Other: Sony FX6 Master Class and review

I've got a nice little list of tweaks from the first 11 chapters so far. Is this the best place to post any questions / clarifications?
Thanks
Nathan
 
Thanks for putting this class out Doug! It's very informative and super helpful.

Two question related to Chapter 25 on Audio, specifically the new UWP-D gear:
1) Is there any source you recommend for better learning how to use the settings on these units other than the manual?
2) For a lavalier-only interview using the FX6, would you typically just map Shoe CH1 to CH1 so you can simply use the Audio Level dials?
 
Doug, I really enjoyed the MasterClass and found it great value. I was going to make a joke about the "old bloke" who is the talking head but I'm never sure if the Aussie sense of humour translates well!

Like all good courses, there is the inevitable questions and for me they revolve around what would be an unusual consumption format. I want to produce UHD, 50fps, HDR footage from my FX6. I'm using Davinci Resolve on an HDR monitor.... but Resolve will not use HDR for grading without additional HW connecting a 2nd HDR Monitor. So for me (at present), I'm after a WYSIWYG HDR workflow and I'd appreciate any thoughts on my current settings to see if I'm way off base:

FX6 Settings
- HDR (HLG) Mode
- 50fps / UHD
- 1/50th fps (360 degree shutter angle) - From what I understand this will give me the same motion blur but twice the cadence. 360 degree will also maximise the available light, giving higher flexibility to use the ND filters to control exposure in a wide range of lighting situations

Resolve Settings
Color Science: DaVinci Colour Managed
Input colour space: Rec.2020 / ARIB STD-B67 HLG
Timeline colour space: Rec.2020 / ARIB STD-B67 HLG
Timeline working luminance: HDR 1000
Output Colour Space: Rec.2020 / Rec.2100 ST2084 (note: this is to output HDR10 instead of HLG).
Rendering is then to: H265 / 10 Bit / HDR10

Related Questions:
- Zebra Level setting for HLG Mode - 85%? 98%? Other?
- In Chap 19 you mention when using Auto ND for Exposure you should think about raising the level, does this also apply when using HLG?

Thanks
Nathan
 
jmone said:
I've got a nice little list of tweaks from the first 11 chapters so far. Is this the best place to post any questions / clarifications?
Thanks
Nathan
Click to expand...

I'm glad you are finding it helpful. I also learned a lot of unexpected things about the camera while I was working on the video.
 
matt.pignataro said:
Thanks for putting this class out Doug! It's very informative and super helpful.

Two question related to Chapter 25 on Audio, specifically the new UWP-D gear:
1) Is there any source you recommend for better learning how to use the settings on these units other than the manual?
2) For a lavalier-only interview using the FX6, would you typically just map Shoe CH1 to CH1 so you can simply use the Audio Level dials?
Click to expand...

You're welcome. This might have been my last master class because they are just too much work.

In chapter 25 I mentioned some informative UWP videos that Sony's Andy Munitz has posted on Vimeo. They go into greater detail about the audio products that I had time for and they should answer whatever questions you have.
Here's the link: https://vimeo.com/showcase/3483659

For a lavalier-only interview I'd normally map the Shoe input to both CH1 and CH2. Set the level on CH1 manually and run CH2 on automatic.
 
jmone said:
Doug, I really enjoyed the MasterClass and found it great value. I was going to make a joke about the "old bloke" who is the talking head but I'm never sure if the Aussie sense of humour translates well!

Like all good courses, there is the inevitable questions and for me they revolve around what would be an unusual consumption format. I want to produce UHD, 50fps, HDR footage from my FX6. I'm using Davinci Resolve on an HDR monitor.... but Resolve will not use HDR for grading without additional HW connecting a 2nd HDR Monitor. So for me (at present), I'm after a WYSIWYG HDR workflow and I'd appreciate any thoughts on my current settings to see if I'm way off base:

Thanks
Nathan
Click to expand...

Nathan, as I say in my video, HLG is not intended for grading so you are immediately going off the rails if you choose to shoot with HLG. I suggest shooting with S-LOG3 using the recommendations I provided and then grade in Resolve like any other S-LOG3 footage. Not only will that give you the best results today, it also ensures your raw footage is future proofed for any other grading you may choose to do in the future after HLG is scrapped. HLG is just a temporary mode to show HDR on older monitors. Soon it won't be needed at all as more people upgrade to better televisions. Also, I kind of alluded to it in my video, but I didn't want to get sidetracked tacking trash about HLG, but I don't even think it does what it is supposed to do. From all the footage I've seen at NAB, and other official demos, which are supposed to present things in their very best light, HLG has never impressed me. In my opinion, you can't send a single video signal down the pipeline and expect both SDR and HDR displays to look good. Every time someone has tried to show me footage that looks good on both, the SDR picture has been dumbed down to unacceptable levels in favor of the HDR. You gotta pick one or the other. Plus you certainly cannot grade HLG in post and expect to get better results than S-LOG3. My advice is to abandon HLG right now.

As for shutter speed for 50p. It totally depends what you are going to do with the footage. If you are actually going to edit and render your final output as 50p, then you should probably use a shutter speed of 1/100th. If you are going to convert the 50p into 25p slow motion, then 1/100th would be best for that too. But if you are going to convert the 50p to 25p at some point in post (basically half the frames are thrown away), then you better shoot a 1/50th if you want to have natural-looking cadence. So you really have to know your output destination and post workflow BEFORE you choose a shutter speed.

The most important hardware you can get for grading is a cheap Blackmagic Ultrastudio box so you can get the video signal out of your computer and view your video on a real HD or 4K television monitor. It makes all the difference. There are many models of Ultrastudio available depending on your needs. The cheapest is $115. I never leave home without it when I'm teaching classes on the road. i don't see how anyone can do serious grading in Resolve without an Ultrastudio. Plus it allows you to put scopes on one computer monitor and the Resolve GUI on another. Plus the Ultrastudio boxes work with Premiere and Catalyst so you can always put your program out to a real monitor. I grade/edit with 5 monitor setup.

I travel with this one:
https://www.bhphotovideo.com/c/product/1578062-REG/blackmagic_design_ultra_studio_monitor_3g.html

At home I use the earlier (HD only) version of this one that cost half the price back then.
https://www.bhphotovideo.com/c/prod...gn_bdlkulsr4kextr_ultrastudio_4k_extreme.html

I just remembered I have a brand new Ultrastudio Express still in the box if anyone is interested in a good deal. Make an offer!
https://www.abelcine.com/buy/data-m...corders/blackmagic-design-ultrastudio-express
 
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jmone said:
Doug, I really enjoyed the MasterClass and found it great value. I was going to make a joke about the "old bloke" who is the talking head but I'm never sure if the Aussie sense of humour translates well!
Click to expand...

Don't worry, i can take it. I would never hire myself as talent for a real video!! But I have learned to get over it and just get the damn thing done.
 
Very nice. I did your Fs5 course when I first bought that camera over three years ago and it was invaluable for getting me up to speed; I did the FS7 course a few months ago just to learn the camera in case a job with it ever comes up; and now that I have the FX6 I'm looking forward to this. I watched the intro and already learned a little tip (how push AF functions in both AF and MF modes).
 
Thanks for the feedback. If I can teach even experienced shooters a new thing or two, then I have done my job! But I must say that my main goal is simply to save people a lot of time getting up to speed with their camera. Most people can break the camera down and discover it's weakness, strengths, and best practices if they want to spend the time to do it, but I provide the Cliff Notes shortcut.
 
Hi Doug, Apologies for the late replay (was travelling for work). Thanks for the detailed response

HDR: I may not have made it clear but (at present) I simply don't have either the skills or additional equipment to colour grade HDR in resolve (though both could be acquired). From your course I do understand that CineEI/SLOG is the way to go, but for a WYSIWYG there is Custom SDR(709), and also HDR(HLG). I was hoping that I what I'd settled for in the way of settings/workflow I'd posted above makes sense for creating HDR10 content when you are not colour grading in post.

I also see from the Resolve manual, Blackmagic says you need a DeckLink 8K, DeckLink 4K Extreme 12G, or UltraStudio 4K Extreme for HDR Grading.

Shutter Angle: I'm shooting and delivering in 50fps (forgetting slo mo for now), and for such situations one suggestion is 360 (eg 1/50th) is the way to go, but for slo mo stick with go back to 180 (or 1/100th).

Did you also have any advice on these two points?
- Zebra Level setting for HLG Mode - 85%? 98%? Other?
- In Chap 19 you mention when using Auto ND for Exposure you should think about raising the level, does this also apply when using HLG?

Thanks again for your patience.
Nathan
 
Thanks Doug for posting this introduction. As always you make very informative videos. I'm also happy to see the Z-finder solution as this is probably what I'll get.
 
jmone said:
I was hoping that I what I'd settled for in the way of settings/workflow I'd posted above makes sense for creating HDR10 content when you are not colour grading in post.
Click to expand...

