lasikdenver
Well-known member
Pink highlights green in shadows in high contrast. I use pix from Nikon D3 to adjust color, not exposure.
F3: Why I Bought an F3
- Thread starter morgan_moore
- Start date
morgan_moore
Major Contributor
NOw I have some sort of gamma, I can start to work on saturation/colour balance
Certainly every image from the F3 I have tried to make pretty ive taken some red out of the shadows.
S
morgan_moore
Major Contributor
morgan_moore
Major Contributor
starcentral
Veteran
I don't feel this is a scene that will exemplify the benefits of slog highlight smoothness capability.
For a scene like this you can slide that middle grey up or down its not going to make a lot of difference.
In fact you might have shot this with cine1 and produce the same results.
For a scene like this you can slide that middle grey up or down its not going to make a lot of difference.
In fact you might have shot this with cine1 and produce the same results.
morgan_moore
Major Contributor
You may say that. But with an FS100 this was a problem scene.
Im working out 'how' to use the camera ie I think the recorder is too heavy for some jobs/shots, Im sure ill try and find an optimised 'onboard profile' in the fullness of time.
S
Im working out 'how' to use the camera ie I think the recorder is too heavy for some jobs/shots, Im sure ill try and find an optimised 'onboard profile' in the fullness of time.
S
Grug
Veteran
A heavily optimised picture profile that crushes the blacks and adds some saturation back into the 8-bit internal recordings could certainly be useful - you'd get the smooth highlight rolloff of SLOG, with a workable 8-bit file (straight SLOG to 8-bit just breaks down too much when you grade it back).
Personally I'd never be without my PIX240 attached to the F3. Getting 10-bit ProRes and adding false colour metering to the camera makes my life all sorts of more easy. And if you're comfortable monitoring in slog, it doubles as an external monitor (which most of the time you'd want anyway).
I find this setup extremely streamlined :
(Oh, and check with Element Technica if they have any more body armour kits to clear - it seriously makes the F3 so much nicer to work with).
Personally I'd never be without my PIX240 attached to the F3. Getting 10-bit ProRes and adding false colour metering to the camera makes my life all sorts of more easy. And if you're comfortable monitoring in slog, it doubles as an external monitor (which most of the time you'd want anyway).
I find this setup extremely streamlined :
(Oh, and check with Element Technica if they have any more body armour kits to clear - it seriously makes the F3 so much nicer to work with).
starcentral
Veteran
looks nice.
Grug
Veteran
Not in the slightest. That little monitor mount I've created gives me a significant range of movement across three different axes. I can put it in a conventional viewfinder position, move it forward to a comfortable position for shoulder mount work, tilt it upward when the camera's down low, tilt it downwards when the camera's up high, sit it up above the camera, hang it out behind the camera, twist it to face my AC on either side of the camera. It's hugely flexible, and it's a fraction of the weight and bulk (and cost!) of the dedicated EVF mounts.
Plus the PIX is too beefy to trust to an Israeli arm, using 15mm rods make it rock solid, and given the PIX is capturing my masters - rock solid is what I want it to be.
bill totolo
Veteran
Has anyone tested shooting S-Log with -3db for an ISO equivalent of 570?
I wonder if there's a hit to dynamic range?
I may perform my own test tomorrow now that I think about it.
I wonder if there's a hit to dynamic range?
I may perform my own test tomorrow now that I think about it.
Grug
Veteran
Yep. You lose maybe half a stop off the top of the highlights. But it does reduce noise in the shadows by a fraction. But I'll take a noise hit over reduced highlight tonality any and everyday. Highlight rolloff is IMO absolutely the key to creating a 'film-like' image from a digital sensor IMO - it's why the F35 looks so damn good, even though it's only got a total DR of a measly 11 stops.
morgan_moore
Major Contributor
Grug - that is a good thought to build a PP using Slog as a start point for shooting 'onboard'
You say the codec falls apart with regular Slog - can you point to any examples?
--
Building the thing.
I say it is heavy, and would be with on onboard Pix as it is with my onboard NanoFlash/Dp6/Vlock
I note you dont have Vlock - how is the onboard batts.
Also am I correct in thinking there is no 12o/p to run a monitor - I cant find one.
The Armour looks kind of cool. I would love it if it lowers the overall mass, also what happens to the HF socket?
