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    #31
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    Quote Originally Posted by RayZan View Post
    Shadows are a bit of a challenge for the F35 though. But with effort they can be handled very well.
    I feel you on that my friend. Shadows and blacks in general are tough for me in post with the F35


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    #32
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    Quote Originally Posted by RayZan View Post
    I think he was talking about white balance 3200K not iso.
    haha yes my bad 3200 white balance


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    #33
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    Quote Originally Posted by bigmitch View Post
    I feel you on that my friend. Shadows and blacks in general are tough for me in post with the F35
    Looking at the footage more and more, and after talking to others on the forum.

    I see NO difference between this and ProRes 4444

    C
    IATSE Local 600 Western Region 1st Assistant Camera
    Associate Member of the S.O.C.


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    #34
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    Quote Originally Posted by Archduk3 View Post
    Looking at the footage more and more, and after talking to others on the forum.

    I see NO difference between this and ProRes 4444

    C
    If you're referring to the difference between dpx and Prores 444, it is there but very subtle. Dpx contains slightly more color information and complexity. However, there is no improvement in noise or resolution. The best way to describe it is that in Prores the colors are a bit "smeared". Very subtle though. Whether that tiny difference warrants the added storage needs of dpx is a different matter. I have stopped recording in dpx as well. It just demands so much in storage. The big unknown is whether this difference becomes magnified on an 80' screen. Good luck conducting that test!


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    #35
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    Quote Originally Posted by RayZan View Post
    If you're referring to the difference between dpx and Prores 444, it is there but very subtle. Dpx contains slightly more color information and complexity. However, there is no improvement in noise or resolution. The best way to describe it is that in Prores the colors are a bit "smeared". Very subtle though. Whether that tiny difference warrants the added storage needs of dpx is a different matter. I have stopped recording in dpx as well. It just demands so much in storage. The big unknown is whether this difference becomes magnified on an 80' screen. Good luck conducting that test!
    I am yet to see a difference...

    C
    IATSE Local 600 Western Region 1st Assistant Camera
    Associate Member of the S.O.C.


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    #36
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    Quote Originally Posted by Archduk3 View Post
    Looking at the footage more and more, and after talking to others on the forum.

    I see NO difference between this and ProRes 4444

    C
    Awesome! Good to know because dpx files are stupid big. The only thing I noticed which is more of a technical thing is when the footage is put into resolve I believe I have to change the ProRes 4444 to "full data" and when I bring in dpx footage that setting is automatically turned on... can anyone else confirm this on their end? Not a huge issue but that is something to easily forget.


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    #37
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    Quote Originally Posted by bigmitch View Post
    Awesome! Good to know because dpx files are stupid big. The only thing I noticed which is more of a technical thing is when the footage is put into resolve I believe I have to change the ProRes 4444 to "full data" and when I bring in dpx footage that setting is automatically turned on... can anyone else confirm this on their end? Not a huge issue but that is something to easily forget.
    This is a SLOG bug with Resolve. Had to do the same with A7s footage recorded externally in ProRes as well.

    Other than that it acts EXACTLY the same (downloaded your DPX footage and player around with it)

    C
    IATSE Local 600 Western Region 1st Assistant Camera
    Associate Member of the S.O.C.


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    #38
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    Quote Originally Posted by bigmitch View Post
    I used the super scale feature in the paid version of resolve. To my eyes I think it works fantastic. I think mostly because the 12bit information really helps, but who really knows whats going on under the hood. Maybe it likes dpx files?? It takes a couple min testing out different levels of sharpening and noise reduction. Usually a setting of "low" does the trick but I have used "medium" before. I've tested it on a 48 oled, my iPhone and a standard LG monitor. I like it so far. 99% of my work is watched on phones looks like 4k footage to me when watched on my small devices.
    How it looks in your 48 oled? Better than the TV upscale feature? Noticeable better than just HD?


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    #39
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    Quote Originally Posted by SJX View Post
    How it looks in your 48 oled? Better than the TV upscale feature? Noticeable better than just HD?
    I haven't tested it on the tv's built in upscale feature. I didn't even think of that... I'll give it a try.

    I can certainly see a visual difference on the 48 oled when I turn on and off super scale. Mostly from the sharpening feature. But as we all know the F35 is probably one of the nicest looking 1080 images possible. A little goes a long way when it comes to upscaling. A "low" setting on both noise reduction and sharpening is usually enough as long as you used a solid lens from my experience.


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    #40
    Senior Member rbirnbaum's Avatar
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    Quote Originally Posted by bigmitch View Post
    released a music video - through the fire super pumped on how it turned out! Just me no other crew, 99% practicals, had one soft led on the second verse with the artist and his wife next to him in the lobby buttt thats it! Would love to hear what you guys think. Any feedback / critiques would be super helpful! Heres a few of my favorite frames. https://vimeo.com/474862420
    Attachment 141406Attachment 141407Attachment 141408Attachment 141409Attachment 141410Attachment 141411Attachment 141412Attachment 141413Attachment 141414Attachment 141415Attachment 141416
    making her sing!!! Yeah!!!!!!!


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