There are no shortcuts. If you can't or don't want to grade, get the idea of HDR out of your mind. You either need to do it right or go in a different direction. Why do you need HDR anyway? What are you going to with it? if it is for tuture-proofing then S-LOG3 is the way to go. HLG is not future-proofing at all. By the time HDR delivery becomes a normal thing for most us, HLG will be long gone and your HLG footage will be useless. That is my prediction.
S-LOG3 is great because you can grade great looking SDR today and pull out the raw footage later and re-grade for HDR if it that ever becomes necessary. The best of both worlds is only possible with LOG or RAW.

jmone said:
Shutter Angle: I'm shooting and delivering in 50fps (forgetting slo mo for now), and for such situations one suggestion is 360 (eg 1/50th) is the way to go, but for slo mo stick with go back to 180 (or 1/100th).
Click to expand...

That video is a good demonstration and I agree with almost all his advice and recommendations. I have been telling people for years that you need to know HOW your high-frame rate video is going to be used in post because that is what determines the correct shutter speed. Yes, 1/50th for 50p (not slow-mo) is correct. 1/100th if you're shooting for slow-mo. Although if you're not shooting for slow-mo, then I have no idea why you'd be shooting 50p in this day and age. What are you going to do with 50p footage?

jmone said:
Did you also have any advice on these two points?
- Zebra Level setting for HLG Mode - 85%? 98%? Other?
- In Chap 19 you mention when using Auto ND for Exposure you should think about raising the level, does this also apply when using HLG?
Click to expand...

Sorry, I don't have the answers to those question. There are enough reasons not to shoot HLG that the details of how to shoot it do not matter and are not worth figuring out.
 
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J.Brown said:
Thanks Doug for posting this introduction. As always you make very informative videos. I'm also happy to see the Z-finder solution as this is probably what I'll get.
Click to expand...

You're welcome. Even though I'm using a Gratical Eye right now I'll probably get the Z-Finder too for times when I want a smaller lighter camera. You'll like it.
 
Hi Doug,

The setup for UHD/HDR/50fps is purely for my own consumption and to see what is possible. It will not be to everyone's taste but I love how Ang Lee used this combination (on an ARRI Alexa) for "Gemini Man" (well UHD/HDR/59.94fps for the UHD BD release). This is a 25sec clip showing how it looks with panning and motion. You will need to download it, and have the ability to play a MKV/UHD/HEVC/HDR @ 59.94 without dropping frames.

Thanks
Nathan

Note: All rights reserved to Ang Lee.
 
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Q on Chap 22 and 23: Is there and difference to S&Q Mode when set to 1fps and Timelapse also set at 1fps?
 
jmone said:
Q on Chap 22 and 23: Is there and difference to S&Q Mode when set to 1fps and Timelapse also set at 1fps?
Click to expand...

Yeah, shutter speed. I haven't tried it but I'm 99% sure you will not be able to use a shutter speed slower than the frame rate. Super slow shutter speeds, in my opinion, are an absolute necessity for time-lapse.
 
Doug Jensen said:
Yeah, shutter speed. I haven't tried it but I'm 99% sure you will not be able to use a shutter speed slower than the frame rate. Super slow shutter speeds, in my opinion, are an absolute necessity for time-lapse.
Click to expand...

Your right on the shutter speed restriction. In having a play:

S&Q: All options slower than 360degrees is greyed out in S&Q. So in this mode you can go as slow as 1fps, with shutter up to 360 degrees. Works fine on a 50fps timeline, no Autofocus. Still an interesting look and I'd image it would work really well for sunsets.

Interval Record: Starts at 1 sec (and goes to 24hours). Interesting is that on a "std" 25fps timeline you get options for 1/3/6/9 "Number of Frames", but on a 50fps timeline you get a choice of 2/6/12. There is no option for "1"
 
Doug Jensen said:
That is a great reason to play with frame rates and shutter speeds.
Click to expand...

I find that the FX6 makes you rethink what is possible. Iris / Frame Rate / Shutter Angle can now be used to achieve a desired "look" (depth of field, motion blur etc) as exposure can be controlled using V-ND, Gain, Hi/Low base. I especially like how on a de-clicked aperture you can now rack it to reveal a background as an example and the the auto V-ND / Gain will work to keep the exposure over a pretty wide range (though occasionally I do see some brightness ramping at the beginning of stopping down). I'd also like a faster PZ lens than the 28-135 for this to be really effective. I also wish the Multi Function dials could be declicked (like the V-ND dial) as I use these to change the iris on lens like the 24-240 that does not have an iris ring.

It is an amazing camera.
 
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