F5: F5/55 Footage Thread (After Release)

indiawilds said:
Nigel,
How is the high ISO vis-a-vis C300? 12800, 16000, 20000.
Click to expand...

The high ISO footage on the F55 looks good. Very tight. The C300 is a different look because the way it processes the image. Will be good to see what the F5 looks like in low light compared to the 55
 
Nate Weaver said:
Went out the door at sunset yesterday evening just to see what it would look like. I hate to post this sort of stuff, it's about only a half-step away from shooting your own backyard and your cats, but I know some people are curious, so here's something for what it is worth.

Maybe the only redeeming feature is that I uploaded ProRes HQ to Vimeo, and you can download the ProRes from the page as well.

Click to expand...

Looks very good. Very very good.
 
More screwing around:


Do you know how hard it is to test a camera when there's no jobs working and no models standing by? Really hard.
Latest in a series of "it's not a test" tests. Not to be confused with real entertainment.

This is shot S-Log2/S-Gamut and applied a LUT meant for that source material. Small amounts of color work in this, but not much. Cooled off the day exteriors because they were warm, and added sky gradient on a lot of those beach shots. I was hoping for a sunny harsh day to get a better handle on S-Log2, but it was not meant to be.

You can download the ProRes HQ, but beware there are focus problems. On the whole though, I am even more happy with my blind purchase, it's coming through like a champ for most part.
 
Last edited:
I'm noticing what I think is some problems in the LUT. Saturated colors are bleeding a little, and if I take a look at the source material it doesn't seem to be there.

Taillights are one example, the Chinese sign on the right in the first shot is another. Again, they don't bleed or clip in the source shots. Since one of the purposes of the LUT is to take the far out-of-Rec709 colors the sensor is recording (you know, the one of the big deals about the 55) and map them into Rec709, I'll give it a break for time being.

That and same LUT was given to me as "alpha/beta". I could have easily fixed it in Resolve, but I didn't.
 
Nate Weaver said:
More screwing around:

Do you know how hard it is to test a camera when there's no jobs working and no models standing by? Really hard.
Latest in a series of "it's not a test" tests. Not to be confused with real entertainment.

This is shot S-Log2/S-Gamut and applied a LUT meant for that source material. Small amounts of color work in this, but not much. Cooled off the day exteriors because they were warm, and added sky gradient on a lot of those beach shots. I was hoping for a sunny harsh day to get a better handle on S-Log2, but it was not meant to be.

You can download the ProRes HQ, but beware there are focus problems. On the whole though, I am even more happy with my blind purchase, it's coming through like a champ for most part.
Click to expand...

Nice material Nate... I've heard privately from others wonderful things about this system. Amazing how far things have developed in such a very short time...



M.L.Pappas
http://TWITTER.com/PAPPASARTS

http://PAPPASARTS.WORDPRESS.com
https://www.FACEBOOK.com/PAPPASARTS


BlackMagic Digital Camera Info: http://www.bmcuser.com/showthread.p...mera-Technology-Announcements-amp-Latest-Info
 
starcentral, Dennis,
you're one of a few people who has both F3, and F55, could you do a compare shots, even on you own kitchen, from a tripod, and share 5 sec clips.
something like this.
http://www.youtube.com/watch?v=0sXpYAKjUUA
really want to see how much of range do you get on each camera!

Do you see some chroma bleeding in your footage, on bright neon lights?
 
Last edited:
Hi Oleg, it was my idea also to do such a comparison but I only had 3 days overlap with both cameras before I had to ship F3 which I sold. :( also I spent first day or two learning F55 and optimal settings and testing grade from it, figuring out computer workflow, etc.. To be honest first few days were a bit of blur.

However I do know a few fellow shooters with F3 and might be able to arrange something. I think range is similar, but so far feel F55 has extra magic in highlights possibly either due to slog2 or inherent properties to sensor or internal camera proccessing by ASIC.

There were a few different highlight related issues people have seen, halo/glow was addressed in v1.03 and I'm told the hard edged chroma issue I first spotted was addressed in v1.10 but so far I have only shot sodium vapour and neon sources with v1.03. I have to go out and do more tests now that I'm upgraded. When I shot the street shots (frames posted) running v1.03 all the street lights when zoomed in had chroma around them in form of an edge. I will be the first to post further findings of this on Sony's boards if it has not been addressed.

I was at the Toronto Sony F5/F55 launch last night put on by Vistek, they had Davinci color suite and really awesome DIT/colorist there who I chatted with about pixels, noise and dancing grain. He was impressed with the lattitude of 4k 10-bit XAVC - I was impressed at the ability to pull out the highlights and remove the video look. When we brought up some 4k raw footage obviously the lattitude was even more immense and picture extremely clean.
 
Last edited:
"Old Factory blowing smoke" - multiple pass video grading in Resolve.
Shot in 4k XAVC, slog2 + s-gamut.

1.) original slog2 2.) Sony slog2 -> Rec709 LUT 3.) Color correction 1 4.) Color corretion 2

https://vimeo.com/61492088
 
Last edited:
Question for Dennis and or Nate. I've notice in both of your posted footage and effect similar to a bad chroma keyed's running ants. Have you notice it on the un touched clip?
 
Douglas Villalba said:
Question for Dennis and or Nate. I've notice in both of your posted footage and effect similar to a bad chroma keyed's running ants. Have you notice it on the un touched clip?
Click to expand...

Sounds like you're describing dot-crawl? Bu that's a standard def composite video thing? I haven't noticed anything in my clips.

I think you'd have to tell us where you're seeing it? Vimeo? Have you downloaded the ProRes and viewed unscaled? Scaling can introduce weird stuff sometimes.
 
On your footage I made a comment on this thread. You even answered, but you thought I was sending a frame grab that showed it. I was just pointing out where in the footage I had seen it. (your neighbor's house)
On Dennis' footage I see it on the walking platform on the towers.
I would think it on the down converting to 1080. I remember when 1080 first came out, people with lower res monitors use to see this effects. My Panasonic monitor is 1080 and my computer monitor is the Apple 27" LED. I see the effect more on the 1080.
 
One thing to note is that the 4k 4096x2160 is not proper 1920x1080 scaled down, so to make it fit some clips will be scaled (my factory clip) and others will be fit vertically (1080) but then cropped by 128 pixels on the left or right (or both) sides so that no further scaling is done. I think this difference, could make some difference in perhaps what you are noticing.
 
You must log in or register to reply here.
Back
Top