Thread: FX9 success?

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    #81
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    Quote Originally Posted by morgan_moore View Post
    My first experience of peaking was at a trade show was with a wide open 50. Not only were both eyes displaying but also background elements.
    I knew instantly that it was a bulls*%t tool as a wide open 50 gives only one eye in focus.
    2/3 at 720 maybe - full frame 4K? No
    What camera?
    What lens?
    What type of peaking?
    What settings for the peaking?


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    #82
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    Quote Originally Posted by Doug Jensen View Post
    Normal peaking (or edge enhance peaking) has been perfected on Sony broadcast cameras for more than 40 years and is virtually infallible. I trust it 100% and I have never had it lead me to miss hitting focus.
    Peaking or crispening has been around on studio cameras and field cameras for years. I know of very few studio ops who wouldn't use it. On fast moving sports if you are trying to obtain critical focus using anywhere from a 50 to a 100 x lens then believe you me you aren't trying to 'focus' the image. All you are doing is framing and keeping those edges 'crisp.' You don't have time to study the image as such. This race car is approaching you you flat out and all you are concentrating on is 1, framing and 2, winding your focus demand to keep the image 'crisp,' no time for critical focusing on the image as such. Try keeping focus on 400 yard golf ball flight. We even used to turn off the green and red VF channel peaking to make the ball easier to see and focus against the sky using the blue channel only. The blue channel is the noisiest and gives the best edges.

    What one has to realize is that with a lot of still cameras and their lenses and lower end video cameras the peaking circuits are not integral to the electronic circuits of the lens hence often don't work very well. They work purely using sensor image information with no lens feedback regarding aperture or length. How many times in low light at the long end of a zoom lens or long prime lens have you found peaking useless on these types of cameras. Often no doubt. Broadcast studio, field and ENG lenses where the focal length, lens position, aperture are all part of the focus feedback loop behave very differently. Even in low light wide open at 80 x the peaking circuits work well as they are receiving info from the lens that assists the process. Fuji have their new 125 x out. Couldn't imagine using it without crispening/peaking). No color used just edge enhancement.

    Chris Young
    Last edited by cyvideo; 03-27-2020 at 11:05 PM. Reason: added info


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    #83
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    Quote Originally Posted by Doug Jensen View Post
    What camera?
    What lens?
    What type of peaking?
    What settings for the peaking?
    To be fair - I cant remember - I think it was a marshall monitor

    I can imagine that crispening on a $100k of 2/3 sports rig might work.


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    #84
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    Quote Originally Posted by morgan_moore View Post
    To be fair - I cant remember - I think it was a marshall monitor
    I can imagine that crispening on a $100k of 2/3 sports rig might work.
    Marshall? So it wasn't even a camera's peaking you were looking at. No offense intended, but you are showing your inexperience and ignorance with your last two posts.


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    #85
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    When your eyesight gets to be a certain age, whatever works is the right choice.
    ___________________________________________

    J.Cummings-Lighting Cameraman
    http://www.ohfilmworks.com
    IMDb


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    #86
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    Quote Originally Posted by Doug Jensen View Post
    Marshall? So it wasn't even a camera's peaking you were looking at. No offense intended, but you are showing your inexperience and ignorance with your last two posts.

    Im not weighing in on the debate as such. But to be fair, judging the tools most filmmakers actually use today is fair.

    I only ever once touched and used a proper ENG camera, during film school. For the past 10 years i have been using DSLR, mirrorless, FS700, and FS7. For my part, im only interested in what works for my tools, how they can be used, and what works for my style.

    Oh and i use the built in white/grey on the FS7, with stills lenses. Works okish.


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    Well as a guy who has been shooting 35 years and has plenty of experience using colored and not colored peaking and old B4 cameras as well as mirrorless and FX7, 9's and lots of monitors, I am willing to declare that it is simply BS to point blank tell people they don't know what they're doing if they use colored peaking. I use it all the time, but I use it intelligently. The first thing I do is test the peaking circuit against a larger monitor where I can really see how accurate it is. There is a big difference between how well its implemented on different monitors and viewfinders and you need to set the parameters so that the peaking just appears and doesn't give you too many false positives. I haven't used any recent Marshalls but the ones I used a few years ago were horrible - complete useless. Likewise the original 9" panasonic monitors were downright dangerous. The red peaking in the old EX-1 was actually pretty good but it was completely useless on the "improved" viewfinder of the EX-3.

    Moreover youi have to understand that it will act differently on scenes with a lot of high contrast edges than it will on something flat.Thus it will act differently under a cloud than it will in sunlight. Its different with moving subjects than stationary. The Odyssey 7Q has 3 different adjustments and I change them for different situations all the time, but I also frequently check the "push in circut" to check more carefully. Its just another tool that can be used or abused. Across the board condemnation especially by people who haven't spent time working it with means nothing to me.

    By the way if you want to test whether your 18-110 is "parfocal" or not I suggest using the red peaking with the viewfinder in 4X's mode. Way easier to see than on any monitor I've used .
    Last edited by LennyLevy; 03-28-2020 at 01:42 PM.


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    #88
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    Quote Originally Posted by Doug Jensen View Post
    Marshall? So it wasn't even a camera's peaking you were looking at. No offense intended, but you are showing your inexperience and ignorance with your last two posts.
    I dont pretend expericence of old TV cameras. Back in the mid 2000s I was playing with my 16bit raw hasselblad learning about the future of imaging and how to get critical focus on a chip bigger than the arri LF (you cant without AF!)
    Last edited by morgan_moore; 03-28-2020 at 02:45 PM.


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    #89
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    Quote Originally Posted by LennyLevy View Post
    I use it all the time, but I use it intelligently. .
    Lenny, just to make sure I understand, are you saying that you prefer using colored peaking on your FS7 in some circumstances? May I ask what, specifically, those circumstances are where you think colored provides superior performance to normal peaking? In what way does color serve you better than normal peaking in those circumstances? How does normal fall short? And also, what colored peaking settings are you using on the FS7 so I can try them myself? And if you don't mind one more question, I'd be interested to learn what your settings are for normal peaking -- that doesn't work as good as your colored settings?


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    #90
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    Quote Originally Posted by Doug Jensen View Post
    Marshall? So it wasn't even a camera's peaking you were looking at. No offense intended, but you are showing your inexperience and ignorance with your last two posts.
    Isn’t saying no offense and calling someone ignorant a bit hypocritical? I’m asking for a friend.


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