FS100 - highlights/profiles

If you struggle to the end of that video I shoot the VND at 6.3 and 3.5 when no filter is giving f22

its pretty constant but shifted from base of no filter

S
 
So it looks like you end up with 3profiles, noND someND and lots of ND, that will be my 1-2-3

--

Hasselblad are a company that understands images, their Phocus, system takes the metadata from the lens and holds hands with the post software that has profiles for each lens at each focus distance, and corrects for CA, colour shifts, distortion and vingette, the true marriage of digital and physical, sony should try it..
 
morgan_moore said:
So it looks like you end up with 3profiles, noND someND and lots of ND, that will be my 1-2-3

--

Hasselblad are a company that understands images, their Phocus, system takes the metadata from the lens and holds hands with the post software that has profiles for each lens at each focus distance, and corrects for CA, colour shifts, distortion and vingette, the true marriage of digital and physical, sony should try it..
Click to expand...

Sony do correct for CA with E Mount lenses (not sure if ALL) but I do agree that more auto correction could be a good thing. Instead of going down the mega pixel avenue more processing in camera to correct various aberrations would be a very good thing. Would it sell to the consumer as well as umpteen K, probably not!

My rather lovely Heliopan that has restored my faith in VNDs is benign as far as WB shifts due to filter rotation also any WB shifts due to VND strength is so minimal that it can be discounted. Well worth the premium IMHO.
 
I dont know MP (in video) are good

Seems like you can go down two roads, super tech collection of minimal data, or collect a load of data and sort it later (raw) the FS100 is neither..

S
 
Seems like you can go down two roads, super tech collection of minimal data, or collect a load of data and sort it later (raw) the FS100 is neither..
Click to expand...
Very brilliant statement. This is exactly why I like SLOG and love RedRaw. I don't have time/patience to tweak obscure camera settings with mystic descriptions ad-nauseum. For me, it's poison to the creative process.

Side note: I love m Singh-Ray vari-ND.
 
LeavingTheCandy said:
I don't have time/patience to tweak obscure camera settings with mystic descriptions ad-nauseum. For me, it's poison to the creative process.
Click to expand...

Some of us don't find the camera settings mystic and tweaking the camera for the best possible image for a given scene is part of the creative process.

Last time I looked the FS100 didn't record SLOG or REDRaw so what's your point?

Shooting SLOG or REDRaw doesn't absolve the camera operator from tweaking camera settings for the best possible image.
 
Have you guys seen this?

How Mac OSX still *screws* your GH2 / FS100 / NEX footage – A must read!!
’ve had my suspicions for a while now about AVCHD footage having a different exposure on my Mac to on the camera. When I edit my GH2 and FS100 stuff natively in Adobe Premiere Pro CS5.5 or the new CS6, or preview AVCHD MTS files in VLC Player (Quicktime X still does not support AVCHD) blacks are crushed and the image is darker overall with far less shadow detail than on the camera’s LCD.

The problem isn’t limited to shadow detail. Highlights are clipped as well. This is very noticeable on the FS100 where the camera has a steep roll off from highlights as it is.

Overall the dynamic range of the camera is reduced 1-2 stops by OSX.
Click to expand...

The rest of the story is here:

http://www.eoshd.com/content/8076/how-mac-osx-still-screws-your-gh2-fs100-nex-footage-a-must-read

Frank
 
Frank,

Saw that a while ago, not a single clue was had by the author.

That is one of the most ill informed articles I have ever read.
 
Some of us don't find the camera settings mystic and tweaking the camera for the best possible image for a given scene is part of the creative process.
Last time I looked the FS100 didn't record SLOG or REDRaw so what's your point?
Shooting SLOG or REDRaw doesn't absolve the camera operator from tweaking camera settings for the best possible image.
Click to expand...

The point is that when shooting with SLOG or RedRaw, I am making grading/color decisions in post and not with settings that make no sense to me. (excuse me for it not being perfectly clear how "KNEE" effects my image in-camera. I sure like making color decisions that I can see on my GRADING monitor, especially since my ideas and my client may be something else? RAW and to a lesser degree, SLOG allows one to effectively make those decisions in post.

There are times, of course, when things ARE more important than color flexibility (i.e.. frame rates), which is why I have an FS700 as well. :beer:
 
Postmaster said:
Have you guys seen this?



The rest of the story is here:

http://www.eoshd.com/content/8076/how-mac-osx-still-screws-your-gh2-fs100-nex-footage-a-must-read

Frank
Click to expand...

at the risk of sounding like a broken recor... at the risk of sounding like a broken recor... at the risk of sounding like a broken recor... at the risk of sounding like a broken recor...

QT player is just expanding the 16-235 to 0-255 hence clipping. You really have to test your workflow really well to make sure you're not missing out on a good chunk of your range. I bet some folks highlight issues have perhaps been some form of clipping like this. Even in FCP X you have to bring your superbrights down to stop the clipping. It's like RAW recovery (well it's not but it feels magical when you get back highlights like this). YMMV

cheers
paul
 
LeavingTheCandy said:
The point is that when shooting with SLOG or RedRaw, I am making grading/color decisions in post and not with settings that make no sense to me. (excuse me for it not being perfectly clear how "KNEE" effects my image in-camera. I sure like making color decisions that I can see on my GRADING monitor,
Click to expand...

Any competent COLOURIST would know what a KNEE is and be able to see the affect on their GRADING monitor and waveforms. If I thought my colourist didn't know what a KNEE I wouldn't send them any work.

None of the settings terminology used in the FS100 would be a mystery to a COLOURIST unless they were the beauty salon type.
 
Nirv said:
None of the settings terminology used in the FS100 would be a mystery to a COLOURIST unless they were the beauty salon type.
Click to expand...

I disagree. For example when Sony talk of 'the colour black' the language baffles me

As for getting a look on set - I think this is extremely hard, unless you are working in a blacked out tent to monitor, some headroom and colour flex is post is in realty needed. While I like to get a look close in camera I have no expectation of shooting 'grade free' footage

Just back from a project shot this weekend, looking forward to the test of my profiles 'in anger'..

S
 
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