Posted by Taikonaut View Post
    I always consider Alexa to have 1.5 stop over Mini 4.6k but with the Gen 4 colour and BRaw combo which improve the latter by 1.5 stop that different with the Alexa has narrowed. Is the UMP going to be marketed as a 16.5 stop camera from now on?
    I didn’t think Raw had more dynamic range than say prores?
    Reply With Quote  
     

  4. #134  
    Senior Member
    Join Date
    Sep 2012
    Posts
    1,056
    Well, if the new de-bayering and color science improve on noise, you can talk about some gain. But at least on the lower end DR is to some degree subjective…
    Reply With Quote  
     

  5. #135  
    Senior Member Fauxto's Avatar
    Join Date
    May 2014
    Location
    Spain
    Posts
    425
    Quote Originally Posted by drcoffee2 View Post
    all ursa mini line eventually https://youtu.be/AYswt0WM7gU?t=4m1s
    Looks like first Ursa Mini line, then 'eventually' BMP4K.
    Álex Montoya on Vimeo
    https://vimeo.com/alexmontoyamelia
    Reply With Quote  
     

  6. #136  
    Senior Member
    Join Date
    Aug 2012
    Posts
    736
    The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.
    Reply With Quote  
     

  7. #137  
    Moderator
    Join Date
    Apr 2012
    Posts
    4,345
    Quote Originally Posted by dop16mm View Post
    The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.
    I believe that's the intent behind the sidecar, and if I had to guess, the future of where BRAW is going in general. Once the kinks are worked out, a feature like embedding the new Extended Video LUT (which is very good) into the BRAW on top of adjustments you'd be able to make would be pretty great going forward.

    SKYPE (best way to talk to me): Camera_Kholi | twitter
    Avery and Pete: Superseeds Feature Film Trailer
    Reply With Quote  
     

  8. #138  
    Junior Member
    Join Date
    Aug 2018
    Posts
    22
    anyone give the HD windowed mode a shot in BRAW? i'd recommend it

    however BRAW is doing the partial de-mosaic in cam it changes how the camera manages noise

    you really get a feel for the new noise profile in the windowed mode, i'm really liking it! feels way more film-like, almost like the OG pocket, and no FPN!

    i've never liked shooting the HD windowed mode, now I can't wait to find the right project to shoot with it
    Reply With Quote  
     

  9. #139  
    Junior Member
    Join Date
    Aug 2018
    Posts
    22
    Quote Originally Posted by dop16mm View Post
    The sidecar files have me wondering if a viewing lut, either default or custom, could be put in the metadata in camera. Instant rushes for director/producer/editor whatever so cinematographer's intent is clear. This could be used as the starting point for the final grade, but it is still raw underneath so if creative goes another way it can be tossed and started over. My biggest frustration with log and raw is that it can go anywhere, and without the time or budget for graded rushes directors often get used to the flat look, or worse they think it looks horrible and don't understand what it is going to look like. Looking forward to seeing where this workflow goes. Hoping premier picks it up as a lot of guys at my budget level use it, without attempting to try resolve, and if camera luts are supported they will display with the footage in premier, after effects etc.
    How about an extra menu in the camera or the iPad app with sliders for the basic raw adjustments, contrast, sat, highlights/shadow roll offs, etc? Basic onsite grading without a full on coloring dit, and it stays with the footage in a sidecar but preserves the original raw...that would be amazing
    Last edited by Adam E; 09-15-2018 at 04:09 PM.
    Reply With Quote  
     

  10. #140  
    Senior Member
    Join Date
    Aug 2012
    Posts
    736
    Quote Originally Posted by Adam E View Post
    How about an extra menu in the camera or the iPad app with sliders for the basic raw adjustments, contrast, sat, highlights/shadow roll offs, etc? Basic onsite grading without a full on coloring dit, and it stays with the footage in a sidecar but preserves the original raw...that would be amazing
    That would be cool, but too much work,for me on set, might as well just generate the sidecars during data transfer. I would be happy if a viewing lut could go with the footage via metadata or sidecar, that could be removed when ready to grade.
    Reply With Quote  
     

Similar Threads

  1. Replies: 7
    Last Post: 09-30-2013, 08:53 AM
  2. Blackmagic Pocket shot by Blackmagic MFT: 12mm 1.6 and Lilliput Screen
    By Note Suwanchote in forum General Discussion
    Replies: 43
    Last Post: 08-20-2013, 08:22 PM
  3. BlackMagic Hour - International BlackMagic Film project
    By mbeck in forum Filmmaking - General
    Replies: 87
    Last Post: 09-30-2012, 08:23 AM
  4. BlackMagic Hour - International BlackMagic Film project
    By mbeck in forum General Discussion
    Replies: 3
    Last Post: 09-02-2012, 08:49 PM
Bookmarks
Bookmarks
Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •