F3: PIX 240 444 RBG out of the F - amazing

So yes F3 with RGB s log upgrade - going 3g slog out with one cable into the PIX 240 and it grabs it.
So the camera is sending out 4:4:4.

I have to do a real test but it appears more room in color correct to play with the look.
Testing it with the F35 and an AJA multiplexer today.
 
The camera isn't the issue, it's the Pix only recording it in REC709 color space. While usable, it's not ideal.
Sound Devices, are you listening--bad juju here!
 
eddavid said:
So yes F3 with RGB s log upgrade - going 3g slog out with one cable into the PIX 240 and it grabs it.
So the camera is sending out 4:4:4.


Displaying my ignorance, ( as usual ), I'd be grateful if you could tell me what S-Log settings you initiated on the F3 and what were the settings on the PIX 240?
Trying to do my own tests here.
Thanks......
Click to expand...
 
need to have the 444 slog upgrade firmware installed on the f3.
then on the menu settings sent out 3g rgb s log (last item)
on pix 240 - go to video/resolutions - and with the 3.0 firmware update on the pix 240 - go to pro res 4444
 
eddavid said:
need to have the 444 slog upgrade firmware installed on the f3.
then on the menu settings sent out 3g rgb s log (last item)
on pix 240 - go to video/resolutions - and with the 3.0 firmware update on the pix 240 - go to pro res 4444
Click to expand...


I'd love to see some footage of the 422 files compared to the 444. Not that you would do it, but I don't yet have the 444 upgrade on the F3. So does it make a difference recording the 422 signal at 444? Will I notice any difference?
 
D10S said:
I'd love to see some footage of the 422 files compared to the 444. Not that you would do it, but I don't yet have the 444 upgrade on the F3. So does it make a difference recording the 422 signal at 444? Will I notice any difference?
Click to expand...

My unqualified guess would be no, you cant create something that isnt there in the first place. Kind of like saving a jpeg as a Tiff in still photo terms or transcoding a h264 clip in to ProRes.
 
D10S said:
I'd love to see some footage of the 422 files compared to the 444. Not that you would do it, but I don't yet have the 444 upgrade on the F3. So does it make a difference recording the 422 signal at 444? Will I notice any difference?
Click to expand...

On the F3, I would say very rare situations where you will see differences between RGB 444 vs Ycbcr 422, if any situation at all.


http://blog.mxr.at/422-vs-444/

http://www.dvxuser.com/V6/showthread.php?302433-8bit-XDCAM-(mpeg4)-vs-10bit-RGB-(ProRes444) (this is 8-bit compare)

http://www.dvxuser.com/V6/showthrea...-s-Comparison-(Matthew-Allard)&highlight=slog
 
I'm more interested in it for secondary color correction.
But I agree with debate - shooting 422 with the correct white balance maybe easier to grade than 4444 with wrong white balance.

But, like the f35 or like a film camera - you can use filters like the 82c filter in front of your glass to get to the white balanace you want to be at.
And if you are using it for narrative work - then you can gel the lights you want to get to 5600k or 3200k.

Then I would be curious.

I haven't tested yet 4444 vs 422 - but its good to know its there and it works. Of course it depends as said before on the f3's native sensor.
 
With secondary keys it makes a BIG difference. There's also less noise at 444 from my testing. Both are worth the extra to me. (as soon as I can get 12-bit recorded, will do some tests with 10 vs 12 bit also). Again, it's probably not much different visually. BUT, it's a culmination of several small differences that equate to a noticeable one: 444 instead of 422, 12bit instead of 10, great glass instead of good. All adds up!
 
Confirmed - with AJA multiplexer out from the F35 recording out at 444 rgb 12-bit - with dipswitch set to RGB and 12-bit - the PIX 240 is reporting the signal in at 12-bit!

12-bit 4444 files out of the F35 - BOOM!
 
Posted something on SD forum for clarification about the SLog to ProRes 4444 but so far nobody has replied.

Ned
 
eddavid said:
Confirmed - with AJA multiplexer out from the F35 recording out at 444 rgb 12-bit - with dipswitch set to RGB and 12-bit - the PIX 240 is reporting the signal in at 12-bit!

12-bit 4444 files out of the F35 - BOOM!
Click to expand...

Excellent. Now we need to find a solution to get the full range out of the 4444.
 
eddavid said:
Confirmed - with AJA multiplexer out from the F35 recording out at 444 rgb 12-bit - with dipswitch set to RGB and 12-bit - the PIX 240 is reporting the signal in at 12-bit!

12-bit 4444 files out of the F35 - BOOM!
Click to expand...

Terrific news! So the dipswitch is set on the multiplexer?
 
yes Grug the dipswitch is on the back of the AJA multiplexer - you can just switch it yourself.
 
eddavid (and Pix240 users),
I've experienced a problem with the Pix240 going into Resolve where-as the timecode on each clip is starting at ZERO. (bad juju).
Both SoundDevices and BlackMagic support has been alerted to this. I'm totally shocked that I have not heard/read about this elsewhere.

As a safety (yes, I always roll that way) I had the Samurai recording from the SDI out on the Pix at the same time, which worked fine.
The TC is fine in other apps, just not resolve. Apparently the TC meta-data can live in different spots in the file, which Resolve doesn't look for.

So, no SLOG recording, no "standard" TC in files is strike 2 for Pix--No dice if you wish to grade materal.
 
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