F5: F5/55 Footage Thread (After Release)

Yes I suspect if you are seeing any funny business in the HD versions being posted it could be because of this.

Normally 4k (4096 x 2160) when scaled directly down to HD will result with a thin black bar at the top and bottom of the frame because the 4k image is slightly wider than HD proportionately speaking. You can see the black bars in my first night shot test because in After Effects I did not think to blow up the frame slightly to remove the top and bottom.

The factory footage however I processed through Resolve v9 and under project settings / image scaling I chose the option to match the height and crop out the sides. There are also options to STRETCH the image vertically to fit (not recommended), or do a center crop. Care must be taken to which mode is used that's for sure.
 
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Dennis, I might have missed it... was it here that someone asked how you did your work flow... shoot 4k brought into what editing program.... storage... etc... thanks
 
I had some clips laying around from the day I had the raw recorder, figured I'd upload in case anybody can glean anything from them.

I'm going to say right now that if you're wondering what the big deal is with the raw, you need to download the ProResHQ. One thing going for these clips is tiny tree leaves usually bring out the worst in a codec. I might even go so far as to say the ProResHQ output doesn't look as nice as uncompressed because of all those trees, but it's close.

[as of posting time, Vimeo isn't done with the 1080p encodes, it's showing a 720p version. It's taking hours]



 
Nate Weaver said:
I had some clips laying around from the day I had the raw recorder, figured I'd upload in case anybody can glean anything from them.

I'm going to say right now that if you're wondering what the big deal is with the raw, you need to download the ProResHQ. One thing going for these clips is tiny tree leaves usually bring out the worst in a codec. I might even go so far as to say the ProResHQ output doesn't look as nice as uncompressed because of all those trees, but it's close.
Click to expand...


Impressive stuff.
 
A couple clips from my first few days getting accustomed to my new F55 and new workflow. I am completely in love with this camera, upgrading from a 5D and HPX250... Finally, the best of all worlds have come together inside of one expensive (but relatively inexpensive) camera body!

https://vimeo.com/63302568
 
Congratulations! Same here! I could care less I got ripped off an extra $10,000 for global shuter, 4k XAVC, simultaneous mpeg proxy recording, HD OLED VF,.. and a few other nice things. The F55 rocks!

The main thing is like you say; it is ALL IN ONE BODY. Nothing beats that and I'd call that pretty priceless.


As for your footage. Nice tests! I think you are a tad over-exposed for ungraded slog. Your whites look a bit hot. (This is thanks to lack of any exposure tools on the camera - not your fault). You can try setting your zebras to 60%-70% and not let anything very white or reflective-white show stripes. Just takes a bit of getting use to.
 
Thanks for the exposure tip Dennis. I've been reading a lot of your posts the last few days and have found a huge amount of information in them, so thank you for those tips as well! The dark-room with blue CFL had an aura that I didn't think much about until I was reading a bit about chroma bleeding... To be fair, it must've been 10+ stops overexposed since it was the only light in the room, but is that the chroma bleeding you chaps have been talking about?
 
No problem. In fact in slog2 mode 90% reflectance (like a white card) should read 59% IRE. (Compare that to slog for the F3 folks which is 68% IRE for 90% reflectance.)

I've been setting my stripes for 70% and making sure that nothing stripes unless its a super shiny surface, or say a "hot source". I will probably move down to 60% but so far been pretty comfortable with 70%.
 
Yeah, just FYI and to be concise, slog exposed correctly looks way underexposed to the eye. Just try and remember when shooting that all that stuff in the shadows is there and will be brought out in the "developing". Or by putting white at 100% in the finder is shorting yourself about 2-3 stops of highlight latitude.
 
Thank you as well Nate, this board has been a big help to getting through the learning curve of a new system (I'm new at the bleeding-edge thing). Seems like I might need a new computer now, my dual core 2.7 doesn't handle resolve very well. What is everyone else using?
 
I only recently switched over to resolve from Adobe and am planning a dedicated machine for it, but for now I'm tinkering around with an old Quad Core Q8400 PC that smokes my macbook pro i7 series when it comes to Resolve.... I'm quite surprised at that but I'm guessing its because my macbook has a radeon card in it and also quite low memory.
 
Dennis, I moved from an aging Mac Pro to a PC Tower using a Quadro 4000 for the GUI card and a GTX 580 Classified for the processing card. The speed increase was breaktaking, not only for Resolve but everything else. I simply followed the specs in the Resolve Windows Guide and everything went swimmingly.

I couldn't wait on Apple any longer. This was prior to Cook blurting out some months ago that Apple was going to deliver a new Mac Pro this spring. Chances are it will be formally announced and then come out at either NAB or during WWDC in June. They may use the SuperMeet in Vegas next week to announce it, that is the same place where they announced they were killing off FCP.

You might want to wait until the Mac Pro comes out before you make your decision on a new machine. Apple has to re-earn my trust before I go back. BTW, I do all my editing, After Effects and Resolve work on the same PC machine. A machine stuffed with RAM and a modern desktop processor (as outlined in the Resolve guide) can easily handle it.
 
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Hehehe who said anything about buying dedicated mac, I will definitely stay with pc. My macbook is more for field stuff or FCP work for when it is needed. :cool:
 
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