Odyssey Firmware 2015.5

Looks good so far. Keen to load up a bleach bypass or blockbuster llut and hook it up to the projector/plasma. First scientific test :)

it it could just be me, but after the new fw, my histogram has like a moving gap/drop in the middle. Turn on a lut and it 90pc goes away. Anyone else?
 
Great update CD!
Colors look much better indeed on my FS700, banding issue gone IF your color temperature is set correctly. If you're shooting tungsten, set your K temp around 3200, if it is set on daylight (5500ish) and your lights are tungsten then you'll get a total rainbow of banding. And vice-versa with daylight I presume, but haven't tested it yet.
Great work CD, can't wait to try the LUTs and add some custom ones.
Onward!

Pierre Tremblay / Listo Films
4064, Boulevard Saint-Laurent, #2
Montréal, QC, H2W 1Y8
514-276-0830
514-233-5231
1-888-558-0830

Visitez notre nouveau site web:
Visit our new website:
http://www.listofilms.com/
 
Martin.G said:
Downloading now. Approx. 1,5 hour left on downloading 106mb. Are you guys skimping that much on bandwidth?

I guess it makes sense seeing how often these updates come out, but you could think about putting up a release-day torrent, so that we users could download from each other on the day 1 rush.
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Odd, it usually takes about 30 seconds for me. Even under heavy traffic it shouldn't be anything like that. I suspect issue is not on our end.
 
35mill said:
Hi Mitch,
Any idea when the LUT's will be baked in and not monitor only? Downloading the new update now, thanks- this all looks promising.
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We shall see. We purposely did not want to include that function with the first iteration for fear people would get confused by all the routing and accidentally bake-in a look. We are always all about protecting your recordings.
 
ChadN said:
With Focus Peaking after the update, i seem to get little specs of the selected color flashing all over the image. I turned the color of peaking to Yellow, focused on something in the distance. It does seem to highlight that object in yellow, but it also creates this yellow flashing noise all over the image. Only when the threshold is above 80 or so.

Edit: after playing around with it a bit more, i'm not having much problem with it. it feels different, and using the zoom focus feature seems to change how fine the peaking is. weird at first, but it seems good. an option to turn off the actual flashing of the color might be nice in the future too.
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What you are seeing is the noise threshold of the camera. As you play with it you will likely find a comfort zone. It is vastly more accurate than the previous version, which was already more accurate than most simple peaking circuits. Try playing with the REVEAL function as well.
 
Listo said:
Great update CD!
Colors look much better indeed on my FS700, banding issue gone IF your color temperature is set correctly. If you're shooting tungsten, set your K temp around 3200, if it is set on daylight (5500ish) and your lights are tungsten then you'll get a total rainbow of banding. And vice-versa with daylight I presume, but haven't tested it yet.
Great work CD, can't wait to try the LUTs and add some custom ones.
Onward!

Pierre Tremblay / Listo Films
4064, Boulevard Saint-Laurent, #2
Montréal, QC, H2W 1Y8
514-276-0830
514-233-5231
1-888-558-0830

Visitez notre nouveau site web:
Visit our new website:
http://www.listofilms.com/
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Yes, it is absolutely important to get your color temp in the right ballpark. Whether or not it is baked-in, this does effect what information makes it to the Odyssey screen and how it is handled with the LUT. Can't go into detail, but I can say that there is a reason Sony chooses to lock color balance when shooting in certain modes in its cameras.
 
Mitch Gross said:
Yes, it is absolutely important to get your color temp in the right ballpark. Whether or not it is baked-in, this does effect what information makes it to the Odyssey screen and how it is handled with the LUT. Can't go into detail, but I can say that there is a reason Sony chooses to lock color balance when shooting in certain modes in its cameras.
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About baked-in WB Mitch...

If I load my cDNG clips into Resolve and change the clip's WB attributes to "custom", I am free to alter the WB to my heart's content. So how exactly is this locked/baked in? Or is the correction Resolve is applying not a true WB shift? It does behave visually like it should. (I haven't done any scientific tests)
 
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seanmc said:
About baked-in WB Mitch...

