F55: F55 Raw Night Test

Nate Weaver

Nate Weaver

Veteran
So this is raw shot on the F55.

Brought into Resolve 9.1

ACES Enabled, because the ACES RRT does nice highlight roll-offs, and nice things to the color, in my opinion. No grading though. Just ACES, brought exposure in the raw settings up to 2500, and then rendered out to ProRes HQ. You can download the 1080p ProResHQ in the download link.

I apologize for the bumps. Downtown Los Angeles has more potholes than I remembered.

This is HALF-DEBAYER. Not full. My Macbook doesn't have enough video memory to do full res debayering. What this means, is the noise level is higher than a full debayer, just like with Red footage. I will re-upload this if and when I get access to a better machine to output this on.

 
Red 18-50. I've been a proponent of this lens for a while simply for its practicality, but I'm starting to see its limitations on the 55 a lot more readily now. Still gets the job done, but at 4K seems be the weak link in the equation.

I got to put an Angenieux 19.5-90 on it today. Looking at the raw now, much nicer.
 
Nice Nate! When you were adjusting the RAW settings what color temp did you set it to?, globally or different per shot? I know there is a 100 different temps out there on the streets, wondering what you found was a good compromise.
 
I set to 4400. BTW, Sony raw you can't set the temp in post like a Red. I mean, you can go in and correct it like any other camera with the wheels (and the raw is very, very flexible), but you'd be prudent to make a smart choice about it while shooting.
 
My lord that camera is awesome! Pot holes + global shutter = NO Problem! Thanks for the upload and can't wait to see more Mr. Weaver!
 
Nate Weaver said:
I set to 4400. BTW, Sony raw you can't set the temp in post like a Red. I mean, you can go in and correct it like any other camera with the wheels (and the raw is very, very flexible), but you'd be prudent to make a smart choice about it while shooting.
Click to expand...

Ahh, gotcha. Thought it had a "fixed" WB that you could decide on when processing the RAW file.
 
Nate

Some of those pre-release clips I sent you were shot on my Red 18-50.

Have you experimented with adjusting color temp/white balance in the Raw Viewer rather than in Resolve?

Ned
 
looks great Nate.. did you by coincidence shoot any 4k XAVC and compare to spot for major differences?

No biggie but don't forget to select "scale full frame with crop" in resolve to get rid of the thin top & bottom black bars. :happy:

Fotojorno said:
Nice Nate! When you were adjusting the RAW settings what color temp did you set it to?, globally or different per shot? I know there is a 100 different temps out there on the streets, wondering what you found was a good compromise.
Click to expand...

I also found 4400 works best, middle of the road then adjust in post to where needed or what looks good.
 
Douglas Villalba said:
It looked pretty sharp to me. Did you have the detail on? (Assuming it works the same way as the F3)
Click to expand...

No detail in raw, Douglas.

How have to see the 4K pixel for pixel to see the shortcomings of the lens. It's relatively unnoticeable at 1080p, especially after Vimeo takes it's compression pass.
 
Here is the a flat pass of the raw.

In the raw settings, I decoded to S-Log2 gamma and S-gamut, so you can get an approximation of what XAVC to Slog2 would have looked like. Also, so you can see what's really in the blacks and highlights, what's clipping and what's not. Did not push exposure to 2500, kept it at 1250 in Resolve.

Again, this is half-res debayer, so noise size/level is twice what it should be, and there are small, small aliasing issues. Half-res is usually what you do when pressed for time making edit proxies, or in my case, short of hardware.

If you're not tuned into what half-res debayer means, it means that in the raw decoding, half of the 4K source pixels are ignored. Pixel skipping. So when it looks this good doing things half-assed, things get noticeably better when done to a T.


 
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I thought 4400 was an interesting choice. In both those clips its noticable in the background when the rider goes from sodium vapor, to florescent, to tungsten lighting. I probably wouldn't have thought to choose 4400 as a happy medium, but it worked.
 
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