DId you say there was a source of over stock somewhere?
Thanks
SMM
You say the codec falls apart with regular Slog - can you point to any examples?
--
Building the thing.
I say it is heavy, and would be with on onboard Pix as it is with my onboard NanoFlash/Dp6/Vlock
I note you dont have Vlock - how is the onboard batts.
Also am I correct in thinking there is no 12o/p to run a monitor - I cant find one.
The Armour looks kind of cool. I would love it if it lowers the overall mass, also what happens to the HF socket?
DId you say there was a source of over stock somewhere?
Thanks
SMM
Grug
Veteran
I'd have to dig up my original tests from the old computer, but basically I was ending up with very harsh edges of contrast as I crushed blacks and added back in mid-tone contrast, it's just a case of bumping up against the limits of 8-bit tonality.
I originally started with a v-mount solution, but to cut down on total weight and streamline the camera rigging, I switched to 90w/hr aftermarket batteries from GlobalMediaPro that include a DTAP port for powering the PIX (so the camera and recorder run from a single battery solution). So the rig in the pictures above is literally the entire rig except for the BNC cable from the PIX to the Camera and the DTAP cable from the battery to the PIX - so there's only those couple of components to it.
The main thing the armour does is streamline the layout of the camera. You don't have to contend with the useless EVF flopping around, you don't have to fret about the top handle flexing and creaking in your hand when you lift the whole rig, you don't have the side handle catching on anything - it just keeps things out of your way so you can get on with shooting.
Element Technica discontinued them a while back and sold them off at firesale 70% off prices (there was a pretty big thread on it on here). So if they still have any left, you should still be able to get them at the BIG discount. I was just days away from purchasing just the topplate and handle to streamline the camera when the firesale came up, and I was able to get the entire armour package for the same price as just the top plate and handle cost originally. If you're interested, I'd suggest sending them an email about it, because after a 10-bit recorder, it's the single best thing you can do for the camera.
With the camera setup the way I have it, I literally almost never have to enter into the camera menus. I can adjust my white balance between 2900-3200-4500-5600-6500-10000 with just the switch on the camera, I can adjust my gain between the only settings I use 800, 1250 and 1600 ISO, ND filters and S&Q motion for 720p50 is all there on the operator side of the camera. So basically everything I want to adjust, I can without any complications.
As for the headphone port. Because I use the PIX for recording both video and sound, I do my headphone monitoring via the PIX, so I don't need access to sound on the camera.
morgan_moore
Major Contributor
Makes sense on the profile.
Interesting batt solution - Im kind of bought in to VLock I do have a 70WHr that would cut the mass a little.
And I have sent ET an e-mail (I thought phones were more of his thing)
S
Interesting batt solution - Im kind of bought in to VLock I do have a 70WHr that would cut the mass a little.
And I have sent ET an e-mail (I thought phones were more of his thing)
S
bill totolo
Veteran
However in a low DR scene, like a low key INT this may be valuable. Testing will provide some clues...tomorrow.
Alpha Beta Omega
Veteran
If you can get hold of the body armour it makes the F3 much better to operate. Just as Grug I hardly ever go into the menu. To me this camera once set doesn't need to be tweaked.
As for power I use Sony U60 batteries and they last around three hours. I got three so these will take me through a day. V-lock brings to much bulk, both in how big the camera rig becomes but also to carry it all. I have a B&W case 61 to hold my F3, batteries, charger, Atomos Blade with charger/batteries/discs/reader/cables. I would need a much larger case to fit V-lock batteries and charger inside.
I use Canon EF lenses with a MTF adapter mounted on top of the camera but will swing to the Optitec adapter next year to reduce weight and complexity.
View attachment 78255
As for power I use Sony U60 batteries and they last around three hours. I got three so these will take me through a day. V-lock brings to much bulk, both in how big the camera rig becomes but also to carry it all. I have a B&W case 61 to hold my F3, batteries, charger, Atomos Blade with charger/batteries/discs/reader/cables. I would need a much larger case to fit V-lock batteries and charger inside.
I use Canon EF lenses with a MTF adapter mounted on top of the camera but will swing to the Optitec adapter next year to reduce weight and complexity.
View attachment 78255
Duke M.
Veteran
With informal testing my take was that it clips the dynamic range.