If I load my cDNG clips into Resolve and change the clip's WB attributes to "custom", I am free to alter the WB to my heart's content. So how exactly is this locked/baked in? Or is the correction Resolve is applying not a true WB shift? It does behave visually like it should. (I haven't done any scientific tests)
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It is not a question of it being baked-in. On the FS700 it is not. It is a question as to the weight given to the different color information, because choices are made in any system before it gets to the point where you later manipulate it. There is not infinite information for you to access. Even if the material was uncompressed from start to finish, it is still in a 12-bit linear structure, so that by definition is a limiting factor. The camera has to base its choices off of something as do we. So getting your color balance in the right ballpark is a good thing.

It gets more complicated than that, but then we get into matters that are proprietary. Just trust me on this -- it's better to set WB to something vaguely close to what you want.

Try it out for yourself. Shoot a tungsten-balanced scene twice, first with the camera's WB set to 3200 and then again with it at 5600. Maybe do a third turn at some random weird color balance. Then take them all into post and see what happens when you try to match them.
 
Great stuff thanks to cd!
Not so interesting for our productions.
We've been waiting for the promised fs700 prores 200/240 fps feature and are totally disappointed now.
When will this happen?

Were this banding issues only in log2 or in rec709 as well?
thanks for a reply.
 
Mitch Gross said:
Yes, it is absolutely important to get your color temp in the right ballpark. Whether or not it is baked-in, this does effect what information makes it to the Odyssey screen and how it is handled with the LUT. Can't go into detail, but I can say that there is a reason Sony chooses to lock color balance when shooting in certain modes in its cameras.
Click to expand...

Does that mean that we should only shoot 3200K or 5600K? Because in some situations i shoot 4400K in mixed lighting situations, or live concerts...
 
stefanhuberfilms said:
Does that mean that we should only shoot 3200K or 5600K? Because in some situations i shoot 4400K in mixed lighting situations, or live concerts...
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I think what is being said might be that we should not shoot even raw with 5600K in a 3200K environment, or vice versa.

But 5600K in a 5800K environment is not a deal breaker, since the white balance is "in the ballpark" and thus easier to manipulate without loss of quality.
 
Mitch Gross said:
We shall see. We purposely did not want to include that function with the first iteration for fear people would get confused by all the routing and accidentally bake-in a look. We are always all about protecting your recordings.
Click to expand...

Hey Mitch,
I ask as the one thing I still like about the standard hd to prores out of the fs700 is the use of the internal FS700 picture profile options. The Cine options have great latitude and adjustable colour and sharpness setting. At the flick of a switch.
I can get can condense a pictures latitude and instant tweek/correct this way for a baked in picture (709, 709/800 and slog2 aren't appealing)
I understand the principles of RAW, and it's programming limitations to some degree.
Obviously the 4K to HD is a superior picture, but I have clients who don't want to grade, bother with LUT's, want a baked in picture for fast turn around.

Yes I want it all.

Im happy to set them up with a workflow, but need it to work with the FCP's and Premiere's of this world. Hope you are in Apples ear as much as Sony! And good luck with that thought.

I have played with the new download today, the zoom function is amazing. I wonder how many people will actually think the 2:1 zoom in their actual framing.
Very little noise by comparision to versions of old.

Noise is my main FS700 complaint from editors of the footage. Hope the future upgrades can still aim to assist this as mentioned in the past.

Thank you offering what looks to be a very promising improvement.
 
Martin.G said:
I think what is being said might be that we should not shoot even raw with 5600K in a 3200K environment, or vice versa.

But 5600K in a 5800K environment is not a deal breaker, since the white balance is "in the ballpark" and thus easier to manipulate without loss of quality.
Click to expand...
Yep, makes sense!
 
Kudos Mitch and CD! I really love the new LUT-workflow. Really easy to use and great to see your desired look in screen while shooting. The monitor is really coming into it's own.
The quality of the footage coming from my FS-700 + 7Q was already better than I ever dreamed possible, but now it should be even better? Looking forward to test it in my next shoot. Very interesting info about correct exposure with FS-range too; those special LUT's will help to find to find a balance between noise levels and clipping. So: a great upgrade and thanks for all the hard work.
- one feature I'm sorely missing is an opacity setting for the frame-guides (darkening the image outside the frame-guides). Any news on that? Would greatly help the eye with framing.
 
Has anyone tested the FS700 Slog2 LC709a LUT already?
For me it looks a little bit weird with a shift towards green/cyan also in 7Q preview and in NLE/Resolve too.

But anyway a big thanks for adding this feature for free!
